Your destination for the past, present, and future of art. Table of Contents 2 W e l c o m e f r o m t h e D i r e c t o r 4 M e s s a g e f r o m t h e C h a i r 7 T h e I n s t i t u t e | A B r i e f H i s t o r y 8 Institute F a c u l t y a n d F i e l d s o f S t u d y 14 Honorary F e l l o w s h i p 15 Distinguished A l u m n a 16 Institute S t a f f 1 9 I n M e m o r i a m 2 4 F a c u l t y Accomplishments 30 Spotlight o n F a c u l t y R e s e a r c h 4 2 S t u d e n t V o i c e s : A r t H i s t o r y 4 6 S t u d e n t V o i c e s : Conservation 50 Exhibitions a t t h e I n s t i t u t e 5 7 S t u d e n t Achievements 6 1 A l u m n i i n t h e F i e l d 6 8 S t u d y a t t h e I n s t i t u t e 73 Institute S u p p o r t e d Excavations 7 4 C o u r s e H i g h l i g h t s 82 Institute G r a d u a t e s 8 7 P u b l i c Programming 100 Support U s

Art History and Archaeology The Conservation Center The James B. Duke House The Stephen Chan House 1 East 78th Street 14 East 78th Street New York, NY 10075 New York, NY 10075 Tel: (212) 992 5800 Tel: (212) 992 5847 [email protected] [email protected] also held a celebration to honor the life and work Linda Nochlin on April 8, 2018, with of Professor and filmed interviews with Linda at remembrances the Solomon R. Guggenheim Museum, followed the student editors name the new journal and what its first issue will focus on. two highly revered This was a year to remember at the Institute who passed away in the professors late summer and fall. The Institute held a memorial Egbert Haverkamp-Begemann tribute to Professor on October 29, 2017. The event filled the House to overflowing with colleagues, former students, and the country and across friends, many arriving from their memories and stories, They shared Europe. a vivid portrayal of a brilliant scholar, creating bibliophile, thoughtful mentor, devoted teacher, We and occasionally fearless nighttime chauffeur. continue to teach a class per year at the Institute continue to teach a class per year at the Institute courses draw Sims’ additional years. Dr. for three and curating, on her years of pioneering research the work of African much of which addressed American and Latin American artists. Students at the Institute will now have the opportunity to publish their own peer-reviewed, online journal. Contributions will be sought from both the Institute and graduate students from Alexander Nagel will other schools. Professor faculty guidance, and Conley Lowrance provide Launched just this will serve as managing editor. what to seeing all looking forward we are summer, The Institute also welcomes Professor Prita Professor The Institute also welcomes urbanism) and Professor Meier (African art and both art and archaeology), John Hopkins (Roman of Art History with appointed by the Department Institute. In addition, associate status at the Hrychuk Anne delighted that Professor we are of the Institute and a Kontokosta, an alumna will join and architecture, specialist in Roman art Professor/Faculty years as Assistant us for three Fellow. that renowned to announce It is also a pleasure Lowery Stokes Sims, who curator and professor, in the spring 2018, will Professor was the Varnedoe of East Anglia in the United Kingdom. Professor Professor in the United Kingdom. of East Anglia Sudan, on Ancient Egypt and Howley works in of material cultural the role focusing on contact. intercultural negotiating

year as director of the Institute of Fine the Institute of Fine of year as director welcome and support Arts is the warm hat I will remember most from my first most from hat I will remember

W previous art history teaching experience at the previous Rhode Island School of Design and the University University of Oxford and her Ph.D. from Brown Brown and her Ph.D. from University of Oxford She joins us this fall after two years University. Fellow at Budge Junior Research as Lady Wallis and with College, Cambridge University, Christ’s of Dr. Kathryn Howley as the Lila Acheson of Dr. Egyptian of Ancient Assistant Professor Wallace the Howley earned her BA from Art. Professor funded research) to prepare them for their future them for their future to prepare funded research) careers. I am delighted to announce the appointment and offering our students more opportunities and offering our students more work (curating and creative for professional exhibitions, teaching, publishing, carrying out the Department of Art History and NYU generally. the Department of Art History and NYU generally. also expanding our community and public are We which makes the Institute a dynamic programming, arts community, New York center within the greater curatorial studies; to support the engagement with curatorial studies; to support the engagement and time-based media in both art history new, with collaboration conservation; and to strengthen century European, Spanish and Viceregal art, and Spanish and Viceregal century European, global modern and contemporary art; to expand opportunities for students to take curator-taught classes, as well as classes in museum and the financial means to attend; to enhance the the financial means to attend; to enhance the teaching in a number of fields, including Institute’s but not limited to Dutch Golden Age, nineteenth- at the Institute have been to seek to increase the at the Institute have been to seek to increase staff, and students; to make diversity of faculty, for students affordable more the MA program and those without diverse backgrounds from The most important priorities to emerge from many many from to emerge The most important priorities of the current discussions and an assessment and conservation archaeology, state of art history, begin work on exciting projects and programs with and programs projects begin work on exciting of Institute active group such an enthusiastic and partisans. sense of the Institute’s distinguished history and distinguished history sense of the Institute’s has been a pleasure possibilities. It of its future make new friends, and to to get to know you, to I received from its remarkably accomplished and accomplished its remarkably from I received with trustees, Conversations community. creative donors, researchers, staff, students, faculty, have given me a deeper alumni, and supporters Welcome from the from Director Welcome

The Institute of Fine Arts Annual 2017 - 2018 2 The Institute of Fine Arts Annual 2016-2017 3 , a major Roman Roman , a major Aphrodisias in Sudan, supervised by our new by our new in Sudan, supervised Sanam wonderful annual excavation lectures. lectures. wonderful annual excavation year at the to another exciting I look forward and programs the projects Institute, and to seeing and flourish. to grow begun this past year continue With warm regards, Christine Poggi Director Judy and Michael Steinhardt The Institute of Fine Arts in Greece; Professor Roland R.R. Smith directs Smith directs Roland R.R. Professor in Greece; at the excavation excavation and we now can add the site in Turkey; at One of Kathryn Howley. Professor Egyptologist, past year was learning this pleasures my greatest meeting those various excavations, about these the in them, and hearing and participate who direct , Selinunte Samothrace in Egypt, now Abydos was going to press, we learned was going to press, Annual Professor Bonna Westcoat supervises the excavation supervises Bonna Westcoat Professor Gods at at the Sanctuary of the Great Clemente Marconi directs the team at directs Clemente Marconi exciting where city in Sicily, site of an ancient Greek discoveries continue to be made; our colleague Matthew Adams supervises the excavation at the Matthew Adams supervises the excavation of the kings at burial grounds and in a new partnership with Princeton University alumna); Professor (IFA Deborah Vischak Professor Institute now sponsors five excavations that provide five excavations that provide Institute now sponsors rich and diverse set of our students with a remarkably training: Field Director experiences and archeological teacher, passed away on July 15. The Institute will passed away on July 15. The Institute teacher, in the coming months. host a tribute to Jim McCredie about our many excavations. The a word Finally, Professor of Greek Archaeology and Architecture, and Architecture, Archaeology of Greek Professor of the esteemed Director long-serving and highly beloved and archaeologist, Institute, renowned elegant clothes, wonderful laugh, and zest for life. wonderful laugh, elegant clothes, Just as this Sherman Fairchild that James Robert McCredie, essays that opened the door to feminist approaches approaches opened the door to feminist essays that with artists, and criticism, her friendships to art history students, her advice she gave her the excellent by a reception at the Duke House. All of the speakers of the speakers House. All at the Duke by a reception recalled at the House toasts who made and those path-breaking incisive intellect, her bold, Linda’s

during the formative period in their the preservation and conservation of TBM works the preservation for generations to come. cross the disciplinary boundaries of computer cross science, material science, media technology, and conservation. I would engineering, art history, Roemich and like to congratulate Hannelore who, in collaboration with the Christine Frohnert Holben Margaret Chair, Conservation Center’s that program launching this preeminent Ellis, are of NYU and the notable will leverage the resources With art scene. connections found in the New York Mellon Foundation W. the support of The Andrew and Rachel and Jonathan Wilf, the Institute is education a world-renowned poised to provide for our Conservation Center graduates who will on experts and researchers become the foremost Haverkamp-Begemann Student Travel Fund in Haverkamp-Begemann Student Travel Haverkamp-Begemann’s of Professor recognition our students and to provide career remarkable |with indispensable access to view art objects in situ as art historians. Celebrating Professor careers vast contributions in this Haverkamp-Begemann’s of way will have lasting impact on the development our young scholars. Conservation Center the Institute’s Next semester, degree will launch the first U.S.-based dual MS/MA in time-based media art conservation. program students to This new specialization will require visits, and a special day-trip to Bryn Athyn, visits, and a special day-trip the Glencairn Museum Pennsylvania, to explore Membership in Robert A. Maxwell. with Professor support for fellowships direct provides the Circle exclusive events and at the Institute while offering our acclaimed faculty. auditing privileges with our fellowship supporters Each May we celebrate donors and where by hosting an annual lunch conversation and witness students can engage in of their contributions on the first-hand the impact our students. academic success of with an emphasis on enhancing our This year, student travel support, we established the Egbert Photography. The Institute is honored to celebrate honored The Institute is Photography. with this annual lecture. her legacy year filled enjoyed another Circle The Connoisseurs tours, private collection exhibition with curator-led ach year I am astounded by how quickly astounded by how ach year I am find weeks go by and we the days and that on all again reflecting ourselves once

gifts to many museums; and her leadership as a and Chair of the International Center of Trustee photography lecture in honor of Gayle Greenhill. in honor of Gayle Greenhill. photography lecture for her passionate Gayle was widely recognized beginning in the early advocacy of photography, collecting; her generous 1980s; her adventuresome the center of cultural exchange with art historians, art conservators, museum artists, archaeologists, the and students. This winter, professionals, Institute of Fine Arts announced a new annual Connecting with the community is a top priority Connecting with the community is a top priority free for the Institute, and with over one hundred the year the Duke House is throughout programs great wealth of knowledge of art and art history great the and will contribute to our efforts to maintain of our program. growth vitality and future and Rachel G. Wilf, art historian and alumna and Rachel G. Wilf, art historian and alumna fortunate to have their are of the Institute. We a commitment to the Institute, as each will bring the Department of Visual Arts at the University the Department of Visual of Chicago; Jennifer Russell, former associate for exhibitions at The Metropolitan director Museum of Art and an alumna of the Institute; It was also a pleasure to welcome three new to welcome three It was also a pleasure this year: Pope.L, Board members to the Institute’s studies in of undergraduate artist and director students, and close friends as our community students, and close friends as our community came together to celebrate the arrival of Director Poggi. her new role as the Judy and Michael Steinhardt as the Judy and Michael Steinhardt her new role The James B. Duke House was animated Director. with conversation among trustees, faculty, year. year. the fall semester with a number of opened We Christine Poggi into festive events welcoming would like to thank the many generous friends many generous would like to thank the support has made it and alumni whose steadfast to flourish over the past possible for the Institute techniques and a vast array of public programs, array of public programs, techniques and a vast is at the epicenter of study the Institute of Fine Arts art conservation, and archaeology. for art history, I of Trustees, Board As Chair of the Institute’s was accomplished in the past academic year. year. in the past academic was accomplished in publications and discoveries new scholarly From of new conservation the field, to the development

Message from the Message Chair from E

The Institute of Fine Arts Annual 2017 - 2018 4 The Institute of Fine Arts Annual 2017 - 2018 5

Deanie Stein Rachel G. Wilf Ex-Officiis Katherine Fleming Hamilton Andrew Philippe de Montebello Nolan Terrance Stephanie Pianka Christine Poggi Ann Temkin Ian Wardropper Daniel H. Weiss Pope.L Anne Poulet Jennifer Russell Berkley Saunders Lauren

Maddalena Paggi-Mincione Larry Gagosian Nancy Lee Alexandra Munroe Napoleone Valeria Chair Emerita Suzanne Deal Booth Sheldon H. Solow Chair Emeritus Judy Steinhardt Stephen Lash Chair Emeritus Anne Ehrenkranz Chair Vice Marica Vilcek Chair Board of Trustees of Trustees Board Marica Vilcek Chair

thank you for contributing to the Institute’s ability to the Institute’s thank you for contributing scholars in the art to educate the most talented world today. enjoy being a part of our esteemed community a part of our esteemed enjoy being by taking a involved becoming more or consider or establishing a student class, attending a lecture, welcome your engagement and fellowship. We faculty and the evenings will offer a range of free a range of free the evenings will offer faculty and our special events to satisfy and public lectures you will continue to I hope curiosity. intellectual With the arrival of fall it is wonderful seeing seeing fall it is wonderful arrival of With the days will be The to the Institute. return everyone distinguished courses taught by our filled with The Institute | A Brief History

Art history became a dedicated field of study at New York University in 1922, when the young scholar- architect Fiske Kimball was appointed the Morse Professor of the Literature of Arts and Design. He laid the foundation for much of what still distinguishes The Institute of Fine Arts: its core faculty of the highest quality, special relationships with New York’s museums, liberal use of the expertise of visiting faculty, and twin commitments to graduate education and advanced research.

The Institute’s library. In 1932, NYU’s graduate program in art history moved to the Upper East Side in order to teach in the collections of The Metropolitan Museum of Walter Friedländer, Karl Lehmann, Julius Held, and Art. Under the energetic leadership of its chairman, Richard Krautheimer set the Institute on its course Walter W. S. Cook, the program became one of the of rigorous, creative, and pluralistic scholarship world’s most distinguished centers for art historical and strong worldwide connections. The National research and education, and was renamed The Endowment for the Humanities has commended Institute of Fine Arts in 1937. The Institute was the Institute as a national asset for its leadership strengthened greatly by refugee professors from the role in art historical scholarship and training. The German and Austrian institutions that had given birth Endowment is one of numerous institutional and to the modern discipline of art history. Foundational private benefactors that continue to support the art historians such as Erwin Panofsky, Institute’s work.

The Graduate Department The Institute moves to The Institute moves to the moves to the second floor of the Paul Warburg House James B. Duke House at the Carlyle Hotel at Madison at 17 East 80th Street. 1 East 78th Street. Avenue and 77th Street. c. 1936 1938 1959

1932 1937 1958

A Graduate The name is changed to the Curatorial Studies program Department in Fine Institute of Fine Arts. established. Arts is founded separate from Washington Square Directors of The Institute of Fine Arts and moves uptown to Munn House, opposite the Plaza 1931 Walter W. S. Cook Hotel. 1951 Craig Hugh Smyth 1973 Jonathan Brown 1979 A. Richard Turner 1983 James R. McCredie 2002 Mariët Westermann 2008 Michele D. Marincola, Interim Director 2009 Patricia Rubin 2017 Christine Poggi The Institute | A Brief History

The curriculum was designed as a “three-legged stool” by which the conservator is supported in equal measure by art historical study, scientific training, and practical experience—an interdisciplinary approach that still forms the core of the program. Initially located in the former kitchen of the Duke House, the Conservation Center has been housed in the Stephen Chan House across the street since 1983.

Almost from its inception, the Institute has The Conservation Center in the James B. Duke House, 1960s. conducted significant archaeological projects staffed by its faculty and students. Excavations are In 1958, Nanaline Duke and her daughter, Doris currently thriving at Aphrodisias, Turkey (conducted Duke, presented the Institute with the James B. jointly with NYU’s Faculty of Arts and Science); at Duke House at 1 East 78th Street. By the end of the the Sanctuary of the Great Gods in Samothrace; year, Robert Venturi had completed the remodeling at Abydos, Egypt; at Selinunte, Sicily; and as of of the house for the Institute’s use. Two years later, 2018, at Sanam, Sudan. In the course of its history, the Institute became the first graduate program in the Institute of Fine Arts has conferred over 2,400 the United States to offer an advanced degree in advanced degrees and trained a high number of the conservation. There was the conviction that a new world’s most distinguished art history professors, kind of conservator would be trained at the Center, curators, museum administrators, and conservators. an alternative to the artist-technician.

The Stephen Chan House The Institute of Fine The Duke House marks its opens as the Conservation Arts celebrates its 75th 100 year anniversary. Center’s new home. anniversary.

1983 2007-08 2012

1960 2004 2010

Conservation Center Faculty expansion initiative The Conservation founded. begins with NYU funding. Center celebrates its 50th anniversary. The Institute Chairs of the Conservation Center welcomes its first entering class of the new MA program. 1961 Sheldon Keck 1967 Lawrence J. Majewski 1975 Norbert S. Baer and Lawrence J. Majewski, Co-Chairmen 1987 Margaret Holben Ellis 2002 Michele D. Marincola 2008 Hannelore Roemich, Acting Chair 2011 Michele D. Marincola 2014 Hannelore Roemich 2017 Margaret Holben Ellis

contemporary art Colin Eisler of Robert Lehman Professor Fine Arts and Early Netherlandish, French, art; German art; Quattrocento graphic arts; history of collecting; Jewish art issues Faculty in the History of Art and Archaeology Jean-Louis Cohen in the Sheldon H. Solow Professor History of Architecture Nineteenth- and twentieth-century urbanism in and architecture Russia, France, Italy, Germany, and North America; contemporary town issues in architecture, planning, and landscape design Thomas Crow of Rosalie Solow Professor Modern Art Seventeenth- and eighteenth- century art; nineteenth- and twentieth-century art; treatment of prints and drawings; treatment twentieth-century materials and techniques of works of art on paper; ethical issues in art conservation Renaissance architecture and Renaissance architecture of temporality urbanism; problems and historiography; in architecture of architectural problematics authorship; the origins of perspective Holben Ellis Margaret Chair of the Conservation Center; of Paper Eugene Thaw Professor Conservation; Conservation La Pietra Consultant, Villa connoisseurship of Technical works of art on paper; conservation Priscilla P. Soucek Priscilla P. of Graduate Studies (as Director of 09/2018); John Langeloth Loeb in the History of Art Professor Persian and Arabic manuscripts; history of collecting portraiture; Marvin Trachtenberg of Masters Studies; Edith Director of the History of Kitzmiller Professor Fine Arts Romanesque, Gothic, and

Juanita Solano Roa defending her dissertation, May 2018 Juanita Solano Roa defending her dissertation, May 2018

Institute Institute Faculty and Fields of Study Early Christian, Byzantine, and Medieval art Western Director of Graduate Studies Director (until 08/2018); Associate in the History of Professor Medieval Art European Western of the Caribbean; Brazilian art Robert A. Maxwell Fine Arts and Department of Art History Latin American art, colonial and modern periods; Iberian art; art Administration; Helen Gould in the Professor Sheppard History of Art, The Institute of collage; the rise of abstraction J. Sullivan Edward for Faculty and Deputy Director century avant-gardes, Italian century avant-gardes, and sexuality, studies; gender, of invention the studies; women’s Judy and Michael Steinhardt Judy and Michael Steinhardt of Fine Arts Professor Director; Modern and contemporary art and criticism, early twentieth- Administrators Christine Poggi

The Institute of Fine Arts Annual 2017 - 2018 8 The Institute of Fine Arts Annual 2017 - 2018 9 Robert Slifkin Arts of Fine Associate Professor of Contemporary art; history and photography; nineteenth- twentieth-century American art Thelma K. Thomas of Fine Arts Associate Professor Late Antique, Byzantine, and Eastern Christian art and architecture Brandt Kathleen Weil-Garris of Fine Arts, The Professor Institute of Fine Arts and College of Arts and Science Italian Renaissance art and culture Patricia Rubin Patricia Arts of Fine Professor art; museums, Italian Renaissance and cultural patrimony; collecting, portraiture; historiography; graphic arts Shen Hsueh-man in Associate Professor Ehrenkranz Art World practices Funerary and religious and word China; in pre-modern of East image in the visual culture culture Asia; art and material Road along the ancient Silk

Andrea Achi defending her dissertation, April 2018 Achi Andrea History and Culture of Museums History and Culture Early Netherlandish art; history of collecting; history of museums; issues of cultural patrimony Alexander Nagel of Fine Arts Professor Renaissance art; the history of the history of art; relations between artistic practice and art theory (until May 31, 2018) of the Associate Professor Dhabi History of Art, NYU Abu Arts and The Institute of Fine Iconoclasms and the recycling of of art; material cultures Renaissance and Reformation; early modern art networks and the poetics of place; history; global methods of art constructions of the Baroque Philippe de Montebello in the Fiske Kimball Professor Kent MinturnKent of Professor Assistant Visiting Fine Arts and American European Modernism; history of and cinema photography Mia M. Mochizuki

archaeology of ancient Sicily archaeology Archaic and Classical Greek art and Classical Greek Archaic the reception and architecture; and the historiography of the ancient art and architecture; in the History of Greek Art and in the History of Greek University Professor; Archaeology; Excavations at Selinunte Director, theory Clemente Marconi Professor James R. McCredie Twentieth-century European art European Twentieth-century (France and Spain); art since 1945 and America; critical in Europe Robert Lubar Messeri of Fine Associate Professor NYU/Madrid Arts; Director, Ancient Aegean, Egyptian, Greek Ancient Aegean, Egyptian, Greek and Roman art; architecture; archaeology and Roman art; archaeology Anne Hrychuk Kontokosta Fellow Assistant Professor/Faculty Assistant Professor of Ancient Assistant Professor Egyptian Art Ancient Aegean, Egyptian, Greek historical theory and method Kathryn E. Howley Lila Acheson Wallace of Fine Arts History of Chinese art; art; art contemporary Chinese and theory; Orientalism Jonathan Hay Ailsa Mellon Bruce Professor of image-making; technologies of image-making; technologies art historical of representation; methodology, historiography, Art and architecture of the of the Art and architecture cross-cultural Islamic world; material dimensions of Islamic theories and practices culture; Professor of the Humanities, of the Humanities, Professor of Fine Arts and The Institute of Art History Department Finbarr Barry Flood Finbarr for Material Silsila: Center Director, R. Kenan, Jr., Histories; William Michele D. Marincola Distinguished Sherman Fairchild of Conservation; Professor La Villa Conservation Consultant, Pietra Conservation and technical art history of medieval sculpture; decoration of late medieval conservation of German sculpture; modern sculpture Roemich Hannelore of Conservation Science Professor Conservation of works of art and artifacts; non-destructive testing of art objects; indoor environment; glass and enamels, active and conservation issues preventive Conservation Center Center Conservation Faculty Baer Norbert S. of Professor Hagop Kevorkian Conservation of physiochemical Application the study and methods to of cultural property; preservation policy and damage environmental of risk to materials; application assessment and risk management of cultural to the preservation property Elizabeth Buhe defending her disseration, August 2018 Kirk Varnedoe Kirk Varnedoe Visiting in Art Professorship History Lowery Stokes Sims Curator Emerita, Museum of Arts and Design Carlos I of Spain Center, New Carlos I of Spain Center, University York Simon Linda Wolk Director Frank and Clara Meditz Fairfield and Chief Curator, University Art Museum Vergara Alejandro and Senior Curator of Flemish Paintings, Northern European Museo del Prado William Hood William C. Mildred Professor; Visiting Oberlin Emeritus, Jay Professor College Jimenez- Maria Dolores Blanco of the King Juan Resident Chair

and Decorative Arts, The Museum of Art Metropolitan Elizabeth Cleland Department Associate Curator, Sculpture of European Visiting Faculty Visiting 2018 -2019 and Roman art; archaeology Art; Co-Director, Institute of Fine Art; Co-Director, Arts/NYU Expedition to Abydos, Egypt Ancient Aegean, Egyptian, Greek David O’Connor Professor Lila Acheson Wallace Emeritus of Ancient Egyptian Emeritus in the History of Art Early Christian and Byzantine art and architecture Thomas F. Mathews Thomas F. John Langeloth Loeb Professor from infiltration to Greek infiltration to Greek from statehood, second to first millennium BCE; political origin of Classical art and role Art and the second millennium BCE; Mediterranean integration: progress art and Greek Crete; Günter H. Kopcke Foundation Professor Avalon Emeritus in the Humanities painting, 1500-1800; history painting, 1500-1800; history of collecting; art at European courts, seventeenth century Jonathan Brown and Milton Petrie Carroll Emeritus of Fine Arts Professor Spanish and new Spanish especially manuscript especially manuscript illumination Jonathan J. G. Alexander Jonathan Professor Sherman Fairchild Fine Arts Emeritus of art, Medieval European Faculty Emeriti Faculty

The Institute of Fine Arts Annual 2017 - 2018 10 The Institute of Fine Arts Annual 2017 - 2018 11 Professor, German Department; Professor, Humanities Chairs, Faculty Chair, of Arts and Science, NYU Associate Professor, Associate Professor, and Department of Art History Museum Studies, NYU Brigitte Miriam Bedos-Rezak Department of History, Professor, NYU Reindert Falkenburg Dean of Arts and Humanities, for Intellectual Provost Vice Faculty and Cultural Outreach, of The Institute, NYU Director Abu Dhabi Lillian Tseng of East Associate Professor Asian Art and Archaeology, Institute for the Study of the NYU Ancient World, Deborah Willis Chair, University Professor; Department of Photography & Imaging, Tisch School of the Arts, NYU Christopher Wood Prita Meier Prita Art of Professor Associate Department of Art History, History and built cultures Visual African of east environment and histories of port cities, exchange and transoceanic conflict Arts- Institute of Fine Faculty NYU Affiliated Miriam Basilio Michele Matteini Art History, of Professor Assistant Department of Art History Late Imperial Chinese painting and material culture; antiquarianism and collecting Qing history; artistic culture; exchanges; eighteenth- century art and globalism; craft and embodied knowledge; and art history; anthropology historiography landscapes; postcolonial studies Martin Meredith of Art Associate Professor Department of Art History, History Eighteenth- and nineteenth- and British art, century French culture, material architecture, and landscape design; art and gender politics, cross-cultural art; encounters in European interiors and identity; historical and contemporary art revivalism societal shift in the ancient societal shift in the ancient Mediterranean Dipti Khera Art History, of Professor Assistant Department of Art History of South Art and architecture Asia; cartographic cultures, art, and urban topography; and global art histories, theory, methodology; historiography encounters; of cross-cultural collecting, museums, and contemporary heritage Associate Faculty Associate John Hopkins Art History, of Professor Assistant of Art History Department spatial and physical Visual, and the diachronic experience of cultural and investigation Former Keeper of the Department of Conservation and Scientific British Museum Research, David Saunders Fellow and Honorary Research Visiting Professor in Conservation Professor Visiting Studies, fall 2017; & Technical Former Senior Conservator of Museum of Modern Art Paper, Karl Buchberg Judith Praska Distinguished Distinguished Professors Visiting in Conservation and Studies Technical Judith Praska Cornell Institute, Cornell Tech, Cornell Institute, Cornell Tech, of Engineering, NYC; Professor Cornell University 2017-2018; Jacobs Fellow in Computational Arts and Humanities, Jacobs Technion- Conservation Center Johnson C. Richard Professor Research Visiting Visiting Faculty in the Visiting Research Scholar; Conservator Scholar; Conservator Research Modernof Contemporary Art, Bek & Materials, and Media, LLC Frohner, Center Christine Frohnert Dianne Dwyer Modestini Kress Paintings Conservator, in Paintings Conservation; Program Conservation Scholar, Research of Scientific Research, The Research, of Scientific of Art Museum Metropolitan Dr. Marco Leona Marco Dr. H. Koch David Professor; Research Department Charge, Scientist in Research Faculty in the in Faculty Research Center Conservation , , , Villa , Villa ArtCare ArtCare , Columbia , Thaw Conservation , Guggenheim , American Museum of Conservation Consultant , Museum Studies Conservation Consultant Maria Fredericks Book Conservator, Drue Heinz Rare Acting Director Library & The Morgan Center, Museum; La Pietra Villa Alexis Hagadorn Head of Conservation University Libraries Jeffrey Weiss Jeffrey Senior Curator Museum, New York Glenn Wharton Museum Studies, Clinical Professor Director for the Institute Lecturers Conservation Center Samantha Alderson Conservator Natural History Lisa Bruno Lee Shen Chief Conservator Carol Museum Brooklyn Jean Dommermuth Senior Paintings Conservator, NYC; La Pietra , , NYU , Gallatin , Department , Department , NYU , Department of Art History, , Department of Art History, Curator in Charge and Sculpture of European Decorative Arts, The Metropolitan Museum of Art Clinical Associate Professor of Art Clinical Associate Professor History NYU Romig Andrew Associate Professor School of Individualized Study, NYU Shaw Lytle of English Professor Luke Syson Iris and B. Gerald Cantor of Drawings and Prints, The Museum of Art Metropolitan Ara H. Merjian of Italian and Associate Professor Art History Shelley Rice of Art History Arts Professor Department of Photography and Imaging, Tisch School of the Arts, NYU Jon Ritter Mark McDonald Italian, Spanish, Mexican, Curator, prints and and early French illustrated books

, Museum , Walker Art , Walker , The , NYU , NYU Matthew Adams, Senior Research Scholar; Director, Abydos Exvacations Scholar; Director, Matthew Adams, Senior Research

Pepe Karmel of Art Associate Professor History Paintings Conservation, Museum The Metropolitan of Art Michael Gallagher Sherman Fairchild Conservator in Charge, Juliet Fleming of Associate Professor English Adrienne Edwards Curator-at-Large Center Metropolitan Museum of Art; Metropolitan Curatorial Studies (until 06/2018) Associate Director for Collections and Administration Studies Carrie Rebora Barratt Scholars Bruce Altshuler Clinical Professor Contributing Faculty Contributing Faculty and Collaborating

The Institute of Fine Arts Annual 2017 - 2018 12 The Institute of Fine Arts Annual 2017 - 2018 13 , , Emory , Princeton

, Excavations , Excavations , Harvard , Harvard , Museum of , Excavations at University of Director , Excavations in ;

Adjunct Professor Adjunct Professor , Museum of Modern Art Director , Department of Islamic Art, Joyce J. Scott Artist Ann Temkin Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture J. Winter Irene Professor William Dorr Board of Fine Arts Emerita University and Director Samothrace Arts Institute of Fine Honorary Fellows Barkan Leonard Class of 1943 University Professor and Chair of the Department of Comparative Literature University Jim Coddington Chief Conservator Modern Art Navina Najat Haidar Curator Museum of Art The Metropolitan Mancusi-Ungaro Carol for Associate Director Conservation and Research Whitney Museum of American Art Martha Rosler Artist Kathryn Howley Kathryn Wallace Lila Acheson of Ancient Assistant Professor Egyptian Art Sudan at Sanam in R. Smith Roland R. of Classical Lincoln Professor Archaeology, Oxford; Aphrodisias Bonna D. Wescoat of Art History Professor University; , The , The , The Director ; , , Excavations , Excavations Visiting Visiting , Deutsches Haus, , Deutsches , The Institute of Fine Arts , Brown University , Brown Matthew Adams Scholar Senior Research Abydos Excavations Stephen Koob Consulting Conservator in Samothrace Anna Serotta Consulting Conservator at Selinunte Paul Stanwick Affiliate in Egyptian Art Research Institute of Fine Arts Excavation Field Directors Adjunct Instructor in French Institute of Fine Arts Institute of Fine Arts Associates Research Brian Castriota Supervising Conservator Excavations at Aphrodisias Jack A. Josephson Associate in Egyptian Art Research Adjunct Instructor in Classical Adjunct Instructor in Classical Chinese Amir Moosavi Adjunct Instructor in Arabic, Institute of Fine Arts; of Iranian Assistant Professor Studies Rosalia Pumo Adjunct Instructor in Italian Institute of Fine Arts Heidi Ziegler Adjunct Instructors in Instructors Adjunct Languages Uwe Bergermann Adjunct Instructor and Science College of Arts Hsu Eileen Hsiang-ling , , , New York, , New York, New York New York , Highbridge , The Metropolitan , The Metropolitan , Rachel Danzing Art , Art Preservation , Art Preservation , Photograph , Photograph , Philadelphia Museum , Philadelphia Museum George Wheeler George Senior Scientist Materials Consulting Deborah Trupin Conservator, Textile of Historic Sites State Bureau Conservator Museum of Art Head of Objects Conservation Museum of Fine Arts, Boston Jack Soultanian, Jr. Pam Hatchfield Henderson T. and Carol Robert P. Rachel Danzing Proprietor NY Conservation LLC, Brooklyn, Conservation la Consultants at Villa Pietra Services, Inc., Long Island City, Services, Inc., Long Island City, NY Additional Steven Weintraub Proprietor Katie Sanderson Assistant Conservator, Photograph Conservation, The Museum of Art Metropolitan Paintings of Art, Philadelphia Kristin Patterson The Joan and John Thalheimer of Associate Conservator Tina March Associate Objects Conservator Museum Brooklyn Lucie Kinsolving Paintings Conservator NY Conservation, The Metropolitan The Metropolitan Conservation, Art Museum of Nora Kennedy Nora Conservator Fairchild Sherman In Charge

, 2017. Heart and Hand Joyce J. Scott, Image courtesy of Goya Contemporary Joyce J. Scott at the Institute’s commencement, May 2018 Joyce J. Scott at the Institute’s It is therefore a privilege to introduce to you Joyce to a privilege to introduce It is therefore and my friend, fellow traveler Jane Scott, my sister, contemporary art talents in the one of the great world. Kirk Varnedoe Visiting Professor 2018, Curator Professor Visiting Kirk Varnedoe Museum of Arts and Design size, beads are powerful indicators of powerful indicators size, beads are even political historical, social, economic onsidering the relative modesty of their modesty onsidering the relative

“civilization” in their manufacture—that is: being “civilization” in their manufacture—that forces. One of the first indicators of what we call One of the first indicators forces. have marked her career since she first began her have marked her career explorations with the not-so-humble bead. creative sculptures of the noted emancipator and suffragist sculptures They were in packed earth and Fiberglas. rendered culmination such as those that yet another creative solo exhibitions and installations—most recently solo exhibitions and installations—most recently at Grounds and Other Truths” “Harriet Tubman On this in Hamilton, New Jersey. for Sculpture occasion she also debuted two monumental Maryland Institute College of Art—acquisitions Maryland Institute College of Art—acquisitions by museums, inclusion in too many group talk about the exhibitions to count, and we won’t Thailand, to Senegal, Mali, the Gambia, Morocco Thailand, to Senegal, Mali, the Gambia, Morocco has garnered her and South Africa. This search a MacArthur recognitions—including numerous The genius grant and an honorary doctorate from the world, from Maryland to Mexico, Peru, the world, from Panama, Guatemala, Cuba, to Scotland, England, Italy and the Netherlands, to Hong Kong and medium, seize our consciousness and leave us medium, seize our consciousness and leave by their sheer beauty. breathless to perfect her craft has led her around Her search phenomena. The resulting neckpieces, earrings, phenomena. The resulting wall hangings, apparel bracelets, brooches, intrigue us by her mastery of her and sculptures as decorative and spatial elements, that lay and history, narratives of culture out piercing the sex, race, war and politics, and that explore intricate interactions among these all-too-human In the hands of this year’s IFA Honorary Fellow, Honorary Fellow, IFA In the hands of this year’s Joyce Jane Scott, beads have been deployed made by hand— they are instruments of trade, instruments are made by hand— they most of all, vehicles for indicators of status and, creativity. incredible Commencement introduction by Lowery Stokes Sims, Commencement introduction Emerita, Joyce J. Scott Joyce J. Artist The Honorary Fellowship recognizes distinguished scholars in art history, archaeology, conservation and conservation archaeology, in art history, distinguished scholars Fellowship recognizes The Honorary contribution to acknowledges their award in the visual arts. The outstanding figures disciplines, or related learning, practice in these fields. teaching, and Honorary Honorary Fellowship C

The Institute of Fine Arts Annual 2017 - 2018 14 The Institute of Fine Arts Annual 2017 - 2018 15 El Helen ; (2002); Class Distinctions: (with Cliff Ackley) (2004); (2008); and at the Museum of Fine Arts, Boston at the Museum The Poetry of Everyday Life (2016). For her work in furthering Flemish paintings, and was curator of, among other Flemish paintings, and was curator of, among exhibitions: Journey Rembrandt’s to Velázquez Greco Dutch Painting in the Age of Rembrandt and Vermeer of art and culture, knowledge and the appreciation Ronni was knighted by King Juan Carlos of Spain in 2008 and by King Willem-Alexander of the Netherlands in 2017. In Boston, Ronni has spearheaded numerous In Boston, Ronni has spearheaded numerous the acquisitions and gallery installations, including of 113 Dutch and gift to the MFA promised recent Deputy Director for Faculty and Administration Deputy Director , The Institute of Fine Arts and Department of Art History, New of Art History, of Fine Arts and Department , The Institute onni Baer received her PhD from the her PhD from onni Baer received Institute of Fine Arts in 1990. Before in 2000 as senior coming to the MFA

Photo Credit: Greg Heins Greg Photo Credit: Commencement introduction by Edward J. Sullivan, by Edward introduction Commencement in the History of Art Professor Gould Sheppard University York Ronni Baer Art of Europe of Paintings in the Ann Elfers Senior Curator William and Distinguished Distinguished Alumna published widely in the fields of Dutch, Flemish, and Spanish art and in the history of collecting. paintings of Rembrandt’s first pupil, Gerrit Dou, paintings of Rembrandt’s in that was shown at the National Gallery of Art Gallery in London, the Dulwich Picture Washington, and the Mauritshuis in The Hague. She has and worked in curatorial departments at major and worked in curatorial departments at major and Atlanta. She was museums in New York to the curator of a monographic exhibition devoted curator of European painting, she taught art curator of European and graduate levels history at the undergraduate R Egerton Kelly Public Safety Officer Darius Segure Public Safety Officer Amy Lucker (until 11/2017) Head, Institute Libraries Daniel Biddle Conservation Center Supervisor, Library Michael Hughes (until 06/2018) Interim Head, Institute Libraries (as of 12/2017) and Public Services Reference Librarian Kimberly Hannah Library Assistant Abigail Walker Library Assistant Public Safety (212) 992-5808 James Cook Public Safety Officer Finance Office Finance (212) 992-5895 Jennifer Chung Planning of Budget and Director Lisa McGhie Financial Analyst Library (212) 992-5825 Fatima Tanglao Support Technician Classroom Jason Varone Media Manager and Electronic Web Joe Rosario Computer Services Manager L. Cintron George Computer and Network Support Technician Nita Lee Roberts Photographer Kevin Martin Academic Advisor Shan Kuang Fellow in Painting Samuel H. Kress Conservation Digital Media and Computer Services (212) 992-5872; (212) 992-5884 Jenni Rodda Department Manager Robert Doucette Building Operator Conservation Center (212) 992-5888 Jessica Cayer Grant Administrator Amelia Catalano Laboratories and Study Manager, Collection Wilfred Manzo Wilfred Facilities Supervisor Nealon Richard Building Operator

Director of Development and Director (212) 992-5812 Sarah Higby Institute Staff Assistant Director, FCM Assistant Director, Operations (212) 992-5811 Malloy Richard Academic Assistant Building Office Programs (as of 08/2018) Programs Hope Spence Conley Lowrance Academic Advisor (until 08/2018) Administrator of Academic Lisa Hoang (until 08/2018) Administrator of Academic Programs Academic Office (212) 992-5868 Joseph Moffett Development Assistant Sophie Phoenix Lo Manager of Public Programming and Special Events Development and Alumni Affairs Officer Public Affairs Kathryn Falato Public Affairs Office Public Affairs Development and Development and Brenda Phifer Shrobe Brenda for the Director Assistant to and Human Administration Resources Director’s Office Director’s (212) 992-5806

The Institute of Fine Arts Annual 2017 - 2018 16

In Memoriam

Faculty Emeriti

Egbert Haverkamp-Begemann (1923-2017) John Langeloth Loeb Professor Emeritus in the History of Art; Adjunct Professor of Fine Arts; Coordinating Scholar, Robert Lehman Collection Scholarly Catalogue Read Egbert Haverkamp-Begemann’s obituary online

James R. McCredie (1935-2018) Sherman Fairchild Professor Emeritus of Fine Arts; Director, Excavations in Samothrace Greek archaeology and architecture Read James R. McRedie’s obituary online

Linda Nochlin (1931-2017) Lila Acheson Wallace Professor Emerita of Modern Art Read Linda Nochlin’s obituary online Former Faculty

Willibald Sauerländer (1924-2018) Scholar of French Medieval sculpture; Director, Zentralinstitut für Kunstgeschichte, 1970-1989; Visiting Professor at the Institute of Fine Arts, 1963-1965, 1969-1970, 1992-1993 Read Willibald Sauerländer’s obituary online Supporters of the Institute

Ralph D. Minasian (1927-2017) President, The Hagop Kevorkian Fund Read Ralph D. Misasian’s obituary online

Eugene V. Thaw (1927-2017) Influential art collector and dealer Read Eugene V. Thaw’s obituary online The Institute of Fine Arts Annual 2017 - 2018 19 in 1998. of Fine Arts, Emeritus Master Drawings ames R. McCredie, director of the Institute director ames R. McCredie, 1983 to 2002 and Sherman of Fine Arts from Professor Fairchild administrator and fundraiser, he touched the administrator and fundraiser, A field archaeologist, Institute community. entire of the Institute’s for decades he was Director excavations at the Sanctuary of archaeological A Tribute to James R. McCredie to James R. McCredie A Tribute (1935-2018) Andria Derstine, PhD 2004 Allen Memorial Art Cowles Director, John G. W. Museum, Oberlin College died in Princeton, New Jersey on July 15, 2018. colleague, and advisor, professor, As director, his outstanding work as an friend, and through with works of art and the relentless refinement refinement with works of art and the relentless most in his element when eye. He was of one’s print investigating the etched lines of a Rembrandt or venturing an attribution for a painting of unknown in authorship. He spoke with compelling clarity of works of art, his language combining the front perceptiveness. the sage’s elegance with scholar’s distinction that could be said Perhaps the greatest every interaction as of him was that he approached a potential for learning. for knowledge will His thirst that continue to live on with the dozens of students at the Institute of Fine Arts. he mentored Professor Begemann’s contributions to the field contributions to the field Begemann’s Professor could effortlessly He influential and profound. were siloed worlds of Dutch and bridge the somewhat Willem Buytewech (1959), Flemish art, writing on Peter Paul Segers (1968 and 1973), Hercules (1978 and 1995), Rubens (1975), and Rembrandt of study. subjects prominent to name his more that one of the most however, Many would agree, legacy Begemann’s enduring aspects of Professor generations of students was his training of several the world in around who would take up positions the museum, and the art market. With the university, engagement for direct them, he advocated fiercely museum worlds. His honors were numerous, numerous, His honors were museum worlds. and Order of Orange-Nassau in the including Officer of Sciences the Royal Dutch Academy a member of 2013, and an in 1983 and in 1978, festschrifts of honorary issue J During

passed away on August 5, 2017, the world of Dutch art lost a vibrant scholar, hen Egbert Haverkamp-Begemann W of such roles demonstrated his strong commitment demonstrated his strong of such roles to, and natural comfort in, the academic and the Robert Lehman Collection at the Metropolitan the Robert Lehman Collection at the Metropolitan Museum of Art (1980-2014) and as the Acting Head in the Department of Drawings and Prints at the (2001-2004). His embrace Library Pierpont Morgan IFA as the John Langeloth Loeb Professor. as the John Langeloth Loeb Professor. IFA his time at the Institute, he served as the scholarly for 14 volumes of the catalogue of coordinator invitation of Erwin Panofsky. He then spent a year at invitation of Erwin Panofsky. University in 1960 settling at Yale University, Harvard collection of to teach and work with the university’s prints and drawings. In 1978, he was invited to the Rotterdam. His illustrious career in America began in His illustrious career Rotterdam. 1959, when he arrived at the Institute for Advanced at the Study at Princeton University for six months paper by I.Q. van Regteren Altena. Between 1950 paper by I.Q. van Regteren and 1958 he worked first as curator of drawings, then as curator of paintings, at the Boymans in Museum (later Museum Boijmans van Beuningen) completed a PhD on the artist Willem Buytewech completed a PhD on the artist Willem Buytewech University in 1958 under J.G. van Gelder at Utrecht to the study of works on after being introduced an inspiring mentor, and a generous man. Born and a generous an inspiring mentor, in 1923, Professor in the Dutch city of Naarden up in Siberia (owing to his Begemann grew in Communism) and Haarlem. He interest father’s Agnes Etherington Art Centre Agnes Etherington Art A Profound and Prolific Scholar and Prolific A Profound N. Coutré, PhD 2011 Jacquelyn Art, of European Bader Curator and Researcher A Tribute to Egbert Havercamp- A Tribute (1923-2017) Begemann In Memoriam in 2010, bringing together contributions Institute and to the excavations on Samothrace – and Institute and to the excavations on Samothrace staff, and supporters of these – to the students, faculty, missed. to be celebrated, and will be greatly are will be a memorial event at the Institute in honor There December 9, followed by a reception, McCredie of Prof. 2018, 2:00 to 5:00 p.m. Samothracian Connections: Essays in Honor of James Samothracian Connections: Essays in Honor R. McCredie In 2012 by many of those whose work he inspired. the American from the Aristeia Award he received School of Classical Studies at Athens for alumni School’s who contributed in exceptional ways to the the Archaeological from mission, and in the same year, Institute of America, its Conservation and Heritage Management Award. advocacy for patience, modesty, Unstinting generosity, his hallmarks; others, and a dry sense of humor were he was also an accomplished cook and raconteur. and dedication, to both the energy James McCredie’s and the correct size and scope of the Hall of Choral size and scope and the correct the largest as the Temenos), Dancers (formerly known which in the sanctuary, and oldest marble structure oriented, and differently large, he found to be twice as believed. than previously was legendary; each generosity McCredie’s Professor to Samothrace for numerous summer saw invitations specialists in many fields, graduate students and conservation, art history, including archaeology, draftsmanship, architectural dendrochronology, Professor and numismatics, among others. epigraphy, of excavations on director current Bonna Wescoat, volume Samothrace, and Olga Palagia co-edited the enclosed circular building known from ancient Greece, Greece, ancient from known building circular enclosed John Kurtich. and colleague his friend by with drawings the understanding to his contributions to In addition others – he building – and many of that important by pavilion dedicated court, the circular discovered porch and accompanying Alexander IV, Philip III and Eastern Neorion, a Hill; the purpose of the on the site’s Gods; to the Great a ship dedicated building housing

in history summa cum laude The Rotunda of Arsinoe Samothrace Vol. 7, Samothrace Vol. the largest (1992), in which he reconstructed opportunities for discovery and scholarship. Many with him went on to prestigious who worked there and museum appointments teaching, research, in ancient art. His many publications include He put students at the heart of his fieldwork, involving them in all aspects of excavation and innumerable study on Samothrace, providing became director of the excavations in 1966, became director until 2012 and continuing to serving in that role the 2017 season. through participate in research Lehmann, who, following the death of her of the husband, Karl Lehmann, was acting director McCredie 1960-1965. Professor excavations from continued to serve as a trustee. he His work on Samothrace began in 1962 when by Phyllis Williams was appointed field director Athens, returned to the Institute as professor. He to the Institute as professor. Athens, returned in in 1982 and Director became Acting Director until 2002, after which he 1983, serving in that role the Institute in 1961 as an instructor, joined the the Institute in 1961 as an instructor, in 1963, served from faculty as assistant professor and in 1978, after 1967-1969 as Deputy Director, of the American School at as director his tenure in Attica, Greece, writing his dissertation on the in Attica, Greece, in fortified military camps of Attica (published to 1966 as Hesperia Supplement XI). He came and literature in 1958, and his A.M. in 1961 and literature and Ph.D. in 1963, the latter two in classical and classics. As a student he worked archaeology and at Koroni in Turkey, and Sardis at Gordion Professor McCredie’s research and fieldwork research McCredie’s Professor where sparked while at Harvard, were interests his A.B. he received managing committee (1980-1990), and President (1980-1990), and President managing committee serving on of trustees (2001-2010), of the board until spring 2018. its board Studies at Athens is unparalleled in the history Studies at Athens is unparalleled as he held all its major of that august institution, Chair of the (1969-1977), positions: Director In addition to his Institute responsibilities to his Institute responsibilities In addition positions numerous held McCredie Professor His fields of art and archaeology. in the larger School of Classical service to the American understanding of the site of one of the most of the site of one of understanding cults of antiquity. important mystery the Great Gods on the island of Samothrace, of Samothrace, on the island Gods the Great of generations mentored there and in Greece, to our contributing significantly students while

Arts Annual 2017 - 2018

The Institute of Fine 20 The Institute of Fine Arts Annual 2017 - 2018 21

master’s and never completed a doctorate. When master’s this anecdote I understood the reason she shared moment. for the emotion in that classroom To verify this memory, I dug up my notes for the I dug this memory, verify To in class. Although I did not write down that quote, is Where “Note: the upper right hand corner I wrote the sense, that was Linda Nochlin?” In a very real of my life. Discovering that beginning of the rest index gave me chills, and validated my concrete pack-ratty tendencies. Loft soon after that lecture, I spoke to Professor numerous and she told me a story that I have heard variations of since. While in grad school in the a dissertation topic on a 1960s, she proposed it as woman artist, and her male advisor rejected “not important enough for Penn.” She left after her to apply to graduate school. In the November 2nd to apply to graduate school. In the November feminist Deborah Loft introduced Professor lecture, Been No Great art history and “Why Have There Artists?” She expertly summarized Nochlin’s Women riposte, “oh, but including the predicted argument, nuanced interrogation have” and the more there “masterpiece” and “genius.” In my of “greatness” she at the conclusion of this precis recollection, and she said: slightly, paused, her voice broke everything, “She changed all of us.” for at the local community college, while I prepared at the local community college, while I prepared

, I immediately wondered what I might , I immediately wondered continue to be celebrated throughout our 20- continue to be celebrated throughout inda Nochlin had been showered with inda Nochlin had been showered would and I met her, tributes long before

Annual

consciously aware of their existence. In the fall of consciously aware 1999 I was taking a course on contemporary art separated from those accomplishments. separated from few people in our lives for whom probably are There we can track the exact moment that we became I offer is based on remarks I gave at a CAA session I offer is based on devoted to her in 2016. My aim is simple: to identify which cannot be legacy, of Linda’s a common thread permanent alteration of the discipline of art history, history, permanent alteration of the discipline of art of her singularity as a or the continual revelation writer on contemporary art and artists. All this has been done, and by the ablest of writers. The tribute of her game-changing essays or exhibitions. Not of her game-changing essays or exhibitions. as a of her international reputation a reiteration and scholar of 19th-century art, or her fundamental last October that when I was asked to contribute to last October that when I was asked to contribute the possibly add. Not a summary of her groundbreaking scholarly accomplishments. Not an enumeration year friendship. So many individuals have published year friendship. So many individuals have published and since her passing commemorations both before University Chain Reactions--Linda Nochlin PhD 2009 J. Leader, Karen Florida Atlantic Art History, Associate Professor, A Tribute to Linda Nochlin A Tribute (1931-2017) L So to honor my mentor and dear friend, I exhort us So to honor my mentor and dear friend, I exhort us up, to build all to light fuses, to lift those around own communities and call out bullies, to check our space for newcomers create biases and proactively each, in our own way, in the conversation. To “change everything, for all of us.” colleagues and students to thrive. colleagues and students fair social justice, for the work of equality, In order is the to continue, there pay and bodily integrity and cooperation. These are need for collaboration In the environment. in an adversarial not fostered quote, Linda the above which I drew essay from or the self is constantly writes: “...the individual and changing the social acting upon and modifying or individual and so that the self and society group entities and fast opposing not hard institution are state of in a constant a kind of process but really mediation and transaction.” It has never been easy to be a feminist, especially especially a feminist, easy to be never been It has launch backlashes Repeated one. an outspoken that infects divisiveness and vitriol a rhetoric of in publications, at conferences, even academia, victimized of women careers and in the thwarted Linda’s and sexual harassment. by discrimination tempered to back down was refusal feisty feminist generations of enabling and humor, by her kindness

could flourish. I recognize that she was modeling could flourish. I as in so many other instances, a deeply there, way of being, in the enormously fraught relational and competitive world of academia. for several years, to make sure there was enough there for several years, to make sure social lubricant in the form of wine and food, to conversation where a collegial environment create because it is a personality trait of Linda’s that because it is a personality trait of Linda’s in the Oak Room, and is one the gesture produced few she was beloved. However, of many reason people know that Linda endowed those receptions quote in the above image. to contextualize, The second anecdote is harder them being honored in practice, by practitioners them being honored for perpetuating that change, taking responsibility doing. Loft has spent a career as Prof. proactively, to in Linda’s referred It is the sort of chain reaction one thing to acknowledge the change-makers one thing to acknowledge the change-makers in our midst, and be thankful for the progress thrilling to see they made possible. It is more When I went back to review my notes for Deborah When I went back to review at the time, as I hadn’t course I recognized, Loft’s how dedicated she was to teaching a thoroughly It is diverse, pluralist, and inclusive art history. These two stories relate to particular issues in my These two stories relate work. teaching, my scholarship, and my advocacy introduced me around. The night unfolded brilliantly me around. introduced I made some of my first grad school there. from friends, and I knew I was going to be ok. I still act. it as being such a generous remember Then, at some point, Linda spotted me, stepped Then, at some point, Linda she was in, swept whatever conversation away from and those circles me into one of me up, brought not to have met a single person at the IFA yet, so person at the IFA not to have met a single in hand, everyone I was, plastic cup of wine there clusters, and else in impenetrable conversation to bolt. and ready me feeling utterly self-conscious AND the receptions. speaker was, but of who the I have no recollection reception. I seem of the first I have a vivid memory (I probably should have been), I was feeling so been), I was feeling should have (I probably if she so I asked element there, out of my thoroughly how to thrive personally. had any suggestions for lectures, Silberberg She said to go to the Friday my class notes. In my first meeting in Linda’s office in Linda’s In my first meeting my class notes. question. advice on a non-academic I asked her coursework so worried about the Although I wasn’t Second anecdote, fast forward to the next year, year, to the next fast forward anecdote, Second and young, 40-years the IFA, I arrived at when jotted on the answer to the question having found

The Institute of Fine Arts Annual 2017 - 2018 22

The Institute of Fine Arts Annual 2017 - 2018 23 IN THE FOREFRONT IN THE

SPOTLIGHT ON FACULTY AND STUDENT RESEARCH AND STUDENT ON FACULTY SPOTLIGHT

In this Section In this Section , Historia Lina Bo , ed. Gli architetti di Gli architetti Papers and , ed. Alessandra , no. 1020, January Zevi’s Architects: Architects: Zevi’s . Paris: Beaux-Arts de . Paris: Beaux-Arts de Domus Le Corbusier, the Paths to Creation Le Corbusier, , ed. Lotte Johnson. London: Barbican, . Paris: Éditions du Patrimoine, 2018. . Paris: Éditions du Patrimoine, . Rome: MAXXI, Macerata: Quodlibet, . Rome: MAXXI, Macerata: L’Architecture entre pratique et connaissance pratique et entre L’Architecture . Scritti in onore di Benedetto Gravagnuolo, . Scritti in onore . Seoul: National Museum of Modern and “Frank Gehry. Studio e residenza Danziger. Los Danziger. Studio e residenza “Frank Gehry. Angeles, 1964-1965.” 2018, pp. 22-31. “A Lost Vanguard Discovered,” in Discovered,” “A Lost Vanguard 1987- in Korea Modern Architecture Concrete: 1997 Contemporary Art, 2017, pp. 238-245. in una storia transurbana dele città,” “Verso Rerum ed. Giovanni Menna. Naples: CLEAR, 2017, pp. 150-157. “Conversation with Elisabeth Essaïan,” in enseignements partagés Bardi; Criconia and Elisabeth Essaïan. Paris: Archibooks, 2017, pp. 238-253. History of Italian Architecture 1944-2000 History of Italian Architecture MAXXI, Jean-Louis Cohen and Pippo Ciorra. Rome: Macerata: Quodlibet, 2018, pp. 33-40. “Berber Brutalism and the Grammar of in Reconstruction, Conversation with Yto Barrada,” Yto Barrada 2018, pp. 31-43. or Surprise as Oeuvre, Architectural “Le Corbusier’s in a Strategy,” 2017, Seoul: Seoul Arts Center, ed. Danièle Pauly. pp. 82-90. scientifique with Pippo Ciorra. Co-editor, of Italian Architecture History and Counter-History 1944-2000 2018. de la russe; dessins de l’avant-garde Architecture Tchoban collection Serguéï Paris éditions, 2017. under Zevi,” in “Zevi sotto Zevi; Zevi Italiana dell’architettura Zevi; storia e controstoria History and Counter- Architects: 1944-2000; Zevi’s Selected Publications Selected Cohen Jean-Louis Editor, Galeria . Boulder Museum of Contemporary

September 2018. Roberto Juarez: Processing: Paintings and Prints Processing: Roberto Juarez: 2008-2018 19 Colorado, 4 June 2018 through Art, Boulder, Mayoral, Barcelona, Spain. 2018. Mayoral, Barcelona, J. Sullivan Edward Robert Lubar Messeri Ethics and Aesthetics: Miró/Artigas. Exhibitions 2014-2019: Director, Grup d’Investigació 2014-2019: Director, Internacional Joan Miró, Fundació Joan Miró/ Universitat Oberta de Catalunya Joan Miró, Barcelona Director), (Research Cientific 2014-2019: Director Joan Miró/ Càtedra Joan Miró, Fundació Universitat Oberta de Catalunya 2014-2019: Director, NYU Madrid 2014-2019: Director, Fundació of Trustees), (Board 2013-: Patronato Classical Archaeology at the Università degli Studi at the Classical Archaeology di Milano Robert Lubar Messeri 2017-2019: Appointed Professore Ordinario a Ordinario Appointed Professore 2017-2019: of part-time Professor) tempo definito (tenured, Honors and Appointments and Appointments Honors Marconi Clemente Faculty Accomplishments Faculty Accomplishments

The Institute of Fine Arts Annual 2017 - 2018 24 The Institute of Fine Arts Annual 2017 - 2018 25 , , , . became Miró Ethics and Miró: Una , Spain: Galeria Bildverbot ournal of Chinese History A Companion to Islamic Art A Companion Res: Anthropology and Aesthetics Res: Anthropology Zhejiang University Journal , eds. Flood and Necipoğlu, vol. 1. and Necipoğlu, vol. 1. , eds. Flood Interaction in the Himalayas and Interaction in the Himalayas , eds. Eva Allinger, Frantz Grenet, Frantz Grenet, , eds. Eva Allinger, RES: Anthropology and Aesthetics RES: Anthropology . Madrid, Spain: Fundación Mapfre, 2018, . Madrid, Spain: Fundación Mapfre, , 2017, pp. 30-41. “The Materiality of the Sign, 1968-1974,” in Fundació Pilar i Joan Palma de Mallorca: Round Trip. Miró “Guo Zhongshu: Calligraphy and Paleography in “Guo Zhongshu: Calligraphy and Paleography China.” J Tenth-Century Forthcoming July special issue on material culture. 1, 2018. Robert Lubar Messeri “Joan Miró: El Espacio de la Pintura,” in Colección pp. 28-77. “Ethics and Aesthetics: Miró/Artigas,” in Aesthetics: Miró/Artigas. Barcelona Mayoral, 2018, pp. 9-21. Jonathan Hay “Collaborative Painting at the Early Song Directorate of Construction.” of Supplementum: Proceedings of Art History, Painting on Song the International Conference Hangzhou, China: 2017. (Part 1): A Question “Primitivism Reconsidered of Attitude.” 67/68,2016/2017 pp. 61-77. 67/68, 2016/2017, pp. 42-60. 67/68, 2016/2017, pp. in the Dukhang? Comparative Perspectives “A Turk and the in Medieval Ladakh on Elite Dress Caucasus.” In Transition of Transfer, Central Asia: Processes Religion, in Art, Archaeology, and Transformation International of the Third Proceedings and Polity, pour l’Étude of the Societé Européenne Conference et de l’Asie Centrale, des Civilisations de l’Himalaya 2013 Vienna, Lang, and Anne Christian Jahoda, Miria-Katharina Austrian Academy of Sciences, pp. Vienna: Vergat. 227-253. “Frameworks of Islamic Art and Architectural History: History: and Architectural Islamic Art of “Frameworks with and Historiographies,” Approaches, Concepts, In Gülru Necipoğlu. and Architecture pp. 2-56. 2017, Hoboken,Wiley-Blackwell, how the Muslim. Or, “Picasso the Modern (Part 1).” , A , vol. LV, no. 4, , vol. LV, , in press. Journal of Art A Companion . Cambridge, , eds. Malcom Baker Visual Resources Resources Visual , issue 7, October Art as Worldmaking: Essays Art as Worldmaking: Master Drawings . Princeton: Princeton University . Princeton: , no. 17, December 2017. , ed. Siri Engberg. Minneapolis: Walker Minneapolis: Walker , ed. Siri Engberg. British Art Studies Allen Ruppersberg: Intellectual Property Intellectual Property Allen Ruppersberg: Co-editor, with Gülru Necipoğlu. Co-editor, to Islamic Art and Architecture 2017. University Press, Massachusetts: Harvard Finbarr Barry Flood Examination Using Automated Image Analysis,” Examination Using Automated Image Analysis,” Johnson, Jr. with C. Richard Special Issue on Digital Art History 2017, pp. 435-452. “Computational Connoisseurship: Enhanced “Drawing for Printing: An Expanded Fabrication “Drawing for Printing: An Expanded Fabrication Adam and Eve of 1504,” with Narrative for Dürer’s Marjorie B. Cohn. Margaret Holben Ellis Margaret “Les caricatures de Puvis de Chavannes,” in “Les caricatures Suzanne Boorsch at Yale Perspicacious Tenure, New Haven: Yale, ed. Elisabeth Hodermarsky. 2018. Fine Arts interlude 1963-1965,” in Historiography Colin Eisler NYU Institute of Willibald? A bittersweet “Where’s in Honour of Alexander Potts in Honour of Alexander Manchester: Manchester Hemingway. and Andrew October 2018. forthcoming University Press, 2017. Subterranean Realism: “The Roots of Mike Kelley’s Homesick Blues,” in “Art by the Many: London Style Cults of the “Art by the Many: London 1960s,” in “The Picture of Allen Ruppersberg as a Young as a Young Ruppersberg of Allen “The Picture Man,” in 1968-2018 2018. Art Center, of European Art of European 2018. Press, Thomas Crow Thomas in the Course The Fall of Napoleon Restoration: . , . 76 , ed. Lynn Lynn The

31 Blackwell The Great Liao: The Great Experience American Art . New Haven, Connecticut: Yale Connecticut: Yale . New Haven, . London, UK: Laurence King Publishing, . London, UK: Laurence 2018. Processing: Paintings and Prints by Roberto Juarez Processing: Colorado: Museum of Contemporary Art, Boulder, 2018. Making the Americans Modern: Hemispheric Art 1910-1960 2018. essay. Editor and author of introductory Americas Revealed: Collecting Colonial and Modern Latin American Art in the United States University Park, Pennsylvania: Pennsylvania State The Frick New York: and New York, University Press Collection, Institute for the History of Collecting, “The Empty Room and the End of Man,” in ed., Alexander Nemerov, Foundation, 2017), 156-187. (Chicago: Terra “Exceptional Failure,” (Summer 2017), 15-16. et. al., of Peter Weibel, review “Ladytron,” Art Journal Hershman Leeson, Civic Radar, (Winter 2017), 133-136. J. Sullivan Edward “The China-Abbasid Ceramics Trade during the during Trade “The China-Abbasid Ceramics Chinese Ceramics Centuries: Ninth and Tenth in in the Middle East,” Circulating Art and Architecture Companion to Islamic Barry Flood. Oxford, Gülru Necipoğlu and Finbarr pp. 197-217. UK: Wiley-Blackwell, 2017, in “De nomadische afkomst,” Binnen-Mongolië (907-1125) Nomadendynastie uit Zwolle: WBOOKS, van Vlisteren. T. ed. Vincent 2017, pp. 26-34. Robert Slifkin Patricia Rubin Patricia Body Perspective on the Male Behind: Seen from Art and Renaissance 2018. forthcoming autumn University Press, Shen Hsueh-man , , Mare Mare The Frame , January , eds. V. Platt and M. , eds. V. , ed. Ekaterina Minotaurs and Matadors , 14, 2017, pp. 191-197. , 14, 2017, Michelangelo: Divine Draftsman , eds. M. Charbonnel, V. Debiais. , eds. M. Charbonnel, V. Times Literary Supplement Kauneus, Arvo ja Kadonnut ), icilia Antiqua , 2017, pp. 71-88. Le livre à l’époque romane: production, usages production, à l’époque romane: Le livre

Vrosova (Moscow: State Institute for Art Studies, Vrosova 2017), Russian, pp. 186-198; English, pp. 175-186. “Malevich, the War, and the Crisis in Faciality,” in and the Crisis in Faciality,” “Malevich, the War, of the Ages’: ‘Standing upon the Furthest Promontory Cultural Change I and War World 17, 2018. Christine Poggi “Conversations on the Page” (on Michelangelo’s “Conversations on the Page” (on Michelangelo’s drawings on the occasion of the Metropolitan Museum exhibition and Designer Alexander Nagel Menneisyys. Näkökulmia Klaus Holman tutkimuksia, 49) muistokokoelmaan (Taidehistoriallisia E. Räsänen. Helsinki: Taidehistorian Immonen, eds. V. Seura, 2017, pp. 241-243. “The Romanesque Style Capital of the Holma “The Romanesque Style Capital of the Holma Collection,” in in et représentations d’Auvergne, Clermont-Ferrand: Alliance Universitaire 017, pp. 141-164. “Le livre-objet entre oralité et ‘literacy’: la memoria du entre “Le livre-objet romane,” medium dans le monde juridique à l’époque Squire, 117-153. Cambridge: Cambridge University Squire, 2017. Press, Robert A. Maxwell “The Frames of Greek Painted Pottery,” in Pottery,” Painted “The Frames of Greek History in Classical Art. A Cultural Mythmaking,” in Picasso: Mythmaking,” in Picasso: and New York, London exh. cat., Gagosian Gallery, Gagosian 88-111. New York: 2017, ed. M. Cary, 2017. Gallery, Internum, 9 A Chapter in Modern“Picasso and the Minotaur: Foundations of Temple R: A Preliminary Report of Report R: A Preliminary of Temple Foundations on the of Fine Arts--NYU Excavations the Institute Campaigns),” of Selinunte (2013-2015 Acropolis and A. Ward, with R. Miccichè co-authored Selinunte.” S Selinunte.” in the an Animal Sacrifice “Contextualizing Clemente Marconi Clemente R di del Tempio terracotta dalla fronte “Un busto in

The Institute of Fine Arts Annual 2017 - 2018 26 The Institute of Fine Arts Annual 2017 - 2018 27 ” to , The Mike , Ilia State University Popular Cultures of Popular Cultures Empires of Faith: Shaping Empires Mike Kelley’s Kandors Mike Kelley’s to the 8th annual conference on to the 8th annual conference the Middle East and North Africa and in collaboration with the University of Vienna, Tbilisi, Republic of Morocco. Al Akhwayn University, September 2017. Georgia, coincide with an exhibition at the Ashmolean Museum, coincide with an exhibition at the Ashmolean January 2018. Oxford, Arabia, India and the Europe? “Globalism Before Medieval Ethiopia.” Aga Khan Program of Architecture University, Harvard for Islamic Art and Architecture, November 2017. Medieval Svaneti,” Rusiko from “Islamic Textiles Mestia Museum, Svaneti, Kochkiani Memorial Lecture, October 2017. Republic of Georgia, Sandals, Popular of Ephemera: Prophetic “In Search Flows,” keynote address Prints, and Transtemporal “Computational Connoisseurship of Rembrandt’s “Computational Connoisseurship of Rembrandt’s Papers,” Johnson Museum of Art, Cornell University, 2017. Ithaca, New York, Finbarr Barry Flood Connections as Islamic the Margins: “Materials from Medieval Globalism,” keynote address, Pre-Mongol 2018. March Academy of America, Atlanta, Georgia, Sacrality and the Legacies of Late “Materiality, keynote address, Antiquity,” Art in Religions of Late Antiquity c. AD 200-800, “From Iggy Pop to Sun Ra; the Musical Poles of Mike Iggy Pop to Sun Ra; the “From Later Career,” Kelley’s Angeles, November 18, 2017. Kelley Foundation, Los Holben Ellis Margaret Day- Don’t--Documenting See It, Now You “Now You College Art Association, Los Glo,” with Chantal Stein, Angeles, California, 2018. and Computational “Studies in Technical Rembrandt,” Winterthur/ and Connoisseurship: Dürer in Art Conservation, Program University of Delaware 2017. Wilmington, Delaware, Thomas Crow Thomas “ModernTime in Time and Cosmic Time, Classical keynote, IX Géricault,” of Théodore the Progress Art, and History of of Theories International Congress Aires, Buenos for Art Researchers, Center Argentine 27, 2017. September June Habiter l’Afrique, De-Colonizing Refinement: De-Colonizing , Université Mohammed VI Esteban Lisa: The Abstract Esteban Lisa: The Abstract , Talahassee, Florida: Florida State Florida: , Talahassee, Journal Historiography, of Art . Madrid, Spain and Palma de Mallorca: de Mallorca: . Madrid, Spain and Palma Northwestern University, November 1, 2017. Northwestern University, “Building a New New World: Americanizm “Building a New New World: and Urban Design,” in Russian Architecture Lecture, Warnock Elizabeth and Todd “Les aventures de Le Corbusier en Union “Les aventures Soviétique,” Institut français de Saint- 17, 2017. November Pétersbourg, “L’architecture des avant-gardes russes, de russes, des avant-gardes “L’architecture des Moscou à Paris,” École nationale supérieure Beaux-Arts, Paris, November 27, 2017. Technische Hochschule, Zurich, November 30, Technische 2017. “Modern Architecture and Automobile Culture,” and Automobile Culture,” “Modern Architecture 18, 2018. March Moscow, Avangarda, Tsentr Eidgenössische “Becoming Frank Gehry,” Department of Art and Archaeology, Princeton Department of Art and Archaeology, 27, 2018. March University, “Subverting the Façade: Paris Architecture “Subverting the Façade: Paris Architecture between Haussmann and Radical Modernism,” in honor of Esther da Costa Meyer, lecture conclusive address, symposium conclusive address, le futur des possibles April 5, 2018. polytechnique, Ben Guerir, Jean-Louis Cohen Seven Questions,” and “Cities’ Futures: Conferences and Lectures Conferences America and Observations on the Portuguese America and Observations Baroque.” 2017. Fondación Juan, March 2017, pp. 10-19. 2017, Fondación Juan, March North from A View “Portuguese Art History: “Esteban Lisa: From Margin to Mainstream,” in to Mainstream,” Margin From “Esteban Lisa: exhibition catalogue Cabinet Contemporary Pursuits in the Art of Edouard of Edouard Pursuits in the Art Contemporary Deval-Carrié pp. 46-57. of Fine Arts, 2018, University Museum “Close Encounters with Edouard Duval-Carrié: A Duval-Carrié: with Edouard Encounters “Close and Collaboration,” of Friendship Century Quarter catalogue in exhibition

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It’s About Time! Building a New It’s “TBM Art Conservation as a New Specialization with at the Conservation Center,” The MA/MA Degree with C. Frohnert. Discipline: Time-Based Media Art Conservation 20-22, May international symposium, New York, 2018. “The Face of Our Time: Kazimir Malevich’s Rewald Seminar, Self-Portrait in the Context of War,” City University of New York, The Graduate Center, February 6, 2018. Roemich Hannelore “Outdoor weathering and laboratory experiments--conclusions for preventive conservation,” with K. Wittstadt and G. Maas- International Symposium on Glass Diegeler. Degradation, Paris, France, Musée du Louvre, November 15-17, 2017. “The Amerasian Extension in the European Imaginary, Imaginary, “The Amerasian Extension in the European Center for Renaissance I Tatti 1492-ca. 1700,” Villa April 12, 2018. Studies Thursday seminar, the Slant of Night:’ The Other Side of “‘Through invited lecture, the Earth in the Sixteenth Century,” May 16, 2018. Bibliotheca Hertziana, Rome, Italy, the Anciennes Indes?” invited lecture, are “Where May 17, 2018. Università la Sapienza, Rome, Italy, Christine Poggi The Frick Museum, panel discussion on the Zurbaran The Frick Museum, panel Ruffer of Auckland Castle exhibition with Jonathan of the Frick, February Director and Ian Wardropper, 2018. Alexander Nagel in Renaissance Art,” is our God? Orientation “Where December Advanced Study, Princeton Institute for 18, 2017. in Early Modern Anthropology “Objects of Amerasian Association for Asian Studies Conference, Europe,” 25, 2018. DC, March Washington, NYU Leadership Conference, Madrid, Spain, public Madrid, Spain, Conference, NYU Leadership del of the Museo the Director with conversation Prado, fall 2017. on the panel discussion The Frick Museum, with Prince Amin of the Duc D’Aumale collections January 2018. Aga Khan, , in Herrgottskirche, in Herrgottskirche, Bilderfahrqeuge: Bilderfahrqeuge: Marienaltar in situ, Rothenburg ob der in situ, Rothenburg . New York University, Paris, Science Paris, University, . New York Insularities: A Diachronic Interdisciplinary Interdisciplinary Insularities: A Diachronic

Museum of Art, fall 2017. Georgia, round table discussion, fall 2017. table discussion, round Georgia, of Art,” Cleveland “The Multiple Lives of the Work Georgian National Museum, Tbilisi, Georgia, public National Museum, Tbilisi, Georgia, Georgian fall 2017. lecture, Mestia, Museum of History and Ethnography, Philippe de Montebello 2018. d’Études Médiévales de Montpellier Centre November 2017. (CEMM), invited lecture, Robert A. Maxwell April Santiago de Compostela, invited lecture, the Application of a New Examination Method,” the Application of a New Examination Method,” Riemenschneider June 22, 2017. Germany, Tauber, Michele Marincola and Anna Serotta, Michele Marincola and Anna Serotta, “Riemenschneider’s A Review of its Restoration History and Creglingen: 2018. Michele Marincola Authenticity, Dating, Function & Interpretation.” Dating, Function & Interpretation.” Authenticity, Institute of 119th meeting of the Archaeological America, Boston, Massachusetts, January 4-7, Investigation Global Alliance, December 7, 2017. et Lettres “Debating the Boston Throne: organizer, Workshop “Continent or Island? Modern Ways of Looking at of Looking Modern“Continent or Island? Ways Sicily.” Hume Memorial Lecture, Council on East Asian Hume Memorial Lecture, May 26, 2018. University, Studies, Yale Clemente Marconi 2018. H. 58th annual Edward “What is a Tradition?” “Painting in Murderous Times, 885-979: A Times, Murderous “Painting in East Asian Century.” Tenth Discussion about the 17, April University, Princeton Studies Program, Warburg Institute, London, UK, June 2017. Institute, London, Warburg Hay Jonathan “The Relic as Image: Prophet Aura in an Age of Aura in an Prophet as Image: “The Relic Reproducibility,” Technological of Iconology and the Future Legacy Aby Warburg’s

The Institute of Fine Arts Annual 2017 - 2018 28 The Institute of Fine Arts Annual 2017 - 2018 29 , The Black . , Terra Foundation, Foundation, , Terra Experience in Experience Humanisms and Humanisms , Clark Art Institute, Williamstown, Williamstown, , Clark Art Institute, Il Coloquio Internacional de Arte Gayle Greenhill Photography Lecture Photography Gayle Greenhill The Courtauld Institute of Art, The Courtauld , Museo Gurvich, Montevideo, Uruguay, , Museo Gurvich, Montevideo, Uruguay, “Between Toledo and Buenos Aires: Radical and Buenos Aires: “Between Toledo Modernity and the Mystic Cosmovision of Esteban Huber Lisa (1895-1983).” Roberta and Richard of Spain Culture Colloquium on the Arts and Visual and the Colonial Americas, September 28, 2018. March 24, 2018. Conference paper published 24, 2018. Conference March Color of Silence The IV. Portraitures[s] “Pasión por el coleccionismo: Mecenazgo norteamericano del arte latino-americano, siglos XX, XXI.” la circulación Latinoamericano: Perspectivas sobre de arte November 24, 2017. “Samba as Metaphor: Performativity in Brazilian 35th Art History Art, 1960s-1990s.” Keynote lecture, Graduate Symposium, Florida State University, October 6, 2017. “Landscapes and Cityscapes of the Americas, 1910- “Landscapes and Cityscapes of the Americas, 9, 2018. 1960.” Museum of Fine Arts, Houston, April “Mariano Fortuny en América.” Museo del Prado, 13, 2018. Madrid, March The Caribbean--Sugar, “Landscapes of Desire: of Enslavement and Colonialism.” Johnson Museum 22, 2018. March Art, Cornell University, Rafael Cordero: “Francisco Oller and Maestro Transference and Identity Black of Questions Revising University, in Late Colonial Puerto Rico.” Harvard Giverny, France, September 23, 2017. Giverny, Monument,” as War “Postwar Abstract Sculpture annual meeting, Los Angeles, College Art Association California,February 21, 2018. and Paradigmatic “Equivalents: On Aspirational Photography,” April 8, 2018. York, Institute of Fine Arts, New J. Sullivan Edward “An Inevitable Partnership: A Museums, Libraries, Phoenix Art Museum, April 11, 2018. and Archives.” Robert Slifkin Robert Theater,” Marionette Oppenheim’s “On Dennis Resonant Object May 18, 2018; Massachusetts, American Art, 24, 2017; March London, UK, in American Art Anti-humanisms

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19 , The reverence for old The reverence Eurasian Connections , 6th IMAP/IDOC in It’s About Time! Building a New Time! Building a New About It’s Cultural Circulation in Asia--Narrative, Cultural Circulation Foundation. University, and the Freer/Sackler Galleries, the and the Freer/Sackler University, DC, May 21- Smithsonian Institution, Washington, Mellon W. funded by the Andrew 25, 2018. Project Graduate Research Workshop for the Study of Workshop Graduate Research with Donna Buddhist Art in Asia, co-organized Strahan for the Institute of Fine Arts, New York Buddhist Aesthetics Conference organized by the organized Buddhist Aesthetics Conference University, Ho Center for Buddhist Studies, Stanford November 9-10, 2017. Japanese Culture, organized by Kyushu University, by Kyushu University, organized Japanese Culture, Japan, February 1-2, 2018. “The Multiple Histories of Buddhist Art in China.” Symposium on Flows Human, and Visual Japanese Humanities Symposium on Premodern Asiatische Kunst, Berlin, Germany, April 5, 2018. Asiatische Kunst, Berlin, Germany, Mechanical Reproduction Tablets: Votive “Terracotta Iconography.” of Buddhist and Transmission “Mechanical Reproduction and Transmission of and Transmission “Mechanical Reproduction Buddhist Iconography: A Case Study of Terracotta Museum für Invited lecture, Tablets.” Votive Artworks.” Conference on Artworks.” Conference Center for Global Asia, by NYU Shanghai organized August 20-22, 2018. “Between 30 and 35 Degrees North Latitude: Ocean “Between 30 and 35 Degrees of and Medieval Sino-Japanese Trade Currents Olandese di Storia dell’Arte Firenze, December 2, Olandese di Storia dell’Arte Firenze, 2017. Hsueh-man Shen “Filippino Lippi: Beauty, Invention and Intelligence,” Invention and “Filippino Lippi: Beauty, Italy: Instituto Universitario Florence, session chair. Eliot, Lady Eastlake, and the Humbug of Old Masters. Eliot, Lady Eastlake, and 10, 2017. November Gallery, London, UK: National for College Centre be published by the Birkbeck To in the online journalNineteenth-century Studies “‘Knowing as much about art as the cat’: Nineteenth- “‘Knowing as much about on Art,” ‘ Writers century Women and superstition’: George masters is not all humbug Patricia Rubin Discipline: Time-Based Media Art Conservation Time-Based Media Art Discipline: May 20-22, international New York, symposium, 2018. “TBM Art Conservation as a New Specialization with with New Specialization as a Art Conservation “TBM Center,” the Conservation at Degree The MA/MA with C. Frohnert. the unique experience of field training in Egypt, the unique experience of field training in Egypt, to new but will continue to contribute directly understandings of the history of one of ancient places. truly great Egypt’s Project’s 2018 field season saw the commencement Project’s initiative: the research of a major new but related part of underexplored investigation of a previously of the of the area the site, the far northern margin monuments, which saw the first stage of early royal and lasting pattern what eventually became a broad as a vast cemetery for the local population. of reuse as many Excavations inevitably produce questions as answers, and the 2018 work was builds on this year’s no exception. As the Project annual field seasons, Institute in its regular results students will not only have the opportunity for Project, is engaged in an ambitious long- Project, investigation of the site term archaeological he Institute, through its North Abydos he Institute, through

2018 excavations at Abydos, showing a large group of private tombs of the early Old Kingdom (c. 2700–2500 BCE of private tombs of the early Old group 2018 excavations at Abydos, showing a large

that would characterize kingship for millennia. The represent Egypt’s first royal monumental building first Egypt’s represent tradition, part of the coalescence of a vocabulary of at the beginning of Egyptian history expression royal A major focus of the Project’s research in recent in recent research A major focus of the Project’s years has been an enigmatic series of monumental built by kings of the Early Dynastic ritual structures Period (c. 3000–2700 BCE), which appear to relationship of Abydos to the broader context of of Abydos to the broader relationship Egyptian history and culture. god Osiris, ruler of the Land of the Dead. The Project Project god Osiris, ruler of the Land of the Dead. The of the understanding aims to build a comprehensive of the site, how patterns ancient activities in the core and the of practice and meaning evolved over time, was the ancestral home and burial place of Egypt’s Egypt’s was the ancestral home and burial place of religious and first kings, and it later became a major the pilgrimage center as the primary cult place of by Princeton University’s Department of Art and by Princeton University’s Abydos was, in ancient Egyptian Archaeology. the perspective of modern terms as well as from most important places. It scholars, one of Egypt’s of Abydos in southern Egypt, an effort now joined Matthew Adams Abydos Scholar; Director, Senior Research Exvacations

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The Institute of Fine Arts Annual 2017 - 2018 30 The Institute of Fine Arts Annual 2017 - 2018 31 please visit hile ancient Egypt looms large in hile ancient Egypt looms large imagination, its the modern Western southern neighbor Nubia (located in . W With the collaboration of the Sudan National Corporation for Antiquities and Museums, I recently an at Sanam Temple, initiated a new project is through the Egyptian-style material culture that the Egyptian-style material culture is through the first appears extensively in Nubia, particularly in millennium BCE. At this period, Nubian kings ruled over Egypt while at the for the first time in their history, of extensive range same time integrating a more self- into their Egyptian visual and material culture of these The greatest than ever before. presentation who ruled so-called “black pharaohs” was Taharqa, the fifth cataract from stretching over an empire of the Nile into Syria-Palestine, built monuments in both Egypt and Nubia, and even appears in the Bible. the northern part of modern-day Sudan) is less deeply were the two cultures well known. However, their earliest periods, owing to intertwined from on the reliance and facilitated by their shared and river Nile. This interaction took many forms, encompassed both military incursions and peaceful extensively about Egyptians wrote trading activity. and their encounters with Nubia and its inhabitants in often depicted Nubians in their art, frequently of ways that emphasized the idealized superiority Egyptians over Nubians in the Egyptian worldview. the major the Nubian perspective, however, From for the study of Egypt-Nubian interaction source attend. However, since our capacity is limited, it is since our capacity is limited, it attend. However, do so, in advance. To a place essential to reserve the Centre, abo ut and to find out more our website Kathryn E. Howley of Assistant Professor Lila Acheson Wallace Ancient Egyptian Art at Sanam Temple Return to Taharqa’s theme of replication. In addition, each semester will will each semester addition, In of replication. theme city; the to a different dedicated workshop see a Ethiopian 2018) focused on the March first (held in take pre- workshops Forthcoming city of Harar. (now in and Makli/Thatta in Yemen Islamic Zafar southern their focus. Pakistan) as to welcome public and all are are Events at Silsila Silsila : Center for Material Histories : Center for Material Histories Matters of Mediation/Bodies of Silsila In spring 2019, the series will address the In spring 2019, the series will address new venture to promote interdisciplinary interdisciplinary to promote new venture and the art, architecture dialogues around his year saw the founding of an exciting his year saw the founding

is an Arabic word that denotes connection, is an Arabic word

summer) is entitled Devotion. Arabian peninsula). each semester; series plan a thematic lecture We the first (details of which will be posted online in late Our first faculty fellow, Dr. Nadia Ali, is a specialist in Dr. Our first faculty fellow, of the eastern the early Islamic art and architecture to the material Mediterranean, and its relationship of the late antique world (including the culture extended beyond its political boundaries. The Center offers an annual postdoctoral fellowship. Indian Ocean, Mediterranean, Middle East, Red Indian Ocean, Mediterranean, Middle East, Red Sea, South and South-east Asia. This also includes of minority communities within the material culture that the Islamic world and material connections with cognates in many Islamicate languages, with cognates in many Islamicate languages, focus on Islamicate cultural the Center’s reflects including Africa, Arabia, the geographies in regions chain or link. It was chosen to connote the Center’s chain or link. It was chosen to connote the Center’s concern with the intersection between micro- the individual links and the and macro-histories: a term connected whole to which they contribute. As globalizing world. Silsila While there is a particular emphasis on the pre- and is a particular emphasis on the pre- While there to bring the aim is early modern periods, a related into dialogue with the study of past precedents uncertainties and instabilities of our own rapidly between the circulation and mobility of certain between the circulation those cultural forms, practices and techniques and in character. or rooted local, regional, more that are culture; it seeks to explore the entangled relations relations the entangled it seeks to explore culture; and techniques and the between artifacts, materials, of human consumers migrations and movements in tensions equally interested are We and producers. of the university, of the university, North. The Center Square is based in 4 Washington value of material aims to highlight the historical material culture of the Islamic world. Founded by of the Islamic material culture Flood with the support Finbarr Barry professor IFA Silsila : Center for Material Histories Silsila : Center William R. Kenan, Jr., Professor of the Professor Kenan, Jr., William R. Arts and The Institute of Fine Humanities, of Art History Department Finbarr Barry Flood Flood Barry Finbarr Material Histories; for Silsila: Center Director, T Figure 2. Figure appearance and Nubian practice. our first season of excavation from Initial results of the temple, the rear To promising. extremely were and the possible presence of production facilities of production and the possible presence an intriguing rather at a temple in Nubia is therefore in practice for the same objects in difference thanks to cultural contexts. Moreover, different other sites in Nubia, we can now be evidence from at Sanam were that the shabtis manufactured sure tombs at the site of Nuri, and destined for the royal object in in fact a uniquely royal that shabtis were in contrast to their wide distribution Nubian culture, society in Egypt. Griffith, working in 1912 across many key Nubian sites had been excavated, before these could not have known how interesting figurines would turn out to be for our understanding of Egyptian of the interplay in Nubian culture impeccably Egyptian: some exhibit a “back pillar” impeccably Egyptian: some exhibit a “back in Egypt until 664 BCE, that was not introduced making these Nubian examples not poor provincial copies of Egyptian originals, but rather exceedingly examples of this object type that followed trendy Egypt the latest developments in shabti design in location production 3). The shabtis’ apparent (figure at the temple site is also unusual. Faience objects in domestic contexts in Egypt, only produced were

Figure 1. Figure

appearance is striking in such a Nubian setting. The that are shabtis demonstrate several features further excavations to investigate if any other traces technology (such and production of production as kilns) existed at the site. The molds piqued our their Egyptian Firstly, for several reasons. interest the surface outside the temple walls, and while their original use as part of figurine he recognized at the temple, he did not conduct any production of small funerary figurines (figure 2). These “shabti” 2). These “shabti” of small funerary figurines (figure a kind figurines would have been made of faience, of self-glazing ceramic with a characteristic blue- Griffith found the molds at or near colour. green One area of Griffith’s work on which our project work on which our of Griffith’s One area at hoped to shed further light was his discovery the temple of terracotta molds for the production extensively. means that it has huge potential to provide evidence means that it has huge potential to provide of the place Egyptian visual and material culture had in first millennium BCE Nubia, and to address so the question of why the Nubian kings used it untouched and understudied since then. Despite its untouched and understudied of the few accessible and neglect, its status as one in Nubia Amun temples well-preserved relatively years, Griffith was able to publish his results only in to publish his years, Griffith was able form in a journal article of 1922 (though preliminary Institute Griffith the in remain archives excavation his has remained and Sanam Temple in Oxford), in the early 20th century he cleared the entire the entire he cleared in the early 20th century a single excavation season. temple in the course of and his increasing War Delayed by the First World owe many advances in our understanding of both advances in our understanding owe many He is languages. Egyptian and Meroitic the ancient archaeologist, as a great remembered not, however, practice to common archaeological and according to the god Amun, was first excavated over a Amun, was first excavated to the god Griffith, one of by Francis Llewellyn century ago to whom we of Egyptology figures the foundational an Egyptian-style temple built by King Taharqa Taharqa by King temple built an Egyptian-style fourth near the century BCE late seventh in the dedicated 1). The temple, the Nile (figure cataract of

The Institute of Fine Arts Annual 2017 - 2018 32 The Institute of Fine Arts Annual 2017 - 2018 33 Figure 5. Figure Sudan, for their indispensable assistance, especially Dr Abdelrahman Ali Mohamed and Mr El Hassan Ahmed; and the Levy White Foundation for their financial support. All photographs by the author. society, and of how the Nubian royal family were family were and of how the Nubian royal society, able to harness Egyptian objects and styles as a their elevated status within powerful tool to express emulations not mere Nubia. These objects are of Egyptian originals, but assiduously adhered to the latest Egyptian stylistic developments with distinctly Nubian while being manufactured practices and within a Nubian social framework. at Sanam, Temple It is clear that Taharqa’s of 2500 years and early despite the depredations still has much to offer. archaeologists, would like to thank the Project The Sanam Temple National Corporation for Antiquities and Museums, craftsmen to manufacture very Egyptian-looking very Egyptian-looking craftsmen to manufacture hope in We objects in the Nubian environment. to conduct XRF analysis on faience the future about faience Sanam to learn more samples from composition in Nubia. already it is preliminary, remain Although results Egyptian clear that despite the unarguably Nubian appearance of the shabtis and their molds, was clearly differentiated faience manufacture social process, that in Egypt in its production from has context, and location within settlements. This of important implications for our understanding within Nubian the place of Egyptian visual culture in Nubia, therefore, would have been forced to forced would have been in Nubia, therefore, The alternative an source. obtain their lime from used for this purpose, shells may well have been their large both by strengthened an impression grinders and grinding quantity and by several with them. Faience stones found in association apparently at Sanam, therefore, production the demonstrates a striking local adaptation to and allowed Nubian originally Egyptian technology,

Figure 3. Figure Figure 4. Figure (or indeed in Nubia more generally), where the generally), where (or indeed in Nubia more geology is sandstone. Faience makers predominant faience in Nubia. An essential ingredient of faience of faience in Nubia. An essential ingredient paste is lime, which in Egyptian faience production is there limestone. However, generally derived from of Sanam no limestone found in the surroundings (figure 5). Though painstakingly fiddly for the (figure may tell the shells’ presence excavators to recover, of us something significant about the production the most surprising of the finds from this area was this area the most surprising of the finds from the sizeable quantity of small Nile mollusk shells with the faience debris and charcoal that appeared pyrotechnology may have been in use here. Perhaps may have been in use here. pyrotechnology may have been used in the vicinity. Although time may have been used in the vicinity. investigating a series us from prevented restraints pit, we hope to return of mud brick walls and large years to fully investigate what in future products of the faience manufacturing process) process) of the faience manufacturing products amounts 4). Unusually large (figure recovered were that a kiln also found, suggesting were of charcoal just outside the walls, we uncovered an area from from an area we uncovered just outside the walls, of quantities of faience beads, chunks which large “wasters” (by- molded faience, and shapeless Figure 3 Figure Figure 2 Figure to think of the action of planting the spears into the to think of the action of planting the spears of the as a clear symbol of appropriation ground new land by the first generation of colonists. The most significant discovery this summer came The most significant discovery this summer the level underneath the foundations of Temple from in our excavations inside and as elsewhere R. Here, R, we found the layer associated outside of Temple life. colony’s with the first generation of the Greek a significant this layer contained This summer, Megara including vases from amount of pottery, iron Hyblaea (Selinus’ mother city), but also three of spears planted blade- spearheads, remnants (figure two of which crossed first into the ground, clearly a form of votive 3). These weapons were offering to the warrior deity to which the future not R belonged. At the same time, it is hard Temple objects, including pottery, weapons, and jewelry. and jewelry. weapons, objects, including pottery, did not simply consist in the This foundation deposit but also involved a number laying of votive objects, animal sacrifice and ritual of ritual actions including meals. were able to identify a series of votive dedications of votive a series able to identify were laying before made immediately actions and ritual was the discovery Particularly significant the floors. associated with the foundation deposit of part of the identified R, already of Temple original construction the laying the clay floor, Before 2). in 2012 (figure foundation, the top of its towards builders placed a number of walls of the cella, along the inner

Institute of Fine Arts – NYU on the acropolis acropolis Fine Arts – NYU on the Institute of made sensational Sicily) (Western of Selinunte n May and June 2017 the mission of the June 2017 the mission n May and

Figure 1 Figure

excavated the Hellenistic, Classical, and Archaic Classical, and Archaic excavated the Hellenistic, level corresponding the layers, eventually reaching destruction in 409 BCE. For all these phases we 590–580 BCE, the new floor of c. 500 BCE, which by a fine layer of appears to have been covered white stucco, and the floor belonging to the late renovation of the temple after its partial fifth century thus possible to identify the floors and floor levels main phases, including R’s associated with Temple the original construction in the clay floor from featuring Eros and a youth. featuring Eros Classical and The Hellenistic fill sealed the Archaic It was of the trench. the entirety levels across votive metal tools, the forearm of a kouros made of a kouros votive metal tools, the forearm of Parian marble, and another fragment of an lekythos in the style of Douris Attic white-ground fill also included a significant amount of material fill also included a significant amount of material to the life of the sanctuary in the Archaic related and Classical periods, including several fragments terracotta figurines, roofs, polychrome of Archaic number of transport amphoras, mainly placed number of transport amphoras, mainly placed and near to the bottom of the deposit, and tiles terracottas, mainly at the top. This architectural Hellenistic fill (c. 300 BCE) that has completely Hellenistic fill (c. 300 BCE) that has completely and Classical phases inside the sealed the Archaic rest of the temple. This fill consisted—like in the temple—of earth and stones, along with a large to the time of foundation of Selinus, c. 628 BCE. to the time of foundation of Selinus, c. 628 Our work opened with the excavation of the for our knowledge of the ancient site, but for Greek ancient site, but for Greek for our knowledge of the consisted of this season Work at large. archaeology right at the center of the the excavation of a trench end of June, we 1): by the R (figure cella of Temple discoveries which are of great significance not only significance of great discoveries which are of Greek Art and Archaeology; University Art and Archaeology; of Greek Professor Clemente Marconi Clemente in the History Professor R. McCredie James I

The Institute of Fine Arts Annual 2017 - 2018 34 The Institute of Fine Arts Annual 2017 - 2018 35 . . The Rybolovlev Leonardo at the Court Leonardo is painted on a particularly Salvator Mundi some years earlier and often and often years earlier some hich had astounded the art world hich had astounded the . No one, I was told, was to know that the Salvator Mundi glittering November sales, the only Old Master in Once the announcement had been made the group. was coming back to me, in utmost secrecy. It was coming back to me, in utmost secrecy. arrived late one night, and we put it in the vault. moved to see it again and much I was greatly by the glass and that it was still protected relieved Marvelseal envelope in which it had been installed it went to the exhibition at the in 2011 just before National Gallery in London, of Milan painting was even in the country. it was to be sold. Loic that It eventually emerged the young and brilliant head of the Modern Gouzer, had and Contemporary Art Department at Christie’s idea of offering it in the conceived the revolutionary would be coming to New York within a few days. would be coming to New York The and badly damaged piece of walnut and reactive concerned. The I was greatly when it disappeared and the buyer by Sotheby’s sale had been brokered was anonymous. Even Robert Simon, the dealer the painting, and art historian who had discovered to know who the new owner was. I wrote didn’t to warn asking them the new owner Sotheby’s, of the panel support and about the fragile nature was ever a problem offering my assistance if there an answer or if advice was needed. I never received however, Apparently, deeply troubled. and remained my offer had been duly noted and the painting “Geller group.” Geller. Then it struck me that what Geller. “Geller group.” Sandy “Heller group.” was actually written was many important collectors, Heller is an advisor to Russian, Dmitri secretive among whom was the was revealed, who, it had been recently Rybolovlev, the owner of the deal of a great received Collection had recently of The New In the February 16, 2016 issue publicity. Sam Knight had reporter the investigative Yorker, describing a tangled web written an explosive piece of dealings, w This was how I learned who Sandy Heller was. I immediately called and was told that the Leonardo I had restored a by-now famous painting of the painting famous a by-now restored I had Mundi Salvator usually from for information, requests received certain that they possessed were people who a secret painting or had discovered another lost I In exasperation, in the picture. code embedded at it again a few aside. I looked put the message someone at from and noticed that it was hours later was to be published in January by when I returned to New York from Florence Florence from to New York when I returned he past year turned out to be exceptionally busy in a way that I could not have foreseen

Figure 4 Figure around the country. On Wednesday, July 12, Shan On Wednesday, the country. around to gave me a message: someone wanted to speak me about Leonardo. Kuang, the Kress Fellow, and I were attending and I were Fellow, Kuang, the Kress to a number of paintings in the studio at the Fall Conservation Center and making plans for the Collections term class and visits to various Kress Masterpieces Cadmo, Casalini Editori, Fiesole, under their imprint, many loose ends to tie up. Shan were and there in early July. I was working on the final edits for the in early July. on the book I had been writing for almost a decade of my late husband, Mario Modestini. life and career Dianne Dwyer Modestini in Program Kress Professor, Research Paintings Conservation year. archaeological museum (Baglio Florio) at the site, museum (Baglio archaeological The featured. prominently in which our finds are including the new site of Selinunte, archaeological 260,000 visitors per museum, sees approximately Our discoveries this past summer made national Our discoveries this past they contributed importantly, news. More 4) of a new (figure substantially to the opening T , David with the Head of Goliath David with end, Shan and I recently recounted the story of recounted end, Shan and I recently still the hastily jotted phone message to a visitor, amazed at the events that ensued. the Metropolitan Museum after Keith Christiansen, Museum after the Metropolitan when he saw it in the was overcome typically, invisible nearly studio. A lovely and, heretofore, in church a from Candido painting by Pietro went to an exhibition in Cherryville, Pennsylvania event for the an exciting at Palazzo Strozzi, Florence and mysterious The fascinating small congregation. of Michelangelo was painting by an associate exhibition. Three included in the Michelangelo and worked on Class students took the Kress and Tintoretto, di Bartolo, paintings by Andrea L’Ortolano. Now that this academic year is coming to an Overlapping these developments, our everyday our developments, these Overlapping in Paintings Program in the Kress work Shan followed its usual course. Conservation Tulsa, Collections in Memphis, Kress and I visited came paintings Kress Lewisburg. Allentown and the restoration After Center. to the Conservation beautiful Cagnacci, at was exhibited Carolina Columbia, South from

and its . Mario died Salvator Mundi Salvator Mundi had always been had always , and I had chosen Salvator Mundi Salvator Mundi and the Masterpieces Ginevra de’ Benci Ginevra

before the final proofs went to the printer. the final proofs before Mario and the reappearance of the Mario and the reappearance The timing was such that I had just was uncanny. enough time to update the Epilogue to include the it sale and the events that immediately preceded The confluence of the publication of my book about the next few years, I felt his presence in everything in everything the next few years, I felt his presence I did. things he worked on, so that there is a “generation” is a “generation” things he worked on, so that there between While I worked on the painting over six months later. Robert and I have been doing, we have reason Robert and I have been doing, we have reason was still making major to believe that Leonardo to the composition during the last three revisions last years of his life in France, making it one of the had an immediate response to its power and said had an immediate response artist, a generation very great to me that it was by a that research recent In fact, from after Leonardo. neatly bookended Mario’s story. More important More story. neatly bookended Mario’s I first saw the painting to me however was that his death, when Robert with Mario, not long before in April 2005. He it to our apartment Simon brought Leonardo, Leonardo, of those events in the to include his description the Thus, the story of Introduction. about the restoration of the about the restoration to do this for I had chosen Leonardo. attribution to purchase the in role key a played Mario reasons. two of Art of the early work by by the National Gallery was sold the evening of November 15 for five evening of November was sold the price. breaking a record million dollars, hundred of The Epilogue I was engulfed in a maelstrom of controversy about about of controversy a maelstrom engulfed in I was of the the condition above all, and, the attribution after the painting only intensified painting, which

The Institute of Fine Arts Annual 2017 - 2018 36 The Institute of Fine Arts Annual 2017 - 2018 37 Media Center, Integrated Digital Media, Tandon Integrated Digital Media, Tandon Media Center, School of Engineering; Digital Humanities and Social Science, Department of Computer Science, Courant Institute of Mathematical Sciences; developing a TBM curriculum in partnership with developing a TBM curriculum in partnership and a TBM Working our TBM Advisory Board on Curriculum Development. Our findings Group existing dual MA/ show that the CC/IFA/NYU’s allows for flexibility and adaptation to MS degree needed for a specialization the new requirements in TBM. New course offerings will provide options for practical and technological training in media art conservation, utilizing a coalition of experts and specialists in computer science, engineering, and film and video preservation. the Our NYU network includes experts from Tisch Program, Interactive Telecommunications Experimental School of the Arts (ITP); Brooklyn to be more sensitive to damage, loss, to be more installation than and incorrect misinterpretation, and a traditional artwork, due to its very specific of time, space, and concept. sensitive relationship subject to technical and Since these artworks are the technological obsolescence, it is often left to acknowledge, and define conservator to identify, in of the works themselves, the conceptual nature their essence. and preserve to respect order has been Over the last two years, the CC/IFA/NYU Time-Based Media (TBM) works of art are Time-Based Media (TBM) works of art are ime-based media art conservation – a new specialty at the Conservation Center.

conservation. Our students will have to learn new to technology-based art, which is approaches media art conservation, a new generation of the disciplinary conservators will need to cross boundaries of computer science, material science, and engineering, art history, media technology, worldwide due to ever increasing TBM collections worldwide due to ever increasing and their rapid deterioration and obsolescence. the diverse challenges of to address In order that extend well beyond traditional art materials. TBM art conservation has been identified as a priority by many leading cultural organizations viewer over time. Conserving this rapidly growing viewer over time. Conserving this rapidly growing particular challenges, given the presents genre and use of components works’ conceptual nature characterized by having a durational element, such characterized by having a durational element, internet, as sound, slide, film, video, software, to the performance, light, or movement, that unfolds Christine Frohnert Conservator of Contemporary Art, Modern LLC Materials, and Media, Bek & Frohner, Hannelore Roemich Hannelore of Conservation Science Professor T and available to a broader audience after the event. and available to a broader on TBM art conservation Sharing our expertise the years to come. The will be our mission during also supports the Mellon Foundation grant from as well as evening specialized courses, workshops, relevant to current on TBM-specific topics lectures other programs from practices, open to students and professionals, mid-career and other specialties, Stay tuned for community. professional the larger more! Professional Development, and Team Building; and Team Development, Professional Art Conservation TBM and Needs; Challenges and Implementation, Advocacy, and the Archives; will table discussions Several round Collaboration. of our group to interact with allow the audience join forces about time to internationalIt’s experts. discipline! All to shape a new with all stakeholders symposium will be recorded at the presentations is IT’S ABOUT TIME: Building a New

special interest in kinetic art, light-based works, or in kinetic art, special interest Preservation; Exhibition and Installation; and Exhibition and Installation; Preservation; In addition, we Acquisition and Documentation. for students with a will offer individual instructions Art Conservation Education Current Offerings and Art Conservation Education Current Opportunities; Practical Training, as a discipline on an international level. Speakers the United States, Switzerland, and panelists from Portugal, Mexico, Brazil, Italy, Austria, Germany, TBM on: the UK, Australia, and China will present art historians, museum curators and directors, art historians, museum curators and directors, collectors, gallerists, engineers, computer scientists, and conservators to foster TBM art conservation Discipline – Time-Based Media Art Conservation education and training opportunities for promoting TBM as a new specialization within art conservation a forum for educators, artists, and will provide unique opportunity to join forces for establishing a for establishing unique opportunity to join forces and new discipline. This two-day event on May 21st 22nd, 2018, titled in art conservation at a symposium that brings in art conservation at a symposium that brings together an international community to think the critically on TBM art conservation education, a first event dedicated on this topic, providing this country. will celebrate the launch of the new specialty We media conservation student. This will allow the media conservation student. This will allow Conservation Center to expand its course offerings the by establishing a specialization explicitly for its kind in conservation of TBM artworks—the first of with the first cohort entering in fall 2018. We have with the first cohort entering in fall 2018. another private gift of $175,000 secured already for one incoming time-based matching this award In January 2018, the Andrew W. Mellon Foundation W. In January 2018, the Andrew year implementation a four-and-half awarded grant in the amount of $1.5 million that includes support for two full-time students for each year, any emerging technology, such as virtual reality. technology, any emerging various TBM artworks; Video Conservation; Digital Video various TBM artworks; specifically for our students, taught by conservators specifically for our students, and beyond, such New York in leading museums in on collecting and conserving as an overview course Students will benefit from classes offered offered classes benefit from Students will At other NYU graduate departments. through courses we will create the Conservation Center, Studies, Graduate School of Arts and Science; School of Arts Studies, Graduate Bobst Library Conservation Elmer Holmes Art Gallery. Grey as well as NYU’s Department; Moving Image and Archiving Program, Department Department Program, Archiving Image and Moving Film & Institute of Kanbar Studies, of Cinema Museum School of the Arts; in the Tisch Television

The Institute of Fine Arts Annual 2017 - 2018 38 The Institute of Fine Arts Annual 2017 - 2018 39 at the Philadelphia World War I in Art I in War World

organization of organization Museum of Art, Museum, and at the Metropolitan in the Department of Drawings and Jennifer Farrell considered the particularly precarious citizen status the particularly precarious considered circling of Mexican Americans, we found ourselves back time and time again to the issue of what constituted an American identity. the In an uncanny coincidence as we approached in organized were exhibitions several 2018, of spring materials the field and their publications and source for the class. There became important resources paintings and was the exhibition on Jonas Lie’s of the building of the Panama studies chronicling James A. Michener Art with the Canal organized I in the War exhibitions on World Museum. Two visual arts certainly highlighted American artists: of scholars in the Robert Cozzolino led a group (i.e. regionalism, Precisionism, Transcendentalism, Transcendentalism, Precisionism, (i.e. regionalism, the American Abstract Artists) we also considered outside work of artists and movements considered Our examination followed the artistic mainstream. themes and subjects such as the perceived the dichotomy between urban and rural life, and labor militant economic dynamics of an increasingly class, immigration, internal of black migrations opportunity Americans to the north seeking greater and of populations in the Midwest to the West to the devastations of a prolonged in response a chronology As we waded through drought. immigration laws and distinctions of restrictive and made between “old” immigrants and “new,”

s the Kirk Varnedoe Visiting Professor at Professor Visiting s the Kirk Varnedoe 2018, I for the Spring Semester, the IFA had a wonderful opportunity to work with a A certainly took note of the art and movements that have come to define this era in American art history there were numerous stories about American art that numerous were there and complicated allows us to posit a much broader story of art, along with design and craft. While we Of course the prevailing view of this period Of course the prevailing positions the United States between the opposing philosophies of isolationism and internationalism. But even within the complexity of these dualities, about how to shake up the canonical view of the about how to shake up the canonical view of 20th history of American art in the first half of the Century. this period in American art had emerged a year or this period in American art had emerged in conversations I had with Norman two previously Kleeblatt, then chief curator at the Jewish Museum, between the World Wars. The course I conceived, Wars. between the World was “Recalibrating the ‘American’ in American Art,” even to me since I usually dwell in the a revelation But the peculiarities of of 1970 to the present. realm group of students to interrogate and to expand on of students to interrogate group to the history of American Art the usual approaches Between the World Wars Between the World Emerita, Museum of Arts and Design of American Art Recalibrating Our View Lowery Stokes Sims Curator Professor; Visiting 2018 Kirk Varnedoe (Laurence King Ltd., (Laurence Making the Americas Modern: these is entitled am fortunate in having had two books published am fortunate in having had two books published of in the first half of calendar year 2018. The first and cityscapes, alternating forms of abstraction, of murals, prints and or Social Realism in the realm the world-wide anxieties of photographs to express my time the late 1920s and continuing throughout book is divided in eight sections or “stories.” The book is divided in eight sections or “stories.” I by studies of what text is bookended, as it were, call “visionary” art – visual and literary expressions that evoke a sense of interiority and, even, such as Symbolism and Artistic trends spirituality. in their politics and visual (very different Surrealism may have manifestations but integrally interrelated) but found a distinctly had their beginnings in Europe in places like Colombia, local form of expression Mexico or the United States. The end of the book artists of “intuitive” or “untutored” discusses the role (who would, after the 1970s be called Outsiders) in the formation of modernist modes of image making. to landscapes In between I examine themes related Hemispheric Art 1910-1960 of many years of thinking London). It is a product we face when assessing what about the problems could be called the “American-ness of American art.” I am defining the term “American” in its possible context to include a hemispheric- broadest wide analysis of a set of socio-political, aesthetic and situations that and philosophical problems Central have impacts in American societies (South, in and North America as well as the Caribbean) ways but that, at the same time, may be different against one another to gauge measured productively to the same set of stimuli. The intersecting reactions Brandon Eng, Kathleen Joyce, Kolleen Ku, Alexis Brandon Eng, Kathleen Russo, Emily Shoyer, Mallory Roark, Amelia Monroe, Assistant: Melissa Young David Sledge. Course J. Sullivan Edward and for Faculty Deputy Director Gould Sheppard Administration; Helen in the History of Art, Institute of Fine Professor Arts and Sciences Arts and College of connoisseurship, which has been the bedrock of been the bedrock which has connoisseurship, found that we But ultimately analysis. art historical a variety of criteria can encompass connoisseurship and we hoped that narrative of art history with in the to that point of some contribution we have made view. Mia Curren, Samuel Cory Allen, Class members: I . Then the 1920s, the 1920s, . Then America After the Fall: Painting in the Fall: Painting in America After Cool Modernism: O’Keeffe America’s , featuring paintings that have never , featuring paintings that . And as of March, 2018 the Ashmolean 2018 the Ashmolean March, . And as of

particularities. Inevitably this kind of revisionism in particularities. Inevitably this kind of revisionism art history is seen in opposition to notions of of American art between the World Wars with those Wars of American art between the World that have been developed in separate intellectual communities and demonstrate the commonalities to the canon as well as their of these stories relative in light of the current global challenges of dealing in light of the current with diversity and inclusion. In our own limited way the non-canonical narratives we sought to correlate however short-lived. It may not be overstating the fact that our particularly timely investigations in this course were dynamics of difference in plain view, and expanded in plain view, dynamics of difference of prints during this on our discussion of the role period, photography and various periodicals, victims of one the most extreme manifestations of manifestations victims of one the most extreme an unique xenophobia in this country— produced that experience indicating the triumph of art from the also revealed the human spirit. Class reports modernist ones. We also noted how the intimations modernist ones. We by artists uncannily perceived II were War of World at the same time that Japanese Americans— and ancestralism, on the southwest where artists artists and ancestralism, on the southwest where of Latino descent and Native American artists grappling with establishing their own visual were traditional vernaculars and vocabulary both from and affirmative imagery by African American artists and affirmative imagery by African American (who formed the generation of the New Negro) as they navigated the mechanics of primitivism Latinx, Hispano(a), Native American and Asian Latinx, Hispano(a), Native American and Asian origins side by side with the canonical works the period in our class discussions, we also from for a positive focused specifically on the search African, Native American, and Folk and Southwest African, Native American, between the wars. While Religious art organized by artists of African, I worked to include images Johnson, ShuPu Wang, Delphine Hirasura, and Johnson, ShuPu Wang, Michelle McGeough. of catalytic exhibitions of at the role looked We earlier work by art historians and scholars such earlier work by art historians Boorstein, Barbara Rose, as Alain Locke, Daniel Marianna Nunn, Daniel Cornell and Mark Dean Tey Museum at the University of Oxford has opened the University of Oxford Museum at the exhibition, to Hopper on certainly drew We been seen in Europe. before lenses of Judith Barter and her fellow scholars for Barter and her fellow lenses of Judith the exhibition the 1930s drew on the Museum’s collection to organize to organize collection on the Museum’s drew Arts Visual I and the War World fodder for the new interpretive were ‘30s and ‘40s

The Institute of Fine Arts Annual 2017 - 2018 40 The Institute of Fine Arts Annual 2017 - 2018 41 (CUNY), Princeton and Temple University. Students University. (CUNY), Princeton and Temple Performance NYU Comparative Literature, from Studies and Spanish and Portuguese programs of add immensely to the diversity and liveliness dedicated the course. The last four sessions are artist- that range from to students’ final projects panels to Skype interviews with critics related with and historians of Brazilian art to discussions to curators and art dealers. I feel very privileged of students from have such an excellent group whom I am constantly learning about a field that has to me for many years. been of passionate interest of the most well known Brazilian modernist painter, Brazilian modernistof the most well known painter, at the Museum of do Amaral (1886-1973) Tarsila Modern Her art served as the starting point for Art. I am serving as chief curator the course. In addition, Brazilian modernistfor an exhibition of the designer, Burle Marx and painter Roberto architect garden Botanical Garden York (1909-1994) for the New was divided into the in June 2019. The seminar title. The eleven modules suggested by the three divided into auditors were students and as many for readings – each responsible groups” “research sessions. The during our weekly and reporting as the IFA, both MA and PhDs from students are the Graduate Center well as graduate students from given me the most academic and personal pleasure pleasure and personal academic me the most given entitled Institute seminar 2018: my first half of in the Modernity- Moments of Brazil: Three “The Arts of Brazil is a place and Contemporary.” 1920s, 1960s I have done considerable and where I know well I chose to do the and curatorial work. research In winter/ reasons. semester for several seminar this major exhibition has been a year there spring of this The last thing I wish to mention here is what has The last thing I wish to mention here as well are detailed discussions of the development as well are of collections of colonial and modern Latin American art by such individuals as Roberta and Richard Huber and Patricia Phelps de Cisneros. essays focus on both collecting and exhibiting practices of such institutions as MoMA, SFMOMA, the Phoenix Art Museum and many others. Included like Frederic Edwin Church and the late nineteenth Edwin Church like Frederic of the Philadelphia Museum of century patrons Museum of Art form the Art and the Metropolitan beginnings of the book. Many other chronological holdings. We do not deal with pre-Columbian art in with pre-Columbian do not deal holdings. We to the taste for colonial this book but themes related Mexican painting on the part of collector-artists the “exotic” of then-little known lands. By the early the “exotic” of then-little known lands. By the nineteenth century U.S. collectors (both private eager to include artifacts and institutional) were the Americas within their and works of fine art from that in my introduction I trace back to the early that in my introduction and, colonizers fascination on the part of European for travelers to the Americas and their search later, rather a gathering of essays (some derived from rather a gathering of essays (some derived from in 2014, others the subjects of the talks delivered not involved with the project) by authors who were that focus on a wide swath of collecting history Collecting that I helped to organize in May 2014. I Collecting that I helped to organize a lengthy introduction. edited the book and wrote papers but It is not a collection of conference Modern Latin American Art in the United States This is an (Pennsylvania State University Press). a symposium anthology of essays that derived from Center for the History of at The Frick Collection’s this year is called The second book to appear Collecting Colonial and The Americas Revealed: the “end of the picture frame” could be located while frame” the “end of the picture and Happenings and Conceptualism, Performances arts assumed greater other forms of non-traditional in the hemispheric art worlds. roles burgeoning immigration (both internal and external)burgeoning to region. region of artists from and travel on the part perhaps a moment when 1960 is the ending point, colors to attempt to “read” the politics of race within the politics to “read” colors to attempt time frame was its visualization. The a context of famous New York the deliberate: 1910 preceded It was a moment of years. Armory Show by three Blackness in the Americas” in which I deal, in in the Americas” in which Blackness depictions of studies, with several comparative and those of by both white artists the black body period, leading up to World War II and eventually eventually II and War to World leading up period, the most One of race, etc. the arms War, the Cold “Visualizing chapters to write was challenging . Social 2018 ,” is a comprehensive is a comprehensive Grove Art Online Grove provide a resolution a resolution provide to alter the course of what has historically been a male- dominated field. The goal of the Benezit Dictionary of Artists’ commission is to this issue of confront gender disparity and An Asymmetrical Portrait: An Asymmetrical Portrait: Exploring , no. 4 (2016), 332–348.) Simply put, the ender disparity in the arts is a prevalent ender disparity in the arts is a prevalent issue that persists with each generation. The study titled, Benezit Dictionary of Artists explores gender inequality and determines explores reference collection of artists’ biographies. In 2010, reference the title and acquired University Press Oxford worked to develop it alongside The Contributing to Benezit Dictionary of Artists Income Inequality in the Exploring Gendered Arts women make the arts professions that across $20,000 less than men per year approximately (Danielle J. Lindemann, Carly A. Rush and Steven “ J. Tepper, Income Inequality in the Arts Gendered 3 Currents over. battle for women is far from materials. These findings contributed to research research contributed to materials. These findings by Lang. The essay and a chronology for Conaty’s essays by artist David publication also includes Robin Clark, DIA associate Reed, SFMOMA curator Michael and LACMA director curator Alexis Lowry, in- catalogue promises Govan. In all, this exhibition the past fifty practice over depth insight into Corse’s to have had the opportunity years, and I’m grateful (The exhibition is open to contribute to the project. 2018 at Whitney Museum of June 8-November 25, American Art.) Samantha Rowe time with the New York Public Library’s wealth Public Library’s New York time with the with well as corresponding as of microforms, exhibited and galleries we believed institutions hope of in the past, with the work Corse’s and archival exhibition documentation discovering G ). That

on Mary Corse: A Survey in Pacific Standard Time: Crosscurrents Time: Crosscurrents Pacific Standard the curatorial research assistant on the the curatorial research etween October 2017 and April 2018, I of working as had the distinct pleasure

. When told during my interview that I may be . When told during my interview that I may be

history and bibliography for the artist to date. On my part, this involved a significant amount of Drawings and Prints, and curatorial assistant Melinda Lang—both Institute alumnae—to support for the exhibition catalogue and to help research exhibition the most comprehensive produce tremendous, inexplicable feeling. tremendous, During these months, I worked closely with Steven and Ann Ames Curator of Kim Conaty, her work has only now become the subject of a solo museum exhibition, and that I would have a chance to see what that entailed, was a ways, was a regular fixture in critical exhibitions fixture ways, was a regular the past five decades (such as the throughout 2011 Getty’s 1950–1970 in LA Painting and Sculpture, moment in art history this show would be. Corse’s moment in art history this show would be. Corse’s began in the 1960s, and her work, through career which she harnessed light in truly innovative conducting research for a then-unnamed artist’s for a then-unnamed artist’s conducting research I was immediately first solo museum survey, until I began to excited, and intrigued. It wasn’t how significant a about Corse that I realized read Whitney’s exhibition exhibition Whitney’s Light Indira A. Abiskaroon Indira A. Assistant Research Curatorial in Light Mary Corse: A Survey MA Students Student Student Voices: Art History B

The Institute of Fine Arts Annual 2017 - 2018 42 The Institute of Fine Arts Annual 2017 - 2018 43 Moreover, our two Moreover, keynote speakers, Daniela art historian Bleichmar and Kac, artist Eduardo fittingly embodied the interdisciplinary met along the way. Their teachings endorsed my met along the way. commitment to bring to public attention the work of artists in Latin America and the underrepresented Caribbean, and their Diasporas. exceptional opportunity to co-produce and host exceptional opportunity to co-produce project, In this ongoing their first podcast show. one-on-one conversations with a we will feature and series of contemporary Latin American, Latinx, into Caribbean artists. These interviews will delve work and discuss research-based these creators’ as well their contributions to expanding the art field, as generating a positive impact in society. has Institute the at experience overall my result, a As accomplishments. I professional been one of great with the satisfaction of having will finish my Master’s a constellation life-changing advice from received and peers I of inspiring scholars, professionals, Furthermore, by virtue of the Institute’s close by virtue of the Institute’s Furthermore, with several art centers in New York relationship to collaborate in a number I was also able City, with the Patricia Phelps de Cisneros of projects Collection and the Museum of Modern Art. a decades-long interest Both institutions share Latin America and the in bringing the arts from their This fostered Caribbean to global recognition. and writing on support to my research generous the Dominican Republic, Haiti, Cuba, and Brazil. I came to synthesize a these projects, Through for Black Atlantic Diasporic studies. interest growing an offered Collection the Cisneros Most recently, and cross-temporal focus we envisioned for focus we envisioned and cross-temporal the approached projects the Symposium. Their world in colonial Latin depictions of the natural the International aboard America, as well as art us with so, they provided Space Station. In doing of our intricate rapport a kaleidoscopic glimpse event was, without a as a species. This to nature formative experiences of my doubt, one of the most student at the Institute. time as a Master’s challenge during the late April proceedings. Their Their proceedings. the late April during challenge ample an represented research scholarly thoughtful the Pre-Columbian topics spanning from selection of eras. to the contemporary Benezit Dictionary Benezit Dictionary aims to increase gender gender to increase aims Benezit , I had the opportunity to research the lives to research , I had the opportunity

n the fall of 2017, a group of PhD Candidates n the fall of 2017, a group Graduate Center CUNY’s in art history from of Fine Arts started an Institute and NYU’s

the otherworldly. The selection of panelists and the otherworldly. to and exceeded the proposed discussants rose theme, “Super/Natural: Excess, Ecologies, and Art in the Americas,” sought to open a discussion on the intersections between artistic practices, the conceptions of and distinct regional environment, histories. It was an honor to follow in the steps of J. Sullivan, Edward our mentors, the professors Katherine Manthorne, and Anna Indych-López. Our to be both inspiring and fruitful. As we honed our to be both inspiring and fruitful. As we honed in motion, we reaffirmed ideas and set the project the long-standing commitment of our schools to the study of Latin American and Caribbean art of the Annual Symposium of Latin American Art. of the Annual Symposium of Latin American I had the privilege to actively participate in the formation of this new partnership, which proved unparalleled collaboration to plan the third iteration unparalleled collaboration to plan the third Caribbean: Geographically-based, never Caribbean: Geographically-based, never Geographically-limited Julián Sánchez González Latin America and the Art Histories from a standard. It is crucial for the art community to a standard. down these futile barriers and finally embrace break change. Only together can we persist. to confirm gender parity, a practice must be to confirm gender parity, implemented and followed. Although historically influence has been distributed among the sexes should not proclaim this approach disparately, highlights the issues of representation for women representation highlights the issues of to establish a trend order artists in the canon. In perspectives with efforts that incorporates diverse Benezit, which in previous years had biographical years Benezit, which in previous primarily by men. entries written and published continually update the and This effort to improve new scholarship content to reflect publication’s and affirmation they each deserve. As a female and affirmation they it is important for me to art historian and artist, by contributing to the demonstrate my advocacy As a Contributing Author to the As a Contributing of Artists female yet lesser-known, of these accomplished, the confirmation them with artists and provide diverse backgrounds, across the timeline of art the timeline of across diverse backgrounds, artists. with new contemporary resumes and history, At present, the the At present, exclusively that biographies by contributing parity artists from and gender queer focus on women I , . Like Life Rodin at The Met ooking back, the experience not only provided provided not only experience back, the ooking spent assisting Luke Syson, ESDA’s Iris and B. spent assisting Luke Syson, ESDA’s Gerald Cantor Chairman, in the making of the loan exhibition expansive Met Breuer participation in the design process – from finalizing – from participation in the design process floor plans and case arrangements to selecting B. Gerald paint colors for the newly refurbished on the exhibition Working Gallery. Cantor Sculpture initiatives within allowed me to pursue new research I visited the the department as well. In December, at the Musée Rodin in Paris to collect archives understudied Rodin documents on The Met’s carved by assistants to the marbles, which were specifications. And in February, master sculptor’s I contributed an essay on the history of the Rodin blog series. collection at The Met to the exhibition’s of my time was share Outside Rodin, the lion’s Over the summer of 2017, I worked closely with Over the summer of 2017, I worked closely Curator (and Institute alumna) Denise Allen on finalizing the conception of death, Occasioned by the centenary of the artist’s of The Met’s the exhibition constituted a redisplay placed sculptures, historic collection of Rodin’s works on paper in conversation with the artist’s a and paintings by his contemporaries. Always Allen supervised my writing mentor, generous materials, both interpretive of the exhibition’s full in the gallery and online, and supported my for my professional and intellectual development. development. and intellectual professional for my L in museum immersive education me with an as an enabled my growth work but also increased through scholar sculpture emerging to works of art and exposure access and in the field. specialists (March (March Rodin ). Professor Khera’s Khera’s ). Professor Journal18 (September 16, 2017 – February 4, 2018) or the Polonsky Foundation Internship in Foundation Internshipor the Polonsky in developing at NYU, I am Digital Humanities Dipti Khera with Professor a project

Like Life: Sculpture, Color, and the Body and Color, Like Life: Sculpture, n April 2018, I returned to working on my doctoral n April 2018, I returned thesis after an immensely fruitful 10-month period exhibitions – assisting on two sculpture

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see the scrolls in see the scrolls compressed period of curatorial training would be compressed Fellow, and the decision to defer my doctoral work and the decision to defer my doctoral Fellow, was supported by Alexander Nagel and my advisor how beneficial this who recognized Thomas Crow, department of European Sculpture and Decorative Sculpture department of European Museum of Art. Arts (ESDA) at The Metropolitan itself while I was sitting The opportunity presented Whitney in the department as a Jane and Morgan at The Met and Associate in the 21 – July 22, 2018) – as a Research Elyse Nelson Experiences at The Met the viewer can interact with the folding or rolling rolling the viewer can interact with the folding or at various points. pattern of the scroll but also the rolling process itself at either end that itself at either end that process but also the rolling of such could transform the study and perception scroll objects. My hope is to continue to explore an interface where animation, ideally to produce as static two-dimensional images. Including a 3D a 3D as static two-dimensional images. Including see the experience of the object, in which one can and unrolled, of the object as it is rolled entirety draws attention not only to the visible content, regions and genres, while simultaneously allowing while simultaneously allowing and genres, regions of the for experimentation in the use and viewing Our goal is to move beyond display of the scrolls. views of scrolls surface in stages, departing from exploring various digital tools to aid in this project, tools to aid in this project, exploring various digital and animation programs. particularly 3D modelling me to explore enables Assisting on this project across of scrolls material nature the corporeal, located these scrolls, dating between 1400-1900 between 1400-1900 dating located these scrolls, ( as scrolls in paper combines my interest project field of medieval a medium with my secondary and early modern South Asia. I have been (Department of Art History and Institute of Fine and Institute of Fine (Department of Art History the material, explore and Arts) to digitally archive of 25 Indian painted haptic element of a series identified and Khera has Profeessor letter-scrolls.

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The Institute of Fine Arts Annual 2017 - 2018 44 The Institute of Fine Arts Annual 2017 - 2018 45 , in his pursuit of a modern paintings offered not just a visual paintings offered Proun a function afforded by architectural training in by architectural a function afforded international and his role publications, Germany, of Soviet pavilions of a number as the architect at international expositions. Cultural diplomacy who in Moscow, with my local colleagues resonates of the internationalemphasize this aspect avant- context of declining US-Russian in today’s garde Lissitzky to realize, In fact, as I continue relations. ranging from hungrily on diverse currents, drew technology to German American construction Kunstwissenschaft architecture. One area of focus is the role of abstract painting in painting of abstract is the role of focus One area in Russia. of modernthe development architecture Lissitzky’s form; the act of painting for architectural target new technique and a compositional proposed Another operations. drafting room sequence of status as a to me is Lissitzky’s subject of interest and Russia, between Central Europe messenger . The vision

Little Dancer

fter a productive and enjoyable semester fter a productive I will begin a Predoctoral abroad, Fellowship at the Getty Research A was central to his self-fashioning as an artist. I on his architecture, Besides focusing directly am also questioning it as a horizon to understand other dimensions of his work. spans theoretical writings, construction proposals, writings, construction proposals, spans theoretical buildings. As I am discovering, and realized training and practice as an architect Lissitzky’s focus on Lissitzky’s architectural practice. My architectural focus on Lissitzky’s in German opportunity to do extended research and Russian collections has allowed me to piece which together disparate elements of this oeuvre, 1941”. Lissitzky is well-known for non-objective 1941”. Lissitzky is well-known for non-objective painting, graphic design, and montage. Despite has been little scholarly his canonical status, there Institute to continue work on my dissertation, “El Institute to continue work on my dissertation, as Spatial Form, 1908- Lissitzky: Architecture Research on El Lissitzky Research Sam Omans Met is one of the many reasons it continues to be Met is one of the many reasons a superior institution for art historical training. To say that the past year comprised my most say that To experience to date is by professional rewarding no means an overstatement. The opportunities with The relationship by the Institute’s presented materiality and length of the tutu on the original materiality and length wax sculpture. of collaborating with the Costume Institute of collaborating with the to fashion a new conservator Glenn Peterson iconic tutu for Degas’s to evoke the fullness, for the skirt was for it and planning a corresponding symposium and and planning a corresponding One interesting scholars. Study Day for sculpture was that to come out of the exhibition project in every aspect of the exhibition’s planning, of the exhibition’s in every aspect and negotiating shaping the checklist from the creating loans to editing the catalogue, and installing the show, audio guide, designing exhibition pushed me to expand my repertoire my repertoire me to expand exhibition pushed with varied living artists working of historic and I was involved and techniques. sculptural media which examines the traditions of realism and color and color of realism the traditions examines which between A collaboration sculpture. in figurative ModernESDA and Contemporary Art, the and , a gold-ground , a gold-ground was studied aint Paul and Saint Augustine tempera on panel painting, was the first work tempera on panel painting, was the first work by Giusto de’ Menabuoi to enter Samuel Saint Paul and Saint Augustine The construction of the panel appeared extensively. panel to follow an established tradition of Florentine treatise, in Cennino Cennini’s painting as recorded H. Kress’ collection in the early 1930s. Giusto de’ H. Kress’ fresco Menabuoi (1320-1390) was a renowned artist of works on panel. painter in Padua, but a rare immediately collected four additional panels Kress by the artist, all of which likely belonged to the same in 1363 polyptych commissioned of a large register The five panels for a Milanese Dominican church. Museum of Art in 1961. gifted to the Georgia were which was to involve for the treatment In preparation modern varnish a discolored and overpaint, reducing knowledge, strengthen international relations, international relations, knowledge, strengthen of ideas among and encourage the exchange I owe many thanks conservation professionals. Chair of the Department of to Debra Hess Norris, of the Winterthur/ Director Art Conservation and Art Conservation, in Program University of Delaware cultural a rewarding for inviting me to join such participate in similar exchange and I hope to conservation career. my opportunities throughout Hae Min Park technical examination Discoveries made from polyptych a dismembered of a panel from and problem-solving skills regarding environmental environmental skills regarding and problem-solving and disaster planning pest management, control, of locally-sourced and the use preparedness, to continue such It is important storage materials. our conservation to build upon fruitful collaborations S his past October, I had the opportunity to I had the opportunity his past October, trip to Havana, in a research participate focused on the Cuba. The trip, which

conservators at their home institutions, it was clear ingenuity that our Cuban colleagues show great After many discussions of current projects, day-to- projects, After many discussions of current and the challenges faced by day responsibilities, personally collected from living artists and their personally collected from in an environmentally- estates and is stored while staff on her property workroom controlled and digitizes the collection. catalogues, rehouses, contains thousands of documents, photographs, contains thousands of documents, photographs, to modern and contemporary and ephemera related material was Cuban art. Much of the archival directors. And I especially enjoyed our visit with directors. a private art collector: Ella Fontanals-Cisneros. the Veigas, manages Archivo Fontanals-Cisneros that artist archives collection of Cuban largest and the Museo Nacional de Bellas Artes. At each and the Museo Nacional de Bellas Artes. At institution, we visited with conservators, archivists, collection managers, educators, curators, and Biblioteca Nacional de Cuba José Martí, the Archivo Archivo Biblioteca Nacional de Cuba José Martí, the Nacional de la República de Cuba, the Centro de Estudios de la Conservación, Restauración y Museología at the Instituto Superior de Arte, During our three days in Havana, we toured days in Havana, we toured During our three the the Hemingway Museum at Finca La Vigía, photograph preservation that was hosted in Havana photograph preservation workshop This was the first preservation in March. from of any kind in Cuba and included participants provinces. all 15 of the country’s across the Americas. The information gleaned from the Americas. The information gleaned from across Havana this visit, and an earlier NEH-funded visit to in workshop in 2016, culminated in a four-day was comprised of both established and emerging established and emerging was comprised of both and included the co- photograph conservators organization of APOYOnline, a non-profit directors of cultural heritage dedicated to the preservation de Patrimonio Cultural de Cuba. It was funded by a de Patrimonio Cultural for the National Endowment grant from Chairman’s Our eight-member delegation the Humanities (NEH). preservation of Cuban cultural heritage with of Cuban cultural preservation and contemporary an emphasis on historic by the was organized photographic materials, the Consejo Nacional and University of Delaware Bryanna Knotts Bryanna in Cuba Research Student Student Voices: Conservation T

The Institute of Fine Arts Annual 2017 - 2018 46 The Institute of Fine Arts Annual 2017 - 2018 47 . Untitled (Airplane) magazine, Sterne, who is Life his spring, I had the opportunity to study his spring, I had the opportunity the from several “monotypes” and treat Hedda Sterne Foundation. Recognized reveals the stiff pe aks of paint, that formed when reveals the matrix. the sheet was pulled from I reconstructed the “monotypes” with oil paints. I reconstructed elucidated the simplicity of The reconstructions glass and flipping both layers through registering side, the matrix and paper to draw on the reverse adheres as well as the way wet paint preferentially layer of paint. to the previous of this highlight the characteristic features To transformation imaging (RTI), reflectance process, a multi-light computational imaging technique, was performed on one of the works, of the plane, shown here, image of the front The RTI made in the paper from the impressions reveals applied by the pencil. The image also the pressure member of the New York School, created numerous numerous School, created member of the New York of works on paper that fit neither the category are monotype nor of transfer drawing. Monotypes prints made by applying a wet medium, typically surface or matrix, such ink or oil paint, to a hard of as glass, and transferring the image to a sheet either applied by hand or paper using pressure, a press. through the graphite drawings on the versos of However, the works I examined indicate Sterne used a pencil the the matrix to to transfer the wet medium from of the print, much like transfer drawings. recto further questions about the process, answer To for her prominent place among “The Irascibles” place among for her prominent in a 1950 issue of or a to as an Abstract Expressionist often referred Rachel Mochon Rachel Sterne by Hedda Monotypes Demystifying T Saint Paul and Saint . But upon a closer analysis, the analysis, a closer . But upon , which will be exhibited at the Georgia , which will be exhibited at the Georgia companion panels, encourages future scholarship in scholarship companion panels, encourages future polyptych. Giusto de’ Meanbuoi and the Terzago Augustine as Museum of Art without its non-period frame, well as complete examinations of the remaining discoveries from my examination also propelled me my examination also propelled discoveries from master’s to study deeper about the polyptych for my I hope thesis and challenge past reconstructions. of treatment that my recent The project provided me the opportunity to provided The project collaborate with art historians and a fellow panels. The two of four remaining student treating to the painted surface and disrupted the refined to the painted surface and disrupted the refined known. gradation of vivid colors for which Giusto is optically scumbled. These deposits were Lastly, there were dark gray encrustations marring were there Lastly, the painted passages. These deposits, remnants material, had chemically bonded of old restoration provided about the construction of the painting, provided carved in imitation of the extant new fills were punchwork. arches above each full-figured saint, rather than saint, above each full-figured arches assumed. tops as previously simple rounded-arch information the punchwork Based on the important Another interesting aspect of the painting was the aspect of Another interesting extending of punchwork of remnants revelation the panel, suggesting that beyond the top edge of with trefoil- much taller, the panel originally was also a technique Menabuoi used for his frescoes in used for his frescoes also a technique Menabuoi Padua. this time period but may be related to Menabuoi’s to Menabuoi’s but may be related this time period the paint Analyses of painter. a fresco technique as that Giusto did not use the samples also showed the skintone. This was under layer for typical green other Trecento panels: x-radiograph, supported by x-radiograph, supported panels: other Trecento high- analyses, showed a elemental preliminary is unusual for lead, which containing density ground Il libro dell’Arte Il libro completely did not that Giusto showed examination seen in the typical painting methods conform to research. with the respect due the now-unknown individuals with the respect the memorial was intended to commemorate. at this and treatment my research I presented of the Association of North conference past April’s in Conservation, American Graduate Programs which is attended by established professionals student-conservator and as well as my emerging to my talk was extremely peers. The response glad to have some new heartening: people were knowledge on these mysterious objects background in the collections of their home institutions. Equally my peers seemed excited about importantly, and technical hairwork as a new avenue of treatment artist painted a cloudy sky in watercolor, whose artist painted a cloudy sky in watercolor, Encased to the front. colors diffused softly through by in a frame, the memorial had been damaged conditions, and unstable environmental water, of an infestation of beetles that consumed much hairwork. After cleaning the memorial and stabilizing the the loose elements, I decided that replacing lost hairwork with an in-kind material such as available extensions commercially human hair from but would be unethical. Instead, I chose to imitate and reversible using stable the hair, not replicate and conservation materials (such as Japanese tissue polyester non-weave). This seemed the best fibrous object for a whole-looking way to balance the desire to experiment with historic reconstructions and reconstructions to experiment with historic attending a Victorian After methods of manufacture. at the Mütter Museum in Hairworking workshop practice these techniques Philadelphia, I began to learning the about with bits of my own hair, and gaining in my care construction of the memorial for its creator. respect even more of finely chopped The memorial was composed ivory onto a razor-thin and divided hair painted Hair had also been laid veneer using gum arabic. and was cut into out in glued-together sheets a wooded cemetery scene. On shapes to render the of the translucent ivory veneer, the reverse human hair. They are a mixture of sentimentality, sentimentality, of a mixture They are hair. human In their utter revulsion. of course, and, curiosity, personal both intensely memorials were hair day, status as both fashionable, and their and highly just now objects is commercial intimate and earnbeginning to attention. Concurrent scholarly uptick in museum recent is a there with this trend, I also began dedicated to these media. exhibitions , in order to identify the to identify , in order uman hair is bound up with a complicated range of meanings and emotions, even the so when it is separated from more

Untitled (Airplane)

My research into the object’s context forced me to context forced into the object’s My research worked deconstruct the feelings that surround the mastery of their craftsmanship and the stability this on of their materials. Conservation literature particular class of objects is practically nonexistent. Michele Marincola. These small objects, popular in the late 18th century to and America from Europe delicate in both extremely are the early 20th century, body and used in artwork. During the Fall of 2017, body and used in artwork. During the Fall of a 19th-century cut-hair memorial under I treated the guidance of Conservation Center professor Andy Wolf a of Considering the History and Treatment 19th-Century Cut-Hair Memorial Foundation and other collections will continue to Foundation and other collections will continue of these complex works. research inform future Overall, the analysis of Sterne’s “monotypes” Overall, the analysis of Sterne’s information demystified these objects and provided and materials. I working process about the artist’s Sternehope that collaboration between the Hedda from the 1950s and included cobalt blue, zinc the 1950s and included cobalt from red. and cadmium yellow, Sterne containing linseed was using oil paint, the large unsurprising considering oil, which was The on paper. the media oil stains surrounding consistent with a palette are colorants in the paints x-ray fluorescence, and multiband imaging, on the and multiband imaging, x-ray fluorescence, work, revealed results colorants used. The medium and In addition to exploring Sterne’s working process, I process, working Sterne’s to exploring In addition infrared including analysis, non-invasive conducted spectroscopy, reflectance UV-visible spectroscopy, H

The Institute of Fine Arts Annual 2017 - 2018 48 ON DISPLAY

In this Section

CONTEMPORARY ART AT THE INSTITUTE , she stands naked in The White Shoes revealed a series of works related to a series of works related revealed Kappus those stories in her photographs. In her most well- known series, those places of justice and injustice, wearing her Case Studies exhibitions, where the teacher and the teacher and Case Studies exhibitions, where the artist builds his work one, and where artist were in the based upon work by others who preceded historical flow. our powerful voice in Nona Faustine was the third annual Artist Discussion, bringing her extraordinary vision to life with an illustrated talk explaining how she crafts her series of photographs and documentation of what is essentially a performance of New against the backdrop of historical correction of slave interpretations Faustine presents City. York City of New York records the archival histories from institutions, and historic places, and gives life to 17th and 18th centuries. In the several sets on view 17th and 18th centuries. In the several sets of in the Display Cases, Würth brings us a study engravings portrait the ornamentationssurround that and made by Robert Nanteuil in the 17th century, the sworls designs inspire 18th century garden and shrubs trees where and dots that represented into lines, and grouped would be planted in orderly accents and follies for the eye. cultured carefully XIV Seeing that Nanteuil was appointed by Louis and that Nanteuil wrote as designer and engraver, deal about his work and technique, Würth a great the 17th century texts to understand the interprets method, which he then applies to his own artist’s for the work. I felt that this was another perfect fit essence of line needed to convey meaning. He essence of line needed be defining a space that can only works with color, battling abstract as landscape, where interpreted engaged, and intertwined, lines stand for figures, literature, often titled from are connected. His works thus mentor and young poet, or the dialogue between for the painter is mentor and student. Meaning in the and meaning for the Institute is inherent clear, premise. of the painter’s very nature elemental copper plate engravings Anton Würth’s in series, and each one created and etchings are the to a historical set of ideas or prints from relates I had three remarkably talented artists who work artists who work talented remarkably I had three and ways: photography different in challengingly Each printmaking, and painting. performance; paintings, White’s in narrative. Kit artist is a master contain the human struggle, ultimately about

, which remained on , which remained

Ornamentations hen first conceived, the series of the series of hen first conceived, Cases in the exhibitions in the Display confined to the two Hall were Great

W work, or their backgrounds, or some way to tie their work, or their backgrounds, With the Discussion this April, statements together. on April 9, 2018, with the participation of two other artists: Nona Faustine, and Kit White. remarkable for the artists’ is a common thread Usually there this year was view a bit longer than originally scheduled, because we invited master printmaker Anton Würth to come and speak during the annual Artist Discussion, held space within the Institute. The first show to be installed in the Marble Room art. I bring a selection to share with the Institute with the Institute art. I bring a selection to share “Case Studies,” they are But essentially, community. relation focused on examining that intention, and the and confined vision to a restricted of an artist’s intention behind the series. They present material material intention behind the series. They present articulate by artists who are objects, created in contemporary about their mission, and their role constant contact with the Institute community. name for the series it seemed that a new This year, and the purpose, energy, should be added, to reflect places on the landings, one up, one down, to a new places on the landings, one up, one down, to cases home in the Marble Room. This makes the into better accessible to the public, and brings them evolved as the Institute has had a number of evolved as the Institute has had a number of public spaces and the to refresh renovations downstairs. These changes resulted seminar rooms their resting in the movement of the cases from best reflect the intention of the Institute. best reflect and That mission has changed in the last year, confines of a display case, much like the experience confines of a display in a museum, only this was of encountering a work bring living My focus at the time was to in a library. and Image, to artists whose work combined Word the Stephen M. Chan Library. My thought was that My thought Library. the Stephen M. Chan place extraordinary an the two landings provided close, within the and contemplate art, up to rest landings on the Great Staircase, part of the everyday of part Staircase, Great the on landings of the students and path trudge and ceremonial to the street, from as they ascended professors, The Great Hall Cases: Hall Cases: The Great Case Studies PhD 2006 Lisa A. Banner, Exhibitions Exhibitions at the Institute

The Institute of Fine Arts Annual 2017 - 2018 50 The Institute of Fine Arts Annual 2017 - 2018 51

, but they avant la lettre exhibitions academic year Anne Gilman, “Scrolls” Lex Braes, “Brogue” natural light of the Marble Room. Case Studies February 2019 2017-2018, through Peter Hristoff, “Silhouettes” Fugit,” installation with James Perkins, “Tempus video Jean Shin, “Elevated” Kit White, “Kappus” Anton Würth, “Ornamentations,” “Light of the Moon” Kate Breakey, Hisao Hanafusa, “Radiation Maps” Scott Hunt, “Paper Cut” flank the doors into the oak-paneled John Loeb flank the doors into the oak-paneled John floor-to-ceiling from Room. Natural light streams the windows facing Central Park, giving viewers chance to see works in natural light. orotones, On view this spring: Kate Breakey’s photographs made using the hundred-year-old that technique of printing negatives on a glass plate has been coated, and then the verso is burnished with a layer of 24 karat gold leaf. These fragile antiques works resemble Since her practice embraces contemporary. are the gold natural light and the dimensionality given by the backing, it is fitting that her work is shown in Now standing in the Marble Room, the display cases Now standing in the Marble Room, the display , reflecting the idea of the , reflecting Mitochondria under glass, staring back at the viewer. years ago, and inherently shown standing, was years ago, and inherently perfectly suited to a horizontal orientation, since he photographs nude bodies. They lay as if in glass of living saints, trapped tombs, like reflections beyond the present moment, to an engagement beyond the present For in equal measure. with the past and the future shown a few example the work of Gary Schneider, down, to see the works on view. Many artists prefer artists prefer Many down, to see the works on view. vertical orientation. public place, or a more a more yet each is invited only They self-select in that way, after demonstrating a grasp of continuity that goes city of New York. The artists are chosen by how The artists are city of New York. to a contained space, one well they can respond engagement, and looking intimate that requires a range of works, in sculpture, painting, drawing, painting, drawing, a range of works, in sculpture, to as many connections and new media, to capture the historical narrative as possible, while opening them in this vibrant students’ eyes to art around wrongdoing, and to stand for what women believe. wrongdoing, feature The series in the next few months will again photographs of her daughter and herself. The focus photographs of her daughter and herself. The seemed to and on women of strength, on family, and movement in New York parallel a growing to repudiate the world in the last year, throughout matrilineal descent of DNA, was expressed in an matrilineal descent of DNA, was expressed of installation that included shells, photographs her grandmother and mother as girls, and new white shoes. The series we showed at the Institute, white shoes. The series we showed at the Institute, filled with strong focused on her family, however, women.

80 Washington Square East Square 80 Washington Do you begin where I end? Do you begin where by Lilli Biltucci and Monilola Ilupeju Works Curated by Sam Allen February 28, 2018 Opened Wednesday, 3, 2018 March On view through 80WSE Gallery East Square 80 Washington Body Building, Body Blurring, Body Breaking Freeman by Jackie Kong and Nathan Storey Works Curated by Phoebe Herland 7, 2018 March Opened Wednesday, 10, 2018 March On view through 80WSE Gallery Curated by Mengyao Wang February 14, 2018 Opened Wednesday, February 17, 2018 On view through 80WSE Gallery East Square 80 Washington terms translation: in different by Catalina Granados and Elexa Jefferson Works Curated by Amelia Russo February 21, 2018 Opened Wednesday, February 24, 2018 On view through 80WSE Gallery East Square 80 Washington On view through February 10, 2018 February 10, On view through The Commons Gallery 34 Stuyvesant Street Sense and Insensibility by Jongho Lee and Daniel Evanko Works Curated by Jiajing Sun February 7, 2018 Opened Wednesday, 2018 February 10, On view through 80WSE Gallery East Square 80 Washington Signs as Places by Olivia Chou and Marta Murray Works 2018 Exhibitions 2018 i o u s P r e c a r Maya Pollack, Shinan Wang, Yoon, by Jay S. Works Gascho and Audrey Bambou Gili, Rose Shoyer, Samantha H. Rowe, Emily Curated by Chiu and Chao Chi 2018 January 24, Opened Wednesday, curated 06200—shown in was a robotic figure figure was a robotic , curated by Emily Shoyer, , curated by Emily Shoyer, Body Building, Body Blurring, Body Building, Body Blurring, ПРОЕКТ НЕО-ХЕРУВИМ curated by Phoebe Herland, artist curated by Phoebe Herland, Precarious he 2017-2018 academic year marks academic year marks he 2017-2018 of the NYU Curatorial the fourth season a student-led initiative Collaborative,

Dasgupta, Tammy Brown, and Shadi Harouni, with and Shadi Harouni, Brown, Dasgupta, Tammy devoted faculty and many thanks to the numerous both programs. staff from the gallery world of New York City. This season of City. the gallery world of New York by the NYU Curatorial Collaborative was organized and Haley S. Pierce co-coordinators, the Institute’s Priyanka Kathleen Robin Joyce, and Steinhardt’s form collegial relationships across the University, but the University, across form collegial relationships hands- it also allows students to gain professional, on experience as curators and exhibiting artists in together showed once again an esteemed level of together showed once again an esteemed level one another in dedication to motivate and inspire NYU a truly collaborative spirit. Not only does the to Curatorial Collaborative facilitate the opportunity handmade costumes. These curators and artists handmade costumes. These curators and artists and vision only a fraction of the creativity represent cohort, who displayed by the members of this year’s MOTHER TONGUE / LENGUA MATERNA MOTHER TONGUE / LENGUA MATERNA of a collaboration by Amelia Russo—was the result with an elementary school drama class in Tepito, incorporating letters, drawings, and Mexico City, complete with an interior hydraulic water filtering complete with an interior hydraulic water filtering social system. In a work that veers towards practice, Catalina Granados’ group show group Jay Samantha Rowe, and Chao Chi Chiu, artist sculpture S. Yoon’s Neo-Cherubim) (Project Jackie Kong offered a sign-up sheet hung on a Jackie Kong offered the artist at a advertising “a call from clipboard in this year’s scheduled date and time.” Featured Gallery. The exhibitions included student work in The exhibitions included student Gallery. the conceptual ranged from an array of media and to the innovative. In Body Breaking six exhibitions: one group show in the Commons six exhibitions: one group Barney and five Building Gallery of Steinhardt’s Space of 80WSE smaller shows in the Project Professions BFA program in Studio Art. This year, Art. This year, in Studio program BFA Professions of eight curators from we welcomed a new group Steinhardt, artists from the Institute and fifteen and executed a total of who together planned designed to pair graduate student curators pair graduate student designed to from Fine Arts with seniors the Institute of from Department of Art and Art School’s Steinhardt

Curatorial Collaborative Curatorial MA 2018 S. Pierce, Haley T

The Institute of Fine Arts Annual 2017 - 2018 52 Exhibition view of MOTHER TONGUE / LENGUA MATERNA at 80WSE Gallery. Artwork by Catalina Granados and Elexa Jefferson, curated by Amelia Russo. Davis, Kendall Follert, Mattos Paschal, and Haley S. Davis, Kendall Follert, Mattos Paschal, and Pierce. Spring 2018 Jamie Isenstein: Universe of Logs Opening May 2, 2018 Fall of 2018 On view through 1 pm - 4 pm Open to the public daily, the The exhibition was made possible through Napoleone XX and support of Valeria generous It was curated by Scott R. Gallery. Kreps Andrew Kaufmann Repetto. It was curated by Scott R. Davis, Kaufmann Repetto. It Paschal, and Haley S. Pierce. Kendall Follert, Mattos Fall 2017 Hopf Judith 2017 - January 2018 October 19, pm - 9 pm 19, 2017, 6:30 Opening October 1 pm - 4 pm public daily, Open to the the through was made possible The exhibition XX and Napoleone Valeria support of generous , exists —which Some End of Universe of Logs , whose ambient noise Flying Cinema by Jamie Isenstein, on view by Jamie Isenstein, on was Hopf’s was Hopf’s Cinema Universe of Logs ince 2013, the Institute of Fine Arts Great Great the Institute of Fine Arts ince 2013, to bring Series has sought Hall Exhibition inviting art to the Institute, contemporary

Wilfred Manzo, and numerous others. Manzo, and numerous Wilfred Valeria Napoleone XX, Kaufmann Repetto Gallery, and Napoleone XX, Kaufmann Repetto Gallery, Valeria as well as the dedication of the Gallery, Kreps Andrew faculty and staff including Christine Poggi, Institute’s Sophie Lo, Kent Minturn, Robert Slifkin, Sarah Higby, of the art object while surrounding mirrors add a mirrors of the art object while surrounding reflection of light. their performative effect through Hall Exhibition Series would not Great This year’s of support have been possible without the generous objects and how they contribute to our contemporary objects and how they contribute to our contemporary on understanding of truth and knowledge. Placed logs question the politics pedestals, Isenstein’s the five boroughs. Inspired by torches depicted in by torches Inspired the five boroughs. Hall the Great the Neoclassical friezes throughout logs, own set of fireplace as well as the Institute’s Isenstein seeks to highlight these seldom-noticed as a meditation on the artifice and theatricality of as a meditation on the artifice and theatricality logs, displaying logs on loan decorative fireplace museums and historic houses throughout from Things: Conception of Youth of rumbling thunder and clucking chickens could Hall. This semester, the Great throughout be heard installation, Jamie Isenstein’s hanging system designed by Dr. J. Jong Lou of hanging system designed by Dr. School of Engineering. On continuous Tandon NYU’s play inside the existence imbued with unique humor and irony. existence imbued with unique humor and irony. The installation of Hopf’s second-floor the Institute’s was suspended from the construction of a cantilevered landing—required included brick sculptures in the form of human feet in the form of human included brick sculptures built as well as a fully-working, curtained cinema for the space, examined the emotion of human gaining hands-on, professional experience from experience from gaining hands-on, professional selecting artists, to and commissioning proposals and planning associated managing loan agreements, exhibition, which events. Judith Hopf’s programming throughout the summer of 2018. As curators and the summer of 2018. throughout and Paschal were Follert, Davis, Pierce, coordinators, each exhibition, of organizing involved in every step Davis, and Mattos Paschal, this year’s series featured series featured this year’s Davis, and Mattos Paschal, artist Judith Hopf in the fall work by Berlin-based we opened an exhibition of 2017, and this spring entitled artists to display their work amid the Duke House’s the Duke House’s their work amid artists to display by Institute Curated interior. historic landmark Follert, Scott R. Kendall students Haley S. Pierce,

The Great Hall Exhibitions Series Exhibitions Hall Great The MA 2018 S. Pierce, Haley S

The Institute of Fine Arts Annual 2017 - 2018 54 The Institute of Fine Arts Annual 2017 - 2018 55 shared knowledge and perspectives and enriched shared topic. our (the curators’) own engagement with the 2018, shortly after the physical exhibition In March the exhibition, Samuel came down, two artists from participant, Fosso and He Xiangyu, and one program C. Onabanjo, joined art historian and curator Oluremi Kong, me for a conversation during Art Basel Hong began. and reckonings new resonances where “chin(A)frica: an interface,” curated for the 2017-2018 Duke House Exhibition Series, he most rewarding aspect of working on he most rewarding

various programs, friends who provided feedback, friends who provided various programs, critique, and heated discussions, visitors who the pull of Euro-American centrism. The ongoing the pull of Euro-American and expanding dialogues involved colleagues in the field (curators, artists, scholars) who participated in histories of solidarity clash with quasi-colonial negotiated ambitions, new terms of the “other” are unexpected and articulated, sometimes in bizarre, that escape (though not fully) pop cultural response parameters: the recent cultural, economic, and parameters: the recent infrastructural exchanges between China and various African nations over the past decade. When these gilded halls. At the same time, the genre of these gilded halls. At the same time, the genre necessarily constellates familiar and portraiture identity, highly contested ideas of representation, delineated in brave new and performance, here environment and the discourse of portraiture, by and the discourse of portraiture, environment scale photographic works that feature staging large in bodies and physiognomies historically absent was the numerous dialogues generated during its was the numerous to the architectural response run. It began as a direct MA 2018 The Duke House Main Floor Exhibitions PhD candidate; and Megan DiNoia, Xin Wang, T IN THE WORLD

In this Section

STUDENT ACHIEVEMENTS AND SPOTLIGHT ON ALUMNI The Institute of Fine Arts Annual 2017 - 2018 57 Early

, NYU Department of , Art and Art History , Visual Arts Department, , Visual , NYU Department of Art , NYU Department of Art , NYU Department , RISD, co-teacher , Department of Art, CCNY; , Department of Art, CCNY; , Art Department, Pace University , Department of Art, CCNY , Fordham University, sole instructor; University, , Fordham Fall 2017-Spring 2018: Curatorial Research Fall 2017-Spring 2018: Curatorial Research June Assistant for the Whitney Museum’s 2018 Mary Corse exhibition Summer 2017: Recipient of the Newington- In Residence Paestum Foundation’s Cropsey Fellowship • • Edina Adam, PhD candidate Museum of Art - Recipient of The Metropolitan Fellowship Marica and Jan Vilcek Indira Abiskaroon, MA 2018 Indira Abiskaroon, Achi, PhD 2018 Andrea Opened the Met exhibition “Art and Peoples of the Oasis” in October 2017 Kharga Contemporary Art Sam Omans, PhD candidate History of Art 10000 20th Century Art Saarthak Singh, PhD candidate History of Architecture course grader History, PhD candidate Xin Wang, Critics Seminar Three and Accomplishments Awards Introduction to Western Art II to Western Introduction course section leader Art History, candidate Elizabeth Lee, PhD Asia Art of the Brush in East sole teacher CUNY, Department, Hunter College, Kirsten Lee, PhD candidate Art History to Art History: Europe, Introduction Department of New York The Streets University Fordham PhD candidate Emily Lyver, Madeleine Glennon, PhD candidate Madeleine Art History of Western section leader course History, PhD candidate Marina Kliger, , , CORE

, NYU Department of Art , NYU Steinhardt, sole , NYU Steinhardt, , NYU Department of Art , NYU Department of Art , NYU College of Arts and , History Department, John Jay , History Department, , School of Art, San Francisco , CORE Curriculum and NYU , NYU Department of Art History, of Art History, , NYU Department , Department of Art History, Wesleyan Wesleyan , Department of Art History, , NYU Department of Art History, History, , NYU Department of Art

Reading Surfaces: Painting Techniques Over Time Over Reading Surfaces: Painting Techniques Cooper Union for the Advancement of Science and Art, sole teacher to Andy Warhol Department of Art History Annika Finne, PhD candidate Urban Design and Architectural Studies, course Urban Design and Architectural section leader; the Armory Show from New York, Avant-Garde Hannah Feniak, PhD candidate City in New York History of Architecture and Curriculum and NYU Department of Art History Jordan Famularo, PhD candidate Famularo, Jordan About Art Writing sole teacher State University, Tianyuan Deng, PhD candidate Global Contemporary Art teaching assistant History, in 20th Century Spain Science, course section leader University PhD candidate Francisco J. Chaparro, its Aftermath and and Contexts: Civil War Cultures Art: Practice and Ideas teacher; Art after 1945 Western Art Western leader recitation Alexander Bigman, PhD candidate MA candidate Maite Basaguren, Latin American Art sole teacher; College, CUNY, Cristina Aldrich, PhD candidate Cristina Aldrich, PhD Art History of Western course section leader History, Dustin Aaron, PhD candidate PhD Dustin Aaron, 1 History of Art leader course section Teaching Experience Experience Teaching Student Student Achievements In this Section ON ALUMNI AND SPOTLIGHT ACHIEVEMENTS STUDENT on view at Like Life:

Cloths of Honor

at the conference “Male at the conference The Homoerotics of The Homoerotics Summer 2017: received the Rosenwald Summer 2017: received sites; received Grant to visit Land Art Travel the Fund Beukenhorst/Rijksmuseum Fund Grant to attend the Rijksmuseum summer school Spring 2018: presented and Spiritual Abstraction and Visual In-House Symposium; the IFA/Frick will be presenting Transcendentalism Bonds in 19th Century Art” at the Museum of Fine Arts, Ghent, Belgium (supported by Grant) Student Travel Dean’s • • Elyse Nelson, PhD candidate on Associate as a Research Worked and the Body (1300-Now) Color, Sculpture, 21 – July 22, 2018; March from at The Met Breuer Junior Fellowship (July-- Paul Mellon Centre September 2018) Recipient of the American Academy in Rome Recipient of the American Academy in Rome Fellowship PhD student Alexis Monroe, Charlotte Healy, PhD Candidate Charlotte Healy, Fellowship for 2018-2019 Recipient of MRC MoMA academic year candidate MA/MS dual degree Kristin Holder, the Stout Grant from Recipient of George Institute for Foundation of the American a workshop “Framing Conservation to attend for Panel Enclosures and Microclimate Techniques Restauratie Atelier Paintings” at the Stichting in Maastricht, Netherlands Limburg Anna Majeski, PhD Candidate Lyla Halsted, PhD candidate PhD Halsted, Lyla Internship of Polonsky Recipient Digital in research NYU/GSAS pursue a from Humanities Khera Dipti with Professor project PhD candidate Katerina Harris, at the Institutional Fellowship the Kress Recipient of Warburg

. The Art , and Oxford Oxford and

Parsing the , and and . Integrating

Preventing Cultural Loss Preventing Integrating Multispectral Photogrammetry for , and on the art history elective proposed proposed on the art history elective vol. 40, no. 2 vol. 40, no. Forthcoming talk at 2018 AIC Annual Meeting in Houston: Multispectral Imaging, RTI Objects Photogrammetry for Archaeological The Computational Analysis of Watermarks: The Computational Analysis of Watermarks: Setting the Stage for the Development of a Imaging Box (WImBo) Watermark Setting the Stage for the Development of a Imaging Box (WImBo) Watermark into Data | Engineering WImBo Forthcoming talk at CISS2018 at Princeton: Co-authored two papers in reviewed two papers in reviewed Co-authored of CISS2018 at Princeton: Proceedings Computational Analysis of Watermarks: Efficacy of Fifty-Plus Years of On-Site Metals Efficacy of Fifty-Plus Conservation at Sardis a Session at 2018 AIA-SCS Annual Chaired Meeting in Boston: Meeting in Boston: Imaging, RTI Objects Archaeological Heritage Conference at British Museum: Heritage Conference Integrating Multispectral Imaging, RTI Objects Photogrammetry for Archaeological Gave two talks at 2018 AIA-SCS Annual work with Chantal Stein (Conservation at Center) and Sebastian Heath (ISAW) 2017 IPERION 3D Modeling in Cultural Gave a talk about ongoing Digital Humanities Digital ongoing about a talk Gave • • • • • •

Annika Finne, PhD student Freelance copywriting for an upcoming Artbook copywriting for an upcoming Freelance in catalog after internship Artbook D.A.P. with D.A.P. summer 2017 Emily Frank, MA/MS 2018 Published article Union and taught at Cooper Recipient of the ACLS Fellowship Recipient of the ACLS 2018 Megan DiNoia, MA Recipient of the Museum of ModernRecipient of Museum Art Fellowship Consortium Research 2018 Elizabeth Buhe, PhD Art Journal, PhD candidate Julie Bozer, Alexander Bigman, PhD candidate PhD Bigman, Alexander and Objecthood: “Architecture essay Published in Imaginary,” Renaissance Donald Judd’s

The Institute of Fine Arts Annual 2017 - 2018 58 The Institute of Fine Arts Annual 2017 - 2018 59 Art Basel Hong Life & Dreams: Life & Dreams: , NYU IFA (highlighted at Art (highlighted , NYU IFA chin(A)frica: an interface at the chin(A)frica: an interface (May 13--November 18, 2018). (May 13--November 18, Feathers: Fashion and the Fight for Collection, Ulm, Germany: Collection, Ulm, Germany: Art in China since the Photography & Media 1990s Hong Kong at Para:Site, Curatorial residency 2018. in October and November Spoke at the Para:Site InternationalSpoke at the 2017. in Hong Kong, October Conference Co-curated Duke House in March). Basel Hong Kong Conversations at the Moderated two panels Kong Conversations at the Walther Co-curated exhibition • • • • • Netherlands Edina Adam, PhD candidate Assistant Curator of Drawings, J. Paul Getty Museum Emily Behzadi, MA 2018 Associate Attorney at Meehle & Jay (focus on business and entertainment law) Benson Evans, MA 2018 Caroline Wadsworth Assistant Librarian and Archivist, Atheneum Museum of Art, Connecticut MA 2018 Melanie Buehler, Curator of Contemporary Art, Frans Hals Museum, Summer 2017 - Curatorial Intern at the New- working on the upcoming Society, Historical York exhibition Wildlife Selected Placements Abigail Abric, MA 2018 Gallery Assistant, David Zwirner Gallery Achi, PhD 2018 Andrea Department of Medieval Art, The Assistant Curator, Museum of Art Metropolitan Melissa Young, MA candidate Melissa Young, Scarlett Strauss, PhD Student Strauss, Scarlett and Archival Paleography into the Accepted Archive at the Medici program Summer Study Project PhD candidate Xin Wang,

A History of A History of

Benezit Dictionary of art show Young Curators Invitational Young , 21st Edition, forthcoming from forthcoming from , 21st Edition, Spring/Break artists from the Dominican Republic, Haiti, artists from and Cuba. summer traveling in the Patricia Phelps de Collection website. They feature Cisneros commentaries on the work of contemporary after completion of the program. Invited to host a podcast show for the Collection. Patricia Phelps de Cisneros articles based on 2017 Published three Spring of 2018 at MoMA. An article of his authorship on the Brazilian artist Rubem will be published by the Museum Valentim Participated in the Museum Research Participated in the Museum Research Consortium (MRC) Study Sessions of the as part of University of Oxford Press. as part of University of Oxford RIBA 2018 Scholars Program, Fellowship, Predoctoral 24, 2018-- Institute (September Getty Research June 28, 2019) Industrialization and Empire 1830-1914: 1830-1914: and Empire Industrialization Sir Banister Fletcher’s Russia,” in Architecture Published chapter “Architecture, “Architecture, Published chapter • • • Curator for Ksenia Soboleva, PhD candidate Julián Sánchez González, MA 2018 Contributing author to the Artists Recipient of the Louise Fitz-Randolph Fellowship Recipient of the Louise Fitz-Randolph Fellowship Mount Holyoke College from Samantha Rowe, MA student exhibition Mallory Roark, MA student Haley S. Pierce, MA 2018 Haley S. Pierce, Paintings Spring 2018 intern in the European Museum of Art; department at the Metropolitan for the upcoming Fall 2018 Delacroix research Fatima Quraishi, PhD Candidate Fatima Quraishi, PhD Fellowship Recipient of the CASVA organized by Foire internationale d’art contemporain by Foire organized with Fondation d’entreprise (FIAC) in collaboration 19-22, 2017) during FIAC in Paris (October Ricard Ilhan Ozan, MA 2018 Invited to participate in • Sam Omans, PhD candidate Omans, PhD Sam •

THE MAP! maintains Institute The map of an interactive alumni all active on our website GET ON ON GET Fatima Quraishi, PhD Candidate Fatima Quraishi, PhD Art and Material Culture Acting Assistant Professor, Department of Art History, of the Islamic World, University of California - Riverside Louisa Raitt, MA 2018 Fine Arts, NYU The Institute of PhD program, MA 2018 Julián Sánchez González, Columbia University in Art History, PhD program Mi Tian, MA 2018 Princeton University in Art History, PhD program Stacy Newport, MA 2018 Newport, Stacy Gifts, The Major Officer, Development Assistant of Art Museum Metropolitan MA 2018 Ilhan Ozan, History of Art and Architecture, in the PhD program Pittsburgh University of Fosca Maddaloni, MA 2018 in the History of Art, Brown PhD program University Eana Kim, MA 2018 Fine Arts, NYU The Institute of PhD program, PhD program, The Institute of Fine Arts, NYU The Institute of PhD program, Allison Kidd, PhD 2017 Edinburgh Post-doc, University of Study of the Ancient World, NYU Study of the Ancient World, MA 2018 Hebdon, Bronte Getty Conservation Institute, Los Angeles Institute, Los Getty Conservation 2018 Emily Frank, MA/MS Institute for the in Ancient Studies, PhD program Megan DiNoia, MA 2018 Megan DiNoia, Department, Publications Graduate Fellowship, Elizabeth Buhe, PhD 2018 Buhe, Elizabeth University Fordham position, Teaching Sabbatical (2018-2019)

Arts Annual 2017 - 2018

The Institute of Fine Arts Annual 2017 - 2018

60 60 The Institute of Fine Arts Annual 2017 - 2018 61 61 . Paris Street: Rainy Day Paris Street: ultimately recreate the making of the drawing at ultimately recreate life the original site in Paris. How many times in can you have a theory about something created and almost 150 years ago, be able to test it out, have it actually work?! My work is a series of mysteries and discoveries, each artwork like a new case that needs cracking. my camera, and time to pick up my clipboard, It’s my magnifier and get back to it. to help bring clarity to the work we do, so that to help bring clarity to the work we do, so that my fellow academics to my parents everyone from I can experience the story of a painting the way do. A few years ago, I was part of a team studying 1877 Gustave Caillebotte’s I had, what seemed to me, some crazy theories between the schematic about the relationship drawing also in the collection, the preparatory original site in Paris, and the famous painting. expert my friends (read: With a little help from able to make some amazing colleagues), we were and process, discoveries about the artist’s developers and conservation and curatorial developers and conservation of imaging, to the combination professionals, art historical and technical conservation science, of each picture a clear information to create artwork presented. on these catalogues also expanded Work and image in technical imaging my interest a transitional I seem to come from processing. imaging: weaned on film generation in terms of as I went along. and learning digital processes Photoshop was just When I came to Chicago, about once. Now it’s I’d heard some software arsenal, a way another tool in my processing information in a clear way to readers, in a clear way to readers, information while still highlighting our findings simultaneously to make their own discoveries. allowing readers from can be a tricky process, Collaboration between web processes translation the careful . Being Picture of Dorian Picture Online Scholarly Catalogues

from the 1945 film, Albright and his meticulous from Art Institute, over Millenium Park. The light is Art Institute, over Millenium Park. The light is t’s a beautiful day in Chicago; the view from Chicago; the view from a beautiful day in t’s the from the conservation studio is northward

imaging and analysis. Once acquired, we had to imaging and analysis. Once acquired, this and present out how to process figure and technical analysis, was extremely fulfilling. and technical analysis, was extremely systematic The catalogues entailed thorough, of range investigation of the artworks and a broad the primary endeavors was the development of the Art Institute’s involved in the development of the digital platform a marriage of curatorial as well as content creation, construction and opening of the Modern Wing, seen and been part of museum directors, different three One of during my tenure. some amazing projects Unlike Albright, I am not midwestern. A transplant the east coast, I came to Chicago in 2005 for from my graduate internship, and have stayed at the Art than 12 years. I have watched the Institute for more Albright is a fascinating subject, and one who is Albright is a fascinating subject, and one who often viewed as distinctly individual, midwestern. An artist who controlled every step of his process, every step of his process, An artist who controlled making his own materials, to assembling from complex set-ups and dioramas, to painstakingly inch at a time, working his paintings one square artist most famous for the titular Gray research. also the subject of my current methods are perfect for retouching, which is fortuitous as I am perfect for retouching, just putting the finishing touches on the treatment of an early painting by Ivan Albright. A Chicago-area Kelly Keegan, MA, 2006 Kelly Keegan, the Art Conservator of Paintings, Associate Chicago Institute of Alumni Alumni in the Field I

of Gupta, Chola, and Khmer origin to another who has become one of the most private collector, field. in our important collectors and philanthropists 2018, I sold in March And to that same collector, public—not even through anonymous loan. Being at public—not even through gave me access to a deep and real-world Christie’s knowledge of art that I could not have acquired for I am grateful to the IFA graduate study. through me to succeed in this role. preparing three are there Of the many highlights of my career, that stand out. The first was when I identified a lost which Indian court painting by Nainsukh of Guler, eventually sold for $1.6 million, thus cementing with a private buyer with an my relationship incomparable collection of Indian court paintings. The second was when, during that same auction, I sculptures important and exceedingly rare sold three in love all over again with the arts of Nepal, South in love all over again with the arts of Nepal, to name just a few of the cultures India, and Khmer, I worked with. I was fortunate to catalogue and Asian over the sales of several prestigious preside art collections, including the Pal Family Collection, and the James and Marilynn Alsdorf Collection, to have the Doris Wiener Collection. I’m proud of been instrumental in winning the Collection Robert Hatfield Ellsworth, which made $134 2015, the highest sale total for any million in March those collection of Asian art at that time. During all years, I was fortunate enough to meet scholars, and collectors, and connoisseurs all over the world not available to the to evaluate collections that are Indian origin, I was embarrassed that I had not been Indian origin, I was embarrassed in depth, and was culture able to study that visual eager to learn. at Christie’s, 13-year career Thus I embarked on a Head of the I eventually became the where for responsible and I were Department. My team and selling fine studying, appraising, cataloguing, up to the early 20th the Gandharan period art from and raising the understanding and thereby century, diversity of South and of the richness and awareness handled thousands of objects, Southeast Asian art. I understanding of value, a developed a very real sense of connoisseurship, and fell highly refined a Fulbright Scholarship in India, I came back to New back to New I came in India, Scholarship a Fulbright options. There but few lots of ideas City with York three jobs for a person with surprisingly few are opposed in seemingly diametrically Masters degrees connection at a through Fortunately, disciplines! Museum of Art, I learnedthe new Rubin about of Indian and in the Department an opportunity While of New York. Art at Christie’s, Southeast Asian

hen I first came to the IFA nearly hen I first came to the IFA 20 years ago (!), I was intent upon becoming a conservator of Italian Old

W paintings during my fourth year in the Department of Paper Conservation. After spending a year on Soucek. I feel immense gratitude to have studied the conservation of Italian panel painting with Mario and Dianne Modestini, and then to have Indian court translated those skills to treating with Keith Christiansen, adding to my first love of Italian art, and also felt the pull of my ancestral land with a course on Mughal art with Priscilla exposed me to a wide array of My years at the IFA including my first courses materials and cultures, in Asian art. I enjoyed my seminar on Gentileschi throughout Italy to augment my studies, the idea throughout of that I would play a small part in the immortality these works—it was nearly too much to bear. become enamored with Caravaggio, Bernini, and become enamored The Conservation other giants of Italian art history. the perfect combination were Center and the IFA of my passions. The thought of traveling Master paintings. I had spent my undergraduate Master paintings. I had spent my undergraduate graduate studies pursuing the dual and previous and had and art history, disciplines of microbiology Sandhya Jain-Patel, MA/MS, 2003 MA/MS, Jain-Patel, Sandhya museum private General, Director

The Institute of Fine Arts Annual 2017 - 2018 62 The Institute of Fine Arts Annual 2017 - 2018 63 hen I defended my dissertation in the dissertation defended my hen I had a full-time of 2004 I already spring of at the Fashion Institute teaching job W (though much smaller than this one). The glazed may smile on my face may suggest otherwise. You the other end of the snake is; I sure wonder where did. been stranded in Sri Lanka and been dramatically been stranded in Sri Lanka and been dramatically day in seasick in the North Atlantic and survived a Maputo). Though I enjoy the life and food onboard— that I ate for the first dining room it was in a ship’s foam—I usually last time watercress and probably and after travel both before tack on self-propelled in brutally hot and preferably a cruise adventure, the venomous wildlife is humid places where abundant. The accompanying photo was taken in a market snake I had a large in April 2018 where in Vietnam draped on me without my permission. I did not panic, having had pet boa constrictors as a boy which time I also developed a kind of additional which time I also developed a kind of additional a visual artist. I make artists’ books, as micro-career prints and chemigrams (a form of experimental cameraless photography) and now regularly exhibit and even, gasp, sell my work to discerning consumers. could not have I probably While at the IFA could I anticipated any of these developments, nor on high-end to lecture imagine being asked regularly I cruise ships. Though this last is a form of travel I have doubt I would have undertaken voluntarily, to the Alaska enjoyed journeying to places from I’ve Black Sea to Polynesia to New Guinea (and parent of FIT, now refers to non-western art history now refers of FIT, parent Civilizations), and though courses as Other World courses in Islamic art I have continued to teach has swung between the and civilization, my focus modern, and ancient worlds ever since. medieval, institution than a research FIT is a teaching rather to develop courses and encouraged and faculty are I have outside their specializations. pursue projects courses in Oceanic art and developed and taught of the moderncivilization, the history printed image, of manuscripts and artists’ Islamic cities, the history History books, and many others. I was Chair of the 2006-2013, during of Art Department at FIT from Technology in New York and was in fact the last full- and was in fact the last York in New Technology (This with ABD status. to be hired there time faculty I most institutions now.) of at unheard is probably as a non-western specialist, as we were was hired the watchful those ancient days (SUNY, still called in Lokanatha Lokanatha , from Pala-period India, for nearly India, Pala-period , from , on loan from the Hirshhornand Museum , on loan from Professor, Fashion Institute of Technology, Fashion Institute of Technology, Professor, SUNY www.furiousdaypress.com Richard Turnbull, PhD 2004 Turnbull, Richard years. I am delighted to greet any IFA alumni in our any IFA years. I am delighted to greet in Chicago. Please email me space while they are at [email protected] to connect. Trace May 9 to June 30 (possibly from Garden, Sculpture of program to be extended), and have a robust two exhibitions under development for the next is to create a safe and accessible space for the a safe and accessible is to create and activism. At intersection of art, architecture, showing Ai Weiwei’s we are the time of this writing, private museum. I’m simultaneously humbled and private museum. I’m simultaneously 2018, I am of March to announce that, as honored of a completely new (and yet-to- now in charge in Chicago. Our mission be-named) institution When the time came for me to consider my next When the time came for role me the offered step, one of those collectors General for his new of a lifetime, to be Director an increasing number of collectors worldwide had of collectors worldwide number an increasing willing its importance, and were of become aware generations. it for future to invest to protect auction for any work of South or Southeast Asian any work of South or auction for my success astounding values reflect origin. These so well that culture my ancestors’ in representing an over-life-size black stone figure of figure black stone an over-life-size Avalokiteshvara achieved at the highest price ever $25 million,

River exhibition Lightning Blue Black , a show opening in June, 2018, , a show opening . In the past two years I have Truth and Beauty: The Pre-Raphaelites The Pre-Raphaelites and Beauty: Truth , an exhibition at Frederic Edwin Church’s Edwin Church’s , an exhibition at Frederic at forty and Glenn Ligon’s at forty and Glenn Ligon’s Nochlin and Robert Rosenblum for teaching me how Nochlin and Robert Rosenblum for teaching an to integrate my expertise in historical art with and Rob Lubar for of the contemporary, awareness helping me to develop a writing style both intelligent and accessible. is to co-curate the first ever project My present of the British Land artist, Andy retrospective career Center for British to open at the Yale Goldsworthy, Art, New Haven, Connecticut, in early 2021. He is the most innately aesthetic artist since J.M.W. and it is going to be a blast. Turner, artists both established and upcoming. the Since that time I have curated an exhibit on little-known abstract painter Ben Wilson at the Montclair State University, Segal Gallery, George at and Editor-at-Large and am now Senior Writer Rail The Brooklyn reviews of museum and gallery written twenty-five with exhibitions and published extensive interviews in and Barry McGee, Ford, Walton Cecily Brown, De Maria’s addition to essays on Walter Field I credit at the Pulitzer Arts Foundation in St. Louis. to the work of Linda and my exposure the IFA But much of my recent work has been in modern work has But much of my recent partnered I have productively and contemporary art. Hannock on a number of with the painter Stephen Gallery in New York his exhibitions at Marlborough he and I co-curated and London, and in 2015 Crossings and Hudson, New York, Olana State Historic Site, National Historic The Thomas Cole Cedar Grove, and filled those venerable Site, Catskill, New York, contemporary artists houses with works by of experience in the associated with a continuity and upstate, including Martin Hudson River Valley Cindy Charles LeDray, Maya Lin, Kiki Smith, Puryear, Nozkowski, and over twenty more Sherman, Tom Park, Moscow. Since that show, I have consulted on consulted I have that show, Since Moscow. Park, and Design British Art Legacy: The Pre-Raphaelite summer Museum of Art in the at the Metropolitan of 2014, and Masters and the Old and written for of the Legion of Honor, at the Palace the catalogue. seen Pre- at Tate Britain. at Tate

have been teaching at Marymount Manhattan have been teaching at Marymount Manhattan College, home of the Griffins, since 2003, Art and have helped oversee a robust

giving a lecture to over 400 twenty- and thirty- giving a lecture something Russian art fans at the Garage in Gorky Washington, D.C., the State Pushkin Museum of Washington, and the Tokyo, the Mori Arts Center, Arts, Moscow, in 2013-14. It was Palazzo Chiablese, Turin by over 1.2 million visitors. And the highlight was In 2012 I co-curated the large exhibition, In 2012 I co-curated the large Avant-Garde Raphaelites: Victorian This show travelled to the National Gallery of Art, Tate Britain, London, in 2007, a show that travelled Britain, Tate the and Gogh Museum, Amsterdam, to the Van Kityakushu Municipal Museum of Art, Fukuoka, in 2008. Tokyo, and the Bunkamura Art Gallery, been a product of teaching offsite throughout of teaching offsite throughout been a product and curating a number of area, the metropolitan at Millais exhibitions. The first was John Everett over the map, as is a necessity in a two-person over the map, as is a necessity in a two-person department, but have also branched out from Art to embrace my focus on British Victorian has contemporary art and curatorial studies. This We have alums in graduate programs and in all have alums in graduate programs We particularly well- of the art world, and are areas art galleries. I teach all in New York represented History undergraduate program of over thirty program History undergraduate majors and twenty minors involving academic York the New work, offsite teaching throughout training. and pre-professional area, Metropolitan

Jason Rosenfeld, MA 1993, PhD 1999 MA 1993, Rosenfeld, Jason of Art Professor Chair and Distinguished Manhattan College Marymount History, I

The Institute of Fine Arts Annual 2017 - 2018 64 The Institute of Fine Arts Annual 2017 - 2018 65 from the IFA to the Brooklyn Museum with several to the Brooklyn the IFA from uncharted paths along the way packed with is yet and excited for what experiences. I feel ready to come.… Tatti, for which I am the editor. From its conception From which I am the editor. for Tatti, to to its final implementation, I owe much again me many of my seniors and colleagues who let As a yet challenging project. steer this interesting at my research deal from scholar I learned a great colleagues the numerous as well as from I Tatti, Villa knew who contributed to the edited volume. Who such Persian manuscripts would have brought was places and people together? As this exhibition at my I was already coming to a close last summer, Museum yet again looking new job at the Brooklyn ready for action. at floor plans and checklists, once again of my long journey I am reminded mostly in a supporting role while this whirlwind was role mostly in a supporting the best models in front happening I think I had Art When the new Harvard of me to learn from. a bit of the we all shared Museums opened I think gratitude. pride, excitement, and to prepare role a larger After the opening, I took the Harvard I Tatti, Villa a loan exhibition from Renaissance Studies in University Center for Italian two This collaborative work between Italy. Florence and thoughtful in a beautiful institutions resulted Art Museums, “A New exhibition at the Harvard Persian Paintings from Berenson: Light on Bernard I and a volume to be published by Villa I Tatti,” Villa under one roof. Much time was spent on planning on planning time was spent Much one roof. under plan. One of this implementation gradual and the for ready for execution but also had to be ready many people adjustments since so changes or one towards working roles were in very different checklists, plans, gallery plans, big goal. Floor seemed as lists, labels lists, rotation conservation I was going to end. Although never if they were

IFA as a Fulbright fellow from Turkey Turkey as a Fulbright fellow from IFA in 1992, I had no idea how long this hen I had begun my studies at the W new Harvard Art Museums as the three museums Art Museums as the three new Harvard (Fogg, Sackler and the Busch Reisinger) moved Jean Calderwood Collection of Islamic Art” at the Sackler Museum, as well as a catalogue and lots to the exhibition. Then we related of programming for the closed for several years to prepare were When I first started at Harvard we were preparing preparing we were When I first started at Harvard for a major exhibition, “In Harmony: The Norma types of work of a curator. Although my previous Although my previous types of work of a curator. Art Museums first as a fellow, job at the Harvard it then as an assistant curator was quite different, job. me well for my present certainly prepared involved with fundraising, coming up with ideas involved with fundraising, coming up with ideas exhibitions, and finding ways to use and for future all the different expand the collection: basically, the Eastern Parkway from the window of my office the Eastern Parkway from Museum. I am making plans to at the Brooklyn Islamic open up the new galleries of the Arts of the the collection, getting I am researching World, happen), changed this plan forever. to All of this now seems so long ago as I look out journey would last or where it would take me, it would take journey would last or where at most I thought. perhaps a few years in New York my Not only continuing onto the PhD but meeting student (yes, these things husband, also an IFA Ayşin Yoltar-Yıldırım, PhD 2002 PhD Yoltar-Yıldırım, Ayşin of Curator Associate Kevorkian Hagop Museum at the Brooklyn Islamic Art

ART HISTORY ARCHAEOLOGY CONSERVATION

and scientists at New York City’s prestigious prestigious City’s and scientists at New York museums. as well as advanced fieldwork and a nine-month, as well as advanced fieldwork and a nine-month, to encouraged capstone Internship. They are obtain additional conservation experience during excavations or other summer archaeological The Center also provides formal work projects. courses in connoisseurship and technical art history for those pursuing studies in art history, and curatorial studies, which are archaeology, intended to acquaint them with the physical of works of art, and the need for structure as well as the possibilities and preservation, limitations of conservation practice. Classes are distinguished full- and part- taught by the Center’s many of whom serve as conservators time faculty, prepares students for careers in conservation for careers students prepares that program dual-degree a four-year, through combines practical experience in conservation curatorial, with art historical, archaeological, and scientific studies of the materials and construction of works of art. While earning their MA in art history and MS in conservation, students laboratory work, and projects, undertake research as of conservation, such seminars in special areas of advanced x-ray techniques and the treatment modern and contemporary paintings. Students gain intensive conservation experience laboratory work, and projects research through Master of Science in Conservation/ Master of Science in History Master of Art in Art Conservation Center is dedicated The Institute’s to the study of the technology and conservation of works of art and historic artifacts. The Center a Masters in without students to excel in historical and material investigation as well as to develop skills in close visual as well as to develop material investigation excel in historical and students to he Institute of Fine Arts is dedicated to graduate teaching and advanced research in the history of in the history of and advanced research to graduate teaching of Fine Arts is dedicated he Institute encourages works of art. The Institute and technology of and the conservation art, archaeology,

a Masters in Art History. Students are exposed Students are a Masters in Art History.

continue working while attending the Institute. The program requires two years of full-time study requires The program years of part-time study for those with or three who wish to careers, established professional careers in art museums, galleries, auction houses, careers site cultural centers, arts foundations, archaeological management and development, art conservation, or eventual doctoral work in art history or archaeology. arts who wish to earn an advanced degree without arts who wish to earn an advanced degree MA The the commitment to a doctoral program. in useful for students interested will prove degree The Institute’s MA program is intended for students MA program The Institute’s their writing and academic who wish to strengthen pursuing a PhD, as well as before of interest areas in the visual for students with a developed interest Master of Arts close mentoring equip students to work critically close mentoring equip students to work critically in specialist fields and to take a and creatively of art areas to broader sophisticated approach historical inquiry. by conducting in-depth research. Students have by conducting in-depth research. opportunities to pursue their studies in museum and teaching settings and in fieldwork. Research-led with through to a wide range of questions and approaches major a combination of courses that both introduce historical issues and allow students to specialize to scholarship. The program is designed for six years to scholarship. The program of full-time study for students students Art History or five years of full-time study for The Institute’s PhD program prepares students to prepares PhD program The Institute’s execute ambitious and conceptualize, plan, and and to make contributions projects original research Doctor of Philosophy of study designed for individuals who wish to investigate the role of the visual arts in culture through through of the visual arts in culture individuals who wish to investigate the role of study designed for MS/ The dual-degree interpretation. examination, as well as historical and theoretical detailed, object-based nation. art history is the only one of its kind in the in conservation and MA program examination and critical thinking. The degree programs provide a focused and rigorous experience experience and rigorous a focused provide programs The degree and critical thinking. examination conservators, museums, curators, York’s with leading scholars, and access to New supported by interaction offer a course at the Institute The PhD and MA programs Global Network. sites, and NYU’s archaeological

Study Study at the Institute T

The Institute of Fine Arts Annual 2017 - 2018 68 The Institute of Fine Arts Annual 2017 - 2018 69 John Carpenter of the Metropolitan Museum of Metropolitan John Carpenter of the on Japanese painting and Art will teach a course by Metropolitan and a course co-taught sculpture; Blair Fowlkes–Childs (IFA Museum of Art curators Department, and and Roman alumna) of the Greek Kim Benzel of the Ancient Michael Seymour and Near Eastern Department, will focus on cultural and Rome. interactions between Parthia Also in Fall 2018, Monika Bincsik, curator of curator Monika Bincsik, Fall 2018, Also in the Metropolitan arts at decorative Japanese based on the Art, will teach a seminar Museum of 2019, we are collections. In Spring museum’s seminars: curator-taught offer three delighted to a alumna) will teach of MoMA (IFA Anne Umland as she prepares Sophie Tauber-Arp seminar on this artist; exhibition on multi-media for a major, either real or virtual exhibitions utilizing all necessary or virtual exhibitions either real and practical, on which tools, both intellectual work. curators depend for their museum curators, directors, and other appropriate and other appropriate museum curators, directors, at a wide variety of museum staff members As a final project the City. institutions throughout will create groups,” “research students, divided into and museum practice as well as collection history. as well as collection history. and museum practice Institute students, will be a This course, open to all discussions, dialogues with combination of in-class for the academic year 2018-2019. year 2018-2019. for the academic will teach Sullivan Edward In Fall 2018, Professor on curatorial seminar focusing an introductory PhD students in more courses that integrate the study courses that integrate in more PhD students practice, the curatorial and museum of objects with seminars of curatorial enhanced its roster Institute has Curatorial Studies Curatorial MA and of both interest to the continued In response The Director of Graduate Studies For an institution that thrives on the production Robert A. Maxwell, Sherman Fairchild of knowledge and the seriousness of academic Professor of Fine Arts research, it is worth remembering what building a community is all about. We have all heard it before: one size doesn’t fit all. Every day at the Institute is a reminder Yet it is also good to be attuned to the diversity. of this adage. Students come to the Institute Students are making hard choices in their studies and with diverse interests, varied experiences, niche the path to a successful career can seem studded specialties, and above all different goals. Our with obstacles. One size doesn’t fit all. What course challenge as teachers is to engage those diverse might best complement my previous museum profiles and bring students forward in their training internship? What assistantship would provide the and careers as the next generation’s leaders in most useful teaching experience? Should I rush to art, archaeology and conservation. The whole defend now or wait a semester? Should I take this job of the Institute’s community contributes in that even if the defense is...far off? These are common regard—its students, faculty, alumni and trustees concerns. The solutions are anything but common to all participate in realizing common and individual all. I have discovered how the Director of Graduate goals. Studies plays a special role in helping individual students meet their goals, whatever they may be. At the end of my first year as Director of Graduate This means asking questions, offering advice, and Studies, I have come to understand this even drawing on experience, but most of all, it means more acutely than before. I have seen creative listening. Listening to the diverse needs and desires. forms of pedagogy and interactive learning, Of course, this isn’t solely the DGS’s terrain. The admired students’ support of one another in Director of Graduate Studies may have special access their coursework and research, and witnessed to those conversations across the student body, but the warm interactions at daily events and special the role is shared widely, not least by the faculty, who happenings. As Director of Graduate Studies all share in the desire to see the Institute’s students I want to encourage and coordinate our varied thrive as young scholars and future leaders in the arts. outlets for intellectual exchange and moral support. The Institute of Fine Arts Annual 2017 - 2018 71 our wonderful students, who in general continue to give for the hope members of advanced generations more than is often evident in the public media. future this Fall. In this the Institute continues to successfully this Fall. In this the Institute continues to successfully in all attract many potential, well-qualified students and the acceptance rate of our of art history, areas remained gratifyingly high. offers of admission has the Although many of the faculty contributed to effort, once again Lisa and Conley have recruitment performed flawlessly in managing the immensely of vetting, detailed work involved in the procedures sorting, judging, and informing the members of next incoming class. year’s and of much pleasure In all, the year has been a source satisfaction on my part in doing what I could to assist the capable Institute staff, but above all in working with the second year). This year these weekly sessions the second year). This year these weekly sessions conducted by four very able members of our PhD were (Daniella Berman, English Cook, Marlee Miller, program seemed to help many Achi). The process and Andrea as well their theses, students significantly in producing as giving the instructors valuable graduate teaching experience. would The other aspect of my work as DMS that I which note has been the admissions process, group what appears to be a large again produced have of exceptionally talented new students who beginning accepted our offer to study at the Institute a set of MA thesis-writing workshops to run during the actual thesis writing period (last semester of thesis advisers in the spring semester of their first But year rather than the following fall semester. perhaps the most significant step was to establish phases to points earlier in the two years of study, phases to points earlier in the two years of study, so that the thesis formulation and writing would be now ask students, rushed as little as possible. We possible for example, to confer with one or more aspects, and last but not least the actual writing. One of our strategies was to variously shift these Our main concern was to improve the MA thesis the Our main concern was to improve identifying a in virtually all respects: process formulating and topic, engaging a faculty adviser, its various researching articulating the project, problems that had gradually become evident. I problems worked closely with the capable and dedicated Lisa administrative staff of the Academic Office, Hoang, Conley Lowrance, and Hope Spence. my first year as DMS last year (2016-2017), I my first year as DMS last year (2016-2017), that some fine-tuning would be useful in realized certain administrative and procedural resolving The position of Director of Masters Studies The position of Director in 2010 as part of the present (DMS) was created of Masters Studies at The Institute. In program Director of Masters Studies Director Edith Kitzmiller Marvin Trachtenberg, of the History of Fine Arts Professor

IN THE FIELD IN THE

The Institute of Fine Arts Annual 2017 - 2018 72 The Institute of Fine Arts Annual 2017 - 2018 73 finds related to the foundation of the Greek colony related to the foundation of the Greek finds and and the life of the sanctuary in the Archaic Classical periods. throughout the Classical world for the richness throughout of its farmland and monumental temples. The existence colony enjoyed a prosperous Greek the second half of the seventh century BCE from the end of the fifth century BCE, and its through sanctuaries, temples, fortifications, and houses began its In 2007, the IFA well preserved. are of Selinunte, investigations on the acropolis of the main urban sanctuary. focusing on the area and religion The excavations document the history, city in unusually fine detail. art of an ancient Greek important evidence Fieldwork to date has provided concerning the history of Selinunte prior to the settlers, as well as significant arrival of the Greek nevertheless, many traces of the king’s distinctive nevertheless, many traces of the king’s still to be found at the site. are Kushite culture The first excavations at the site in over a century initiated in January 2018, and demonstrated were deposits still amount of archaeological the large particularly outside the walls of the remaining, temple. Now under the auspices of the Institute, will investigate not only how the temple the project was used by the Kushite kings, but what this might have meant to the monumental structure it. local Nubian population living around Selinunte, Sicily was famous Selinunte Sicily, Located in Western the Hieron and the passage of prospective initiates initiates passage of prospective and the the Hieron In addition, the ancient city to the Sanctuary. from we have photogrammetry, using 3D modeling and to understand the Sanctuary digitally reconstructed follow the path of the initiate its several phases and its complex topography. through Sanam, Sudan in northern of Sanam, located Sudan, The Temple BC by the Kushite was built in the 7th Century a native Nubian who also Taharqa, king Taharqa. an ruled over Egypt, constructed the temple in Egyptian style and dedicated it to the god Amun; publication, as well as explore the terrace east of the as well as explore publication, The Volume Volume , which Volume 9, Volume , was published in Samothrace Samothrace Monuments in the Vicinity of the Nike Monuments in the Vicinity around the Theater, Stoa, and Nike Precinct. In 2018, Stoa, and Nike Precinct. the Theater, around of excavation, we will begin a five-year program in advance of the region aimed to address 2017. We are now at work on are 2017. We 8,I, centers on the performative heart of the Sanctuary innovative marble buildings dedicated by Hellenistic seminal in the formation of Greek which are royalty, and Roman architecture. Monuments of the Eastern Hill of the Great Gods on the island of Samothrace. of the Great cults Home to one of the most significant mystery of the Hellenistic era, the Sanctuary has a series of Samothrace, Greece Samothrace, Greece has worked in the Sanctuary Since 1938, the IFA monuments, establishing permanent systems for monuments, establishing permanent systems documentation and conservation, new targeted and publication. research excavations, and scientific sixth century CE, and its buildings, marble sculpture, sixth century CE, and its buildings, marble sculpture, well remarkably and public inscriptions are excavation focuses on the The current preserved. excavated and conservation of previously recording famous in antiquity for its cult of Aphrodite and for famous in antiquity for its cult of Aphrodite It enjoyed a long, prosperous its marble sculptures. the the second century BCE through existence from Aphrodisias is one of the most important Aphrodisias and Roman sites of the Greek archaeological major and has been one of NYU’s periods in Turkey since 1961. The city was projects archaeological Aphrodisias,Turkey understanding of the ancient activities in the core activities in the core understanding of the ancient of the site, how patterns of practice and meaning of Abydos to the relationship evolved over time, and context of Egyptian history and culture. the broader of Egypt’s first kings, and later became the primary first kings, and later became of Egypt’s ruler of the Land of the cult place of the god Osiris, comprehensive a build to aim excavations The Dead. archaeological investigation of the important site investigation of archaeological of Abydos in southern Egypt, an effort now joined of Art and Department by Princeton University’s Abydos is known as the burial place Archaeology. Abydos, Egypt in an ambitious long-term The Institute is engaged The Institute offers a unique experience to its students through a range of sponsored archaeological projects. projects. archaeological of sponsored a range through students to its experience a unique offers The Institute to enhance their historical excavation seasons, to participate in annual invited any discipline are Students of object-based research. studies with Institute Institute Supported Excavations ;

Associate Professor of Fine Arts of Fine Associate Professor , north China; so did monumental-sized carving of north China; so did monumental-sized carving Buddhist texts. Meanwhile, the court frequently the size, material, and to regulate issued decrees social for one’s number of ritual objects appropriate status. As put by Stephen Houston about scale orientations in Classic Maya, “making something and symbolic or small confers practical large of the meanings benefits.” This seminar explored of pre- scale in the visual and material culture all media modern China, drawing examples from and al periods. Size Matters: Meanings of Scale in the Size Matters: Meanings Arts of China Hsueh-man Shen Arts Chair in World Ehrenkranz slogan seen only in mere “Size Matters” is not a In ancient China, an army modern commercials. terracotta soldiers of thousands of life-sized to his mausoleum, Emperor accompanied the First of servants miniatures while in most other tombs needed by the the comfort and houses provided early deceased in their life after death. During the in Medieval period, colossal Buddhas appeared , European , European Associate Curator ,

and object analyses with Met curators and conservators, designers and educators. gallery visits and focused case-studies, behind- the-scenes access to storage and conservation labs, and in-depth conversations, viewings, with all aspects of curatorial practice. Week-by- key aspects week, students focused on the three and stewardship of connoisseurship, interpretation, discussions, a combination of curator-led through conserving, restoring. Taken as a whole, the project as a whole, the project Taken conserving, restoring. British Decorative Arts The Met’s to refurbish chance to fully engage a rare galleries provided with the history of creativity in early modern with the history of creativity Britain; curators, educators and designers think and gallery narrative; about interpretation afresh objects, documenting, conservators reexamine area of the decorative arts’ collection: curators area ceramics, tapestries, metalwork, of sculpture, objects, engaging anew reevaluate and furniture 1500-1900, scheduled to open in mid-2019. 1500-1900, scheduled to open in mid-2019. analyzed how the full spectrum of museum We has an angle to contribute to such professionals of this and re-interpretation a major reinstallation engage these skills by taking as a case study the engage these skills by taking as a case study of its galleries devoted ambitious reimagining from to British decorative arts and sculpture Connoisseurship, interpretation and stewardship and stewardship Connoisseurship, interpretation at the heart of principles core the three are curatorial practice at The Met. This course explored how curators and other museum professionals Elizabeth Cleland The Metropolitan and Decorative Arts, Sculpture Museum of Art Rethinking the British Decorative Arts Rethinking the British A Case Study in Galleries at The Met: Curatorial Practice Art History Course Highlights Art History Course Fall 2017 web site. The Institute’s curriculum is vibrant and varied. Below are highlights of the 2017-2018 course listings, and 2017-2018 course highlights of the are vibrant and varied. Below curriculum is The Institute’s be found on the Institute’s can and present list of courses past offerings. A full of the 2018-2019 a preview Course Course Highlights

The Institute of Fine Arts Annual 2017 - 2018 74 The Institute of Fine Arts Annual 2017 - 2018 75 , Galton and Bertillon’s , Galton and Bertillon’s Visiting Assistant Professor of Fine Assistant Professor Visiting , photographic archives, Muybridge and Marey’s Muybridge and Marey’s photographic archives, photographs of Charcot’s chronophotographs, Hospital, Corbusier’s Hysterics at the Salpetriere postwar ideas about the Modular Man, Yves to feminist artist Carolee Anthropometries, Klein’s inscriptions of Schneeman and Eleanor Antin’s in the 1960s. themselves in various projects various works of art as we continually adjudicate various works of art as we continually adjudicate the importance of social context for art in to the “masterpiece” complex of art relationship history. Inscribing the Body/The Body as Text Kent Minturn Arts a wide range of case studies The course covered to contemporary art, by the ancient regime from physiognomic studies, Darwin’s way of LeBrun’s of Man Expressions was particularly The focus of this course global challenges timely in light of the current and inclusion. It also of dealing with diversity narratives the non-canonical seeked to correlate that Wars the World of American art between in various intellectual have been developed the commonalities communities and demonstrate canon as well to the of these stories relative Inevitably this kind of as their particularities. in opposition to in art history is seen revisionism which has been the notions of connoisseurship, of art historical analysis. So this qualifier bedrock the was a constant element in our discussions of manifestations of xenophobia in this country— in this country— xenophobia of manifestations that experience art from a unique produced spirit. And triumph of the human indicating the to a new works that point lastly we examined that would and the profane age of the sacred and disruption the displacement from emerge individuals of artists and creative of populations II. War during World

, Museum of , Museum of Curator Emerita , perceived by artists at the same time that Japanese perceived Americans—victims of one the most extreme American artists were grappling with establishing American artists were traditional their own visual vocabulary both from also note d vernaculars and modernist ones. We uncannily II were War how the intimations of World they navigated the mechanics of primitivism and ancestralism, we also looked to the southwest artists of Latino descent and Native where for a positive and As we examined the search affirmative imagery by African American artists as (who formed the generation of the New Negro) to the north seeking greater opportunity and from opportunity and from to the north seeking greater to the devastations of a the Midwest in response drought). prolonged of immigration, the dichotomy between urban of immigration, the dichotomy between urban an and rural life, and the economic dynamics of militant labor class (particularly in light increasingly of the migration of populations of black Americans and concerns of this era. We will focus on how and concerns of this era. We American art was informed by debates on what constituted the American identity in the wake Transcendentalism, American Abstract Artists) American Transcendentalism, alongside the work of artists and movements but outside the artistic mainstream considered the main events which nevertheless reflected selection of the usual roster of works of art and of works of art and selection of the usual roster in movements that have come to define this era Precisionism, American art history (i.e. regionalism, when Reflecting the specific dualities of this era Americans entertained positions of isolationism and internationalism, this course will examine a discussion was based on an ongoing dialogue discussion was based Sims and Norman between Lowery Stokes this interest. Kleeblatt who share been the particular interest of art historians and been the particular interest Doss, David Driskell, Daniel scholars such as Erika Cornell Dean Johnson, Delphine Hirasura and Mark of the The approach and Michelle McGeough. constituted a canonical roster of artists and roster constituted a canonical focused on the story works of arts. This course 1914 and 1945 that has of American art between Over the last four decades art history has been four decades art history Over the last and revelations of revisions subject to any number what effectively that have sought to expand 1914-1945 Sims Lowery Stokes Professor Visiting Kirk Varnedoe Arts and Design; Spring 2018 Spring in American Art, the ‘American’ Recalibrating ; exhibition on Professor of Early Professor , The Graduate Center, Center, , The Graduate Tale of Genji Tale Mary Griggs Burke Curator of , Associate Professor of Fine Arts Associate Professor , The Metropolitan Museum of Art The Metropolitan course will coincide with March view in the Japan Galleries at The Met from 5th to June 16th. focusing primarily on how classical works of prose prose focusing primarily on how classical works of and illustrated, reinterpreted, and poetry were times. Taking popularised by artists of pre-modern we consider how approach, an interdisciplinary artists sought inspiration in the literary tradition in shaping and at the same time had a major role of certain canonical works. perception readers’ While primary attention will be given to pictorial arts extend discussions will frequently and calligraphy, and decorative arts. architecture, to sculpture, to Each week we discuss aesthetic issues related religious of specific works of visual representations study of on direct relying or secular literature, works on view in the galleries or in storage. The consider as well how the ambiguous exoticism consider as well how the ambiguous exoticism the pan-cultural portability, silk’s from that resulted and tastes for emulation of designs, and the shared the Mediterranean, entangled uses of silk across into MIddle East and Central Asia can open inquiry over and developments multiple cultural responses time. in Art Japanese Literature Carpenter John T. Japanese Art, of This course investigates the interrelationship in Japanese cultural history, art and literature Utilizing local area collections, this course will collections, Utilizing local area Byzantium how silk came to symbolize explore as it was abroad and both within the Empire and, often on a monumental employed strategically conveying conceptions scale, to spectacular effect, and exoticism, as well luxury, of wealth, power, special Byzantine silk was deemed as sacrality. the saintly and shroud enough to clothe and of beyond the borders the powerful, often well and encompass and to delineate the Empire, power. spaces and places of political sacred attend to the visual, the material, and will We the the phenomenological as inextricable from will meanings of Byzantine silk objects. We Spring 2019 Spring Silk, 7th to 12th Centuries Byzantine Thelma Thomas Ball (PhD 2001), with Jennifer Byzantine Art Christian and CUNY , , Institute of , Institute of Deputy Director; Helen Gould Deputy Director; , Associate Professor of Art History Associate Professor ,

the cultural politics of global empires. to be studied include: recent developments in developments in to be studied include: recent of networked and oceanic art histories, the politics the contemporary global art market, museums as and sites of transculturation, the arts of borderlands, meaning of art change if we think of it as a thing, meaning of art change if we think of it as a thing, What exactly object, or a commodity in circulation? is a “global” perspective in art history? Subjects related to the African, African Diaspora and Global related to South experience. How do we attach meaning one locale to another objects that have moved from one context to another? How does the or from This seminar examines the significance of globalism This seminar examines the significance of especially for the study of art and visual culture, Entangled Objects: The Work of Art in a Entangled Objects: The Work Global World Prita Meier Faculty of Arts & Science, NYU exhibition (virtual, in ‘real time’) and other initiatives time’) and other initiatives exhibition (virtual, in ‘real to be determined at the start of the seminar. supporters. We will consider case studies drawn will consider supporters. We and other specialized museums art, history, from for project A final City. New York throughout the students may consist of a group-organized comprised of face-to-face meetings with curators, comprised of face-to-face registrars, museum educators, museum directors, collectors, donors, and development officers, settings. After initial lectures from Professor Professor from settings. After initial lectures has served as career his Sullivan, who throughout in the US, Latin projects independent curator for of the course will be the bulk America and Europe, provide students with an overview of a wide variety students with an overview provide curatorial challenges of museum practices and of museum spectrum observed in a broad Fine Arts and College of Arts and Sciences College of Arts and Fine Arts and an integral part of the Institute’s This seminar, will to Curatorial Studies, approach re-configured Cross-disciplinary Approach Cross-disciplinary J. Sullivan Edward History of Art in the Professor Sheppard Fall 2018 Study: A Practice - Curatorial Curatorial

The Institute of Fine Arts Annual 2017 - 2018 76 The Institute of Fine Arts Annual 2017 - 2018 77 , British Honorary Research Fellow Honorary Research , non-invasive examination process. reflectography, raking light imaging polynomial texture raking light imaging polynomial texture reflectography, tomography (OCT), mapping (PTM), optical coherence gloss measurement, colorimetry, spectrophotometry, spectroscopy. Raman and infrared X-ray fluorescence, in The emphasis was on gaining practical experience of results the use of techniques and the interpretation and to complement an understanding of their principles the course students engaged Throughout strengths. the subject with discussion. around in critical reading of written reports included the preparation Exercises audiences or specializations as well aimed at different multidisciplinary of multi-author, as critical reading to project papers. Each student was assigned a special of a practice the planning, execution, and presentation analysis techniques and their advantages and analysis techniques and looked in conservation. We disadvantages when used by curators and conservators at the questions asked using the range of best addressed and how these are facilities. in small or large equipment typically available analytical the principles of ntroduced Lectures in Instrumental earlier teaching techniques, reinforcing included technical Analysis I & II. Case studies works of art and in studies of analysis of materials in and will focus on works the deterioration of objects surfaces. Techniques of art on paper and painted and video included optical, fluorescence covered transmitted light imaging, fluorescence microscopy, imaging, infrared imaging, multi- and hyper-spectral Spring 2018 Spring Non-Invasive & Other Imaging Technologies Analysis Methods of David Saunders Museum students to non-invasive introduced The course ; Conservation Sherman Fairchild Sherman Fairchild , , The Cloisters, The Metropolitan , The Cloisters, The Metropolitan , Villa La Pietra , Villa conservation. Artifacts in New York collections conservation. Artifacts in New York were comparable to those being treated possible. examined by the class where from environmentally sensitive materials; the environmentally from original appearance and function of the objects; and how changes in their condition coupled influence their with our aesthetic perceptions as well as their appropriate conservation, were conservation, were as well as their appropriate Themes of the course included the reviewed. composite objects made challenges of treating student was assigned two to three objects for student was assigned two to three The relevant examination and/or treatment. of identification, material methods chemistry, materials, of these related history and facture conservation of decorative objects created objects created conservation of decorative with an emphasis on materials, organic from Each bone, horn, and hair. tortoiseshell, ivory, Consultant students to provide The course was designed and to the technology with an introduction Distinguished Professor of Conservation Distinguished Professor Conservator Museum of Art (part-time); Practical Problems of Preservation: of Preservation: Practical Problems Decorative of Organic Conservation Objects Michele D. Marincola Fall 2017 Conservation Course Course Conservation Highlights , Bek & Frohnert, , Bek & Frohnert, Conservator of Contemporary Conservator , coordinated by Christine Frohnert, consultant by Christine Frohnert, coordinated and conservator in TBM art, and TBM Program various backgrounds, Students from Coordinator. art conservation, engineering, including art history, art management, digital humanities and computer welcome. science are artists in the creation of these works. Emphasis artists in the creation will be put on the decision-making processes in this new and quickly based on ethical standards and evolving discipline. The main resources TBM art preservation addressing projects research the conceptual framework for future will provide entering this highly collaborative field. professionals format The course will follow a lecture supplemented by optional lab visits. The individual classes will be taught by leading scholars, practitioners, conservators, curators, archivists, computer scientists, artists, and engineers and City area New York within the greater from time-based media (TBM) art, in both theory and time-based media (TBM) of the development practice. A historical overview to the an introduction of TBM art will provide associated with media conservation challenges slide, video, light, sound, categories such as film, as well as born-kinetic, interactive installations, Internet and art. The digital, software-based, examination, to the acquisition, issues related installation and the documentation, exhibition, be discussed through conservation of TBM will concernscase studies. Conservation will be of media and equipment identified in the context of obsolescence, to illustrate the consequences by rapid technical changes in components used Technology and Structure of Works of Art III: of of Works Structure and Technology Media Time-based Christine Frohnert Art, Modern and Media Materials, and guest speakers LLC (Coordinator) and the technology will introduce This course of constitute various categories media that , the Art Senior Research Conservator Senior Research ,

study rooms and galleries of nearby museums. study rooms paper on selected works by a specific artist or in a paper on selected works by a specific artist particular medium, for example, collage or pastel, Dialogue will be encouraged. will be required. and within the Classes will take place at the IFA examine works of art firsthand to see how various examine works of art firsthand to see how art-making materials manipulations of different and influence their appearance. A presentation materials inform the broader art-historical context. art-historical context. materials inform the broader the meaningful integration The course will address own curatorial/ of technical study into one’s students will art history practice. Additionally, the pages of exhibition catalogs and the galleries the pages of exhibition catalogs and the galleries of museum exhibitions. Case studies will be to show how artists’ methods and presented may be more readily identified and assessed. readily may be more technical Students will evaluate selected recent studies and other scholarship, primarily within aesthetic goals. Additionally, changes to works aesthetic goals. Additionally, instability, of inherent of art, whether the result intent factors, or artist’s external environmental it possible to study art in a more holistic and it possible to study art in a more objective manner by understanding the art-making materials, the methods of using them, and the their conscious choices made by artists to achieve sophisticated and often nondestructive. The sophisticated and often disciplines – art history, intersection of the three science – has made conservation and materials small number of museum conservators, curators small number of museum curatorial/conservation and scientists. Today analytic methods common and partnerships are artworks are to examine and characterize placed on 19th- and 20th-century drawings and placed on 19th- and 20th-century years ago technical art unique multiples. Thirty a field of study among history was a burgeoning Institute of Chicago Institute of materiality in the This course will investigate emphasis with an study, context of art-historical Context Harriet K. Stratis of Prints and Drawings in the Department Fall 2018 Materials in Artists’ Methods and On Paper:

The Institute of Fine Arts Annual 2017 - 2018 78 The Institute of Fine Arts Annual 2017 - 2018 79 , Museum of , Museum of Chief Conservator , around Pollock, de Kooning, Hofmann, Rothko, and Pollock, de Kooning, Hofmann, around other key artists of the Still and, to a lesser extent, examine and question the period. This seminar will studies to art historical contribution of technical significance in and will assess their literature and the expressionism understanding abstract to this movement. Visits artists associated with will focus on developing museums and collections applying relevant paintings, skills in “reading” the results. material studies, and evaluating placed on artists heretofore Additional focus will be by material studies. under-represented Materials and Meaning in Abstract Abstract in and Meaning Materials Expressionism Jim Coddington Modern Art has study of abstract expressionism The material Extensive years. in recent expanded substantially has accrued and techniques on materials literature Senior , , The Metropolitan , The Metropolitan Conservator George Wheeler George , , Highbridge Materials Consulting , Highbridge reassembly and associated activities on objects reassembly and object surrogates. This course makes relationships between theory This course makes relationships how to think about and and practice by exploring as well as perform trial materials and methods methods of conservation. An additional challenge methods of conservation. objects is their mass with large-scale inherent stable creating of and the associated requirement of reassembly. process constructions during the understanding of the properties and conditions of understanding of the properties as well as an equally the materials of construction of the materials and in-depth understanding Scientist objects large-scale of fragments of The reassembly in-depth an requires in terra cotta and stone Terracotta and Stone Terracotta Riccardelli Carolyn Art; and Museum of Spring 2019 Spring Objects of of Large-scale Reassembly

2017-2018 GRADUATES Advisor: Kent Minturn Megan Ashley DiNoia 1970s Landscapes: Unearthing a “Joan MIró’s Post-Franco Nationalism” Advisor: Kent Minturn Alana Dull Jean Honoré-Fragonard “Picturing the Garden: Picturesque” and the French Advisor: Thomas Crow Melanie Bühler Unruly Bleeding Edges: Frans Hals’s “Portraiture’s in Contemporary Art” Paintings and Their Afterlife Advisor: Thomas Crow * Pei-si ‘Peggy’ Chao The History of Taichung “Memory and Destruction: Shrine” Advisor: Jonathan Hay Scott Ryan Davis * The Henry Flynt’s “The SAMO Avant-Garde: Problem with Cultural SAMO© Graffiti and the 1963 – 1987” Production Phoebe Boosalis Love Letters in Eighteenth- Page to Paint: “From Century France” Crow Advisor: Thomas

“The Ornament“The Adornment:of Personal Stained Silver Bracelets in the Byzantine World” Advisor: Thelma Thomas “Maruja Mallo: The Framing of a Feminista” J. Sullivan Advisor: Edward Quinn R. Bolte Advisor: Christine Poggi Emily Behzadi Taylor Lauren Alessio Lauren Taylor Perspective, Siege of Vienna: “Sebald Beham’s the Dawn of Military Politics, and Religion at Cartography” Félician Rops” Advisor: Kent Minturn Abigail Abric An Interdisciplinary “The Deviant and the Disease: of Syphilis in the Work and Analysis of Prostitution Indira Abiskaroon * Indira Abiskaroon Classicism” Paul Cézanne’s “Reframing and Kent Minturn Advisors: Clemente Marconi May 2018 Master of Arts Graduates Master of Arts May 2018 Titles and Thesis Institute Institute Graduates

The Institute of Fine Arts Annual 2017 - 2018 82 The Institute of Fine Arts Annual 2017 - 2018 83 “Cushioned Bliss: The Enclosed World of the “Cushioned Bliss: The Enclosed World at Play on 12th and 13th Century Cizhou Children Pillows” Advisor: Jonathan Hay Advisor: Thomas Crow Heyeon ‘Erin’ Kim Immersive Installations: and Dragset’s “Elmgreen and Our Public Institutions, The Art World, Society” Advisor: Kent Minturn Damla Koksalan Mediating Theology “Mythologies of Chris Burden: Body Art” in Post-War Advisor: Robert Slifkin Fosca Maddaloni “Golden Years in the Golden Age: Examining the “Golden Years the Through Space and Place of Elderly Women Maes” of Nicolaes Painted Works J. Sullivan Advisor: Edward Eva Grace Jensen History “Eschewing the Footnote: Interrogating and Memory at the 57th Swiss Pavilion” Advisor: Kent Minturn Eana Kim “Embodiments of Autonomous Entities: Lynn Artificially Intelligent Robots, Hershman Leeson’s Agent Ruby and DiNA” Alyssa Marie Hughes Advisor: Jonathan Hay Huang Yunli and Cultural Specificity: A Versatility “Visual Study of Ink Paintings by Liu Kuo-sung” Transverse “From Big-Tailed Elephant to Yangjiang Group: Two Two Group: Elephant to Yangjiang Big-Tailed “From Decades of Experimental Art in Pearl River Delta” Advisor: Jonathan Hay the French Directory” the French Advisor: Thomas Crow Hou Yuxi Brontë Hebdon * Brontë “Cockades, Cravates, and Hot Pants: Aesthetic Language of Citizenship During Politics and the Visual and the U.S.-Japan Relationship of 1960s, Early and the U.S.-Japan Relationship of 1960s, Early 1970s” Advisor: Thomas Crow Ji Hye ‘Alice’ Han Shomei: Occupation Series of Tomatsu “’New Vision’ Kendall Elizabeth Follert “Les quelles qui se semblent, se rassemblent...!’: Site-Specific Archive” Adéagbo’s George Advisor: Christine Poggi Federico Antonio Carasso (1899-1969)” Advisor: Kent Minturn Caroline Benson Evans * Caroline of and Identity in the Works Authority, “Regression, Painting” Advisor: Jonathan Hay Yang Yang Henri “Drawing a Fine Line: Artifice and Artistry in Mescaline Series” Michaux’s Advisor: Kent Minturn * Melissa Noelle Young “Brush, Dab, Zoo: Animals That Paint” Advisor: Kent Minturn *Indicates an MA thesis marked with distinction Alison Emilia Tufano * Alison Emilia Tufano Subway “Finding Intimacy in the Union Square Station: The Public Art of Mary Miss” Advisor: Robert Slifkin Mengyao Wang Portraying the Child: “Portraying the Mother, Doubling in the Photographic Portraits by Diane Arbus” Advisor: Robert Slifkin Wu Yifei “A Game of Forms: An Analysis of Landscape Seed Manual of Mustard Green Prints from Interactions” Advisor: Jonathan Hay Arielle Suskin Library: A Morgan “Cista with Cover in the Reassessment” Advisor: Clemente Marconi Mi Tian * Study of ‘Elegant the Dual Identity: A “Visualizing by Zeng Yu’s Gathering’ Paintings Commissioned Mufu System” Advisor: Jonathan Hay Hannah Kate Simon Hannah Minor: Purpose, in Asia Cult Imagery “Imperial and Peculiarity” Precedence, Marconi Advisor: Clemente Maria Slautina Chinese Rocks of Imported “Recontextualization in Early Modern A Study in Transcultural Japan:

from the Caribbean and Archipelago of San Andrés, the Caribbean and Archipelago from and Santa Catalina” Providencia, J. Sullivan Advisor: Edward Juliàn Sànchez Gonzàlez * “The Issue of the ‘Double-Outlier’: Contemporary Art Louisa Michelle Raitt * in the “The Affect of Ambiguity: Spatial Construction Early Bodegones of Diego Velázquez” J. Sullivan Advisor: Edward Fin-de-Siècle France” Advisor: Kent Minturn Advisor: Robert Slifkin * Haley Sierra Pierce in “Illustrative Painting: The Influence of Printmaking Mattos Paschal “They Still Live: Barbara Kruger and the Patriarchal of Women” Control “Unfolding Abstraction: Regionalism and Diplomacy “Unfolding Abstraction: Regionalism and Diplomacy Biennial (1966)” in the Fifth Tehran Advisor: Kent Minturn Advisor: Thomas Crow Ilhan Ozan Leah Jeanette Orescan With A “Painting in Bloom: Contextualizing ‘Still Life de of Dirck Bouquet’ in the Making and the Career Bray” “Li Huasheng’s ‘Grids’: Form and Context” “Li Huasheng’s Advisor: Jonathan Hay Art” Advisor: Robert Slifkin * Lisa Angela Orcutt Stacy Renee Newport Fiber Reconsidering “The Material of Counterculture: “The Sorceress and the Dragon: Virginia Frances Virginia and the Dragon: “The Sorceress Tanglewood for Hawthorne’s Illustration Sterrett’s Tales” Advisor: Kent Minturn Advisor: Edward J. Sullivan Advisor: Edward Lleras * Susana Montanes Sanya Mirpuri Sanya of the Emblematic A View of Women: Views “Shifting Works” Vermeer’s Shifts in Johannes

The Institute of Fine Arts Annual 2017 - 2018 84 The Institute of Fine Arts Annual 2017 - 2018 85 Advisor: Katherine Welch Heather Kopleff of “A Community in Stone: The ‘Cenotaph’ Stelae Abydos” Advisor: David O’Connor Larkin Farinholt Ward Andrew Ritual Furniture “Beyond Hellenization: Terracotta in Ancient Sicily” Advisor: Clemente Marconi Advisor: Thelma Thomas Elizabeth Buhe Abstraction” “Sam Francis: Functional Advisor: Thomas Crow Laura Dickey Corey American “Mary Cassatt (1844-1926), as Advisor” Portrait of the Artist Tastemaker: Advisor: Jonathan Brown Allison Kidd “Imaginibus vel Simulacris: Depicting Urban in Roman Antiquity” Landscapes and Architecture May 2018 PhD Graduates and and Graduates 2018 PhD May Titles Dissertation Achi Mari Myers Andrea St. Michael the Scriptorium: The “Illuminating in the Monastic Book Production Collection and Ninth and Tenth Egypt during the Fayyum Oasis, Centuries” Terzago Polyptych by Giusto de’ Menabuoi” Terzago Advisor: Patricia Rubin Advisor: Margaret Holben Ellis Advisor: Margaret Hae Min Park Polyptych to Easel Painting: The Case of “From “From Print to Painting to Print Again: The “From Nina and Sentimentalist Milieu of Thomas Stothard’s Zorayde” Cloisters 13th-Century Catalan Altar-Frontal” Cloisters 13th-Century Advisor: Robert A. Maxwell Sarah Mastrangelo Christine Haynes Analysis of the Met Technical “Altering Perspectives: Emily Frank of Jef and Memory in the Work Trauma “Preserving Campion (1961-2014)” Advisor: Norbert Baer Chinese and English” Chinese and Baer Advisor: Norbert and Thesis Titles and Thesis Bloser Joy Michelle Between Art Conservation “Found in Translation: May 2018 Master of Arts and Master Master Arts and of 2018 Master May Graduates Dual-Degree of Science IN DISCUSSION The Institute of Fine Arts Annual 2017 - 2018 87 , Columbia University , University of Pennsylvania , Princeton University , Freer and Sackler Galleries , Freer , Brown University , Brown , PhD candidate, Institute for the . Title: Arresting Silk: Textiles, Representation, and Representation, Silk: Textiles, Title: Arresting Narrative in Late Imperial China Study of the Ancient World Study of the Ancient World of The Impact Title: Reinventing Ear-Cups: Drinking Sino-Iranian Interaction on Northern Wei Culture Susan Naquin Title: Images of Gods: Using Big Data Daniel Greenberg Ritual, Time, and the of Empire: Title: Visions Construction of History in Eighteenth-Century Chinese Painting Mei Mei Rado Established in 2011, The China Project China Project Established in 2011, The is a discussion forum for work in Workshop and on topics in Chinese archaeology progress art history. Nancy Steinhardt and Architecture of Chinese Title: The Borders Decoration Chen Kaijun did Bannermen Make and Title: What Kind of Art Why Zhang Fan China Project Workshop China Project the events archive on our website archive the events Artist Lee Mingwei (center) pictured with Artists at the Institute coordinators Heyeon Kim and Eana Kim with Artists at the Institute coordinators Artist Lee Mingwei (center) pictured Lee Mingwei 2017-2018 Artists: Anika Yi Dove Toni Rachel Rose by a generous gift in memory of Institute professor Kirk gift in memory of Institute professor by a generous the series. who inspired Varnedoe, Taking advantage of the Institute’s location in one of of the Institute’s advantage Taking leading art centers, the Graduate Student the world’s at the Association invites artists to discuss their work now funded Institute. Begun in 1983, these talks are Artists at the Institute University of Oxford; Director of NYU Excavations at Director University of Oxford; Associate Professor and Katherine Welch, Aphrodisias; Deputy of Fine Arts, The Institute of Fine Arts, NYU; at Aphrodisias. Director The 2017 lecture was presented by Roland R. R. Smith, by was presented The 2017 lecture and Art, Archaeology of Classical Lincoln Professor This annual lecture brings together members of the brings together This annual lecture discuss their findings excavation team to Aphrodisias trip to the their most recent from results and research site. Archaeological Research at Research Archaeological Aphrodisias Annual Lecture Series, Colloquia, Series, Colloquia, Lecture Annual and Consortia This list includes events held between 1 September 2017 and 31 May 2018. For more information about information For more and 31 May 2018. 1 September 2017 events held between This list includes Institute, please see events at the Public Public Programming Bonna

, University of Notre Dame , University of Notre , Liebieghaus Sculpture , Liebieghaus Sculpture

, Yale University , Yale , CUNY , Samuel Candler Dobbs Professor of , Samuel Candler Dobbs Professor The 2018 lecture was presented by was presented The 2018 lecture Wescoat of Emory Emory University; Director Art History, of the University and NYU Excavations, Sanctuary Gods, Samothrace. Great Milette Gaifman and Three-dimensional Title: The Two-dimensional Painted Pots in Greek at Research Archaeological Samothrace brings together members of This annual lecture their the Samothrace excavation team to discuss their most results from research findings and trip to the site. recent Studies for making the Seminar possible. Studies for making the Brinckmann Vinzenz Museum A New Riace Bronzes. Title: The Enigma of the Approach Rachel Kousser Black: Materiality in Title: The Red and the Hellenistic Sculpture Pierattini Alessandro The Origins of the Order: Before Title: The Temple Architecture Temple Greek Seminar on Greek and Roman Art Roman and Greek on Seminar Architecture and and and Roman Art on Greek The Seminar their current to share invites scholars Architecture gratefully We with the community. research R. McCredie the support of James acknowledge Ancient University Center for York and the New , Director, Hamilton Kerr , Director, , Judith Praska Distinguished Visiting , Judith Praska Distinguished Visiting , Judy and Michael Steinhardt , Judy and Michael Steinhardt , Judith Praska Distinguished Visiting , Judith Praska Distinguished Visiting , The Joel and Anne Ehrenkranz Chief , The Joel and Anne Ehrenkranz , Associate Professor of Fine Arts of Fine , Associate Professor , President, Pace/MacGill Gallery , President,

Title: INTERVENTION Rupert Featherstone Conservation, Fitzwilliam Institute; Assistant Director, Museum, University of Cambridge presents important issues within the fields of painting presents This event is conservation and technical art history. of the Samuel the generosity made possible through Foundation. H. Kress The Samuel H. Kress Lecture is delivered annually is delivered Lecture The Samuel H. Kress scholar in conservation, who by a prominent Professor Title: Seductive Light : Destructive Light Lecture Samuel H. Kress Exhibitions David Saunders Karl Buchberg Professor Title: Seurat, Matisse and Degas: The Role of Art History in Museum Publications and Technical advancing new areas for research and teaching in art for research advancing new areas conservation. This visiting professorship, established by an This visiting professorship, donor’s anonymous donor and named in honor of the conservator welcomes a prominent grandmother, is or scientist each semester to the Institute who Professors in Conservation and Professors Studies Lecture Technical Robert Slifkin Visiting Judith Praska Distinguished Peter MacGill Director, The Institute of Fine Arts The Director, Quentin Bajac of Modern The museum Art Curator of Photography, collecting, and her generous gifts to many museums. gifts to and her generous collecting, Christine Poggi The Institute hosted the first annual Gayle Greenhill Gayle Greenhill hosted the first annual The Institute recognized Gayle was widely Lecture. Photography advocacy of photography for her passionate the early ‘80s, her adventuresome beginning in Gayle Greenhill Photography Lecture Photography Greenhill Gayle

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, Rutgers, The State University , Rutgers, The State University , University of California at , Associate Chair; History of Art , New Jersey Institute of Technology , Columbia University , Anne and Joel Ehrenkranz Curator, Curator, , Anne and Joel Ehrenkranz & Architecture, Associate Professor, Islamic Art, Islamic Art, Associate Professor, & Architecture, Boston University Emperor: Title: The Album of the World of Cosmopolitan Collecting at the Ottoman Court the Seventeenth-Century Chrissie Iles Whitney Museum of American Art Title: An Inadequate History of the Projected Image Zeynep Çelik Title: Everyday Life at the Dig, c. 1900 Noam Elcott Painting and Cinema Title: Canvas/Screen/Ghost: in Interwar Europe Whitney Davis Berkeley Title: The Dancer and the Dance; or, and the Projected The Projection Emine Fetvacı to name just a few manifestations. Forming a to name just a few manifestations. these various fields, conceptual hinge between a productive offers the notion of “projection” for expanding framework and interdisciplinary ability to exceed its immediate discourse on art’s conditions. The 2017-2018 material and temporal Cook, Alex Bigman, English were coordinators and Ilhan Ozan. Zervigón Andres of New Jersey in the Radicalized Title: Photography and Truth Public Sphere The 2017-2018 Daniel H. Silberberg Series offers offers Series H. Silberberg Daniel The 2017-2018 its as of projections concept the multivalent to extend and is project To theme. organizing or perception. in space, time displace, whether the term encompasses display, Besides cinematic modeling, mapping and architectural practices of and the symptomatic and futurology, forecasting psychological (mis)identification, behavior of , Clemente Carla Stellweg , PhD Candidate, The , Elizabeth Ferrer and Andrew Ward Andrew Mónica Mayer , , James R. McCredie Professor in the in the Professor , James R. McCredie eneral public. Association, this series of lectures invites art Association, this series of lectures and conservators, historians, archaeologists, to share specializing in a variety of periods and genres with the Institute community and their latest research Daniel H. Silberberg Lecture Series Lecture Daniel H. Silberberg by the Graduate Student Planned and coordinated Mexico. A conversation with Magali Lara and Mónica Mexico. A conversation with Magali Lara and moderated by Carla Stellweg Mayer, Magali Lara Madeline Murphy Turner Artists in 1970s Title: Game Changers: Women Miguel Luciano Title: RIDE or DIE - Miguel Luciano in conversation with Elizabeth Ferrer Cecilia Vicuña Cecilia Vicuña Title: A Conversation with Cecilia Vicuña Latin American Forum Latin American for Studies on Latin by the Institute Sponsored American Art (ISLAA) Institute of Fine Arts. Marconi The Institute Art and Archaeology, History of Greek of Excavations at Director of Fine Arts, NYU; Project Selinunte, and excavation in Sicily. excavation by was presented The 2017 lecture This lecture brings together the project’s director, director, together the project’s brings This lecture of the team to and other members Clemente Marconi, the Selinunte from research findings and discuss their Archaeological Research at Research Archaeological Selinunte

, Curator, North , Curator, , Curator Emerita, Museum of , Assistant Professor at , Assistant Professor Title: Creative Strategies on the US/ Mexico Border Title: Creative Title: Images of Mecca and Medina in the Collections Title: Images of Mecca and Medina in the Collections of the Museum of Islamic Art, Doha The Annual Kirk Varnedoe Memorial Lectures were Memorial Lectures The Kirk Varnedoe the established in 2006 to honor and perpetuate dedicated and Varnedoe’s memory of Professor at innovative teaching, mentoring, and scholarship the Institute of Fine Arts. Lowery Stokes Sims Professor Visiting Arts and Design, Kirk Varnedoe and South Asia. Art historical scholarship on art and South Asia. Art historical Rather than is in a state of flux. these regions from aims to support definitions, the Colloquium propose a cumulative impact a long-term dialogue with the study of modernon critical writing and and of these regions. contemporary art histories Lenssen Anneka Dr. UC Berkeley and the al-Moudarres Fateh Title: Aleppo Surrealism: Bleeding Image, 1946-66 Mounia Chekhab-Abudaya Dr. Doha Africa and Iberia at the Museum of Islamic Art, Colloquium on ModernColloquium and Middle the from Art Contemporary South Asia East and on ModernThe Colloquium Art and Contemporary platform a offers Asia South and East Middle the from moderncontemporary and which to explore from the Middle East from visual cultures art and the , Professor and Chair of the , Professor , Jane Neuberger Goodsell , Jane Neuberger , Conservator, The Cloisters , Conservator, , The Material Collective

Title: Displaying ‘German Greatness’ in Nazi Title: Displaying ‘German Greatness’ Germany: The Middle Ages in the Exhibition ‘Deutsche Größe’ (1940-1942) and its Legacy New Wave of Technical Studies in Europe of Technical New Wave William J. Diebold Reed College of Art History, Professor Lucretia Kargère Lucretia Museum Metropolitan A Sculptures: Wood Title: Romanesque Polychrome Title: From Spain to Italy: Myths as Identity for Title: From Mediterranean Powers in the Medieval Emerging (11th-13th centuries) Manuel Castiñeiras Universitat Department of Art and Musicology, Autònoma de Barcelona Title: “The Most Extraordinary Art Museum in the Title: “The Most Extraordinary Inventing Medievalism at the Hammond World”: Massachusetts Castle Museum in Gloucester, and works-in-progress. Martha Easton Museum, and of the Institute’s Conservation Center. Center. Conservation Museum, and of the Institute’s and symposia, but lectures Events include traditional pre- also discussions around the Forum organizes guest scholars, tables with papers, round circulated are also on the agenda, so as to take advantage of so as to take advantage also on the agenda, are medieval of New York’s resources the exceptional those of the Metropolitan collections, particularly The Forum presents opportunities for discussion and opportunities for discussion presents The Forum to medieval interest topics of current exchange on and all approaches All media, all periods, art study. issues Curatorial and conservation represented. are Medieval Art Forum Art Medieval

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, Assistant Professor of Art and of Art , Assistant Professor workshops, and exhibitions in the New York Area. Area. in the New York workshops, and exhibitions an online calendar and a The Consortium maintains events. sponsors related and it regularly listserv, Lorraine Karafel and Parsons School of Design, Design History, MA Parsons/Cooper-Hewitt Interim Director, and in the History of Design Program Curatorial Studies for Tapestries Title: Raphael: Designs The New York New York The Consortium Renaissance established to Consortium was The Renaissance curators, and scholars, students, bring together in the arts of the Renaissance. interest others with a network the Consortium is year, Now in its 8th lectures, information on research, for publicizing , Independent scholar and , Deputy Director; Helen Gould , Deputy Director; , Senior Curator in the Museum , The Museum of Modern Art

Title: The Art of Painting in Colonial Bolivia, 1600- Title: The Art of Painting in Colonial Bolivia, 1825: Celebrating new book by Suzanne Stratton- Pruitt Marcus B. Burke Marcus New Department, The Hispanic Society of America, York Suzanne Stratton-Pruitt Alumna; IFA Jay Levenson A History in Three Title: Portugal and the World: Exhibitions Title: Between Toledo and Buenos Aires: Radical and Buenos Aires: Title: Between Toledo Modernity and the Mystic Cosmovision of Esteban Lisa (1895-1983) Edward J. Sullivan Edward in the History of Art, The Institute Professor Sheppard of Fine Arts and College of Arts and Sciences of the generosity and continuing support of Roberta and continuing of the generosity and we thank them heartily for Huber, and Richard activities possible. year’s making the current by Professors Jonathan Brown, Robert Lubar and Robert Jonathan Brown, by Professors is now organized J. Sullivan, the Colloquium Edward is the product Sullivan. The Colloquium by Professor the visual and material cultures of Spain, from of Spain, from cultures the visual and material ancient to modern time periods, and the Spanish the first Americas from and Portuguese-speaking Founded century. Contact era to the nineteenth held each semester brings scholars from the U.S. from brings scholars held each semester art historical and broader to explore and abroad to the arts as well as contextual subjects relating Culture of Spain and the Colonial and the Colonial of Spain Culture Americas and panel discussions of lectures This series The Roberta and Richard Huber Huber and Richard Roberta The Visual Arts and on the Colloquium

, Kirk Varnedoe , Kirk Varnedoe , PhD candidate, , PhD candidate, , PhD candidate, , Visiting Scholar , Visiting , PhD candidate, , Clinical Associate Professor , Clinical Associate Professor , Visiting Professor Professor , Visiting , Visiting Assistant , Visiting , Robert Lehman Lehman , Robert Title: Painting as absorption. Looking at the textile Title: Painting as absorption. Looking at the of absorption of the canvas and its properties Danielle Berman The Institute of Fine Arts the Title: Aesthetics of Contingency: History and Revolution Paintings of the French Unrealized Ikegami Hiroko Title: Pop in Japan: Embracing America, Contesting Empire Jennifer Buonocore The Institute of Fine Arts Title: Dan Graham: Possible Poems, 1966-1969 Hannah De Corte Lowery Stokes Sims Professor Visiting Navigating the Title: Naughty or Nice? the work of Robert Colescott in Transgressive Kent Minturn of Fine Arts Professor of Art Brut Title: The Political Unconscious Materials Ann Macy Roth and Passive Active and Watching: Title: Working in Egyptian Art Representations Colin Eisler Colin Arts of Fine Professor I of Syphilis: Melencolia Genius Title: Dürer’s Feldman Julia Pelta of Fine Arts The Institute World’ Simonds and the ‘Clay Title: Charles

, Visiting Professor and Jefe Professor , Visiting , Associate Professor of Art History, of Art History, , Associate Professor , PhD candidate, , PhD candidate, , Ailsa Mellon Bruce , Professor of Art History, of Art History, , Professor , PhD candidate, , Associate Professor of Art History, of Art History, , Associate Professor

The Institute of Fine Arts Hand Title: Paul Klee’s del Norte (Senior Curator of Flemish and Northern Paintings), Museo Nacional del Prado European Charlotte Healy Collective Vergara Alejandro de Conservación de Pintura Flamenca y Escuelas Jonathan Hay of Fine Arts Professor and Writing A Research Project: Title: The Xu Wei Anne Wheeler The Institute of Fine Arts Title: Robert Smithson: Language as Material Title: Cylinder Stamping in Ancient Western Sicily: Title: Cylinder Stamping in Ancient Western Adaptation and Translation during the Reign of Louis XIV Ward Andrew The Institute of Fine Arts Department of Art History, and the Institute of Fine Department of Art History, Arts, NYU Slavery Title: The Sun King at Sea: Maritime Art and Title: Punctuated Equilibrium: Modernism after Globalism Martin Meredith Pepe Karmel Department of Art History Carol Krinsky Carol Department of Art History about in Writing Title: Methods and Resources and More Modern Architecture American were Cristina Aldrich, Guillaume Malle, Sarah Mallory, Malle, Sarah Mallory, Cristina Aldrich, Guillaume were Trahey. and Tara and interdisciplinary issues. The Works In Progress In Progress The Works issues. and interdisciplinary intellectual exchange between talks augment the rich of the and among colleagues, students and faculty, 2017-2018 coordinators Institute of Fine Arts. The current students and faculty, the series aspires to aspires the series faculty, students and current about classroom beyond the facilitate conversations specific projects about methodologies and research, The Works In Progress series was initiated in 2013 by was initiated in 2013 series In Progress The Works a collegial to create Student Association the Graduate students and advanced doctoral faculty forum where Open to research. and ongoing current can present Works In Progress In Progress Works

The Institute of Fine Arts Annual 2017 - 2018 92 The Institute of Fine Arts Annual 2017 - 2018 93 , PhD , Professor of , Professor , “Radicalizing Gillian Sneed , Associate Professor , Associate Professor , “Harvesting the , “Mister Watermelon/Señor , “Mister Watermelon/Señor , Professor of 20th-Century , Professor Katherine Manthorne Daniela Bleichmar Lesley Wolff Ramos Javier Rivero Gillaspie Caroline Keynote: of Art History and History at the University of Southern California Naturaleza muerta (1954),” PhD candidate, Florida Naturaleza muerta (1954),” PhD candidate, State University Paper 2: and Forests Cybernetics: Chilean Nitrate, Talking PhD candidate, Art Ecopolitics,” Juan Downey’s Princeton University and Archaeology, Paper 3: Nineteenth-Century Brazil’s Representing Tropics: Coffee Plantations,” PhD candidate, Art History, CUNY Graduate Center, Discussant: Art of the United States, Latin America, and Their 1750-1950, Graduate Center, Cross-Currents, CUNY and MA student Julián Sánchez González; in and MA student Julián Sánchez González; in conjunction with Anna Indych-López, Katherine J. Sullivan. Manthorne, and Edward CUNY: Panel 1 at The Graduate Center, Agricultural Imaginaries by and Introduction Welcome Graduate Center and candidate in Art History, Anna Indych-López City Latin American Art, The Graduate Center and College, CUNY Paper 1: Tamayo’s Sandía: Fruitful Anxieties in Rufino and land become visualized in art? When, if ever, in art? When, if ever, and land become visualized world, to intervene in the natural we forced are endeavors? the risks of such and what are on by the Institute for Studies Presented and the Rewald Latin American Art (ISLAA) by The Center Endowment, and co-sponsored CUNY Graduate Center, for the Humanities at the NYU. Art Gallery, and the Grey PhD by current The symposium is organized Juanita Gillian Sneed, candidates Brian Bentley, Solano Roa, Danielle Stewart, and Madeline PhD student Horacio Ramos, Murphy Turner, relationship with the environment. The The the environment. with relationship situate these historically will proceedings debates current keeping in mind narratives while throughout change and sustainability on climate engage In what ways do artists the Americas. land to and the in nature with and intervene Under what perspectives? extraordinary create to nature related do spiritual practices conditions

, PhD candidate , PhD candidate , MA candidate seeks to open a conversation about the role of cultural seeks to open a conversation about the role in understanding and complicating our production duality, each posturing for subordination and control. and control. each posturing for subordination duality, many other ways to imagine such are there However, multidisciplinary case studies By presenting relations. of scholars, this symposium a diverse group from power of nature to overwhelm human comprehension. to overwhelm human comprehension. power of nature Rooted in a positivist paradigm, modern Western in a competitive thinking pits “man” and “nature” infrastructure throughout the island. Carmen Yulín the island. Carmen Yulín throughout infrastructure seen Cruz, the Mayor of San Juan, said, “I’ve never devastation like this. The human spirit is going to have high.” These comments highlight the to rise up real like Sodom and Gomorrah, like God is angry at like Sodom and Gomorrah, like God is angry Hurricane Maria hit Puerto us.” Just one day later, natural landscapes and human Rico, destroying On September 19, 2017, an earthquake struck central On September 19, 2017, an earthquake struck to Mexico, devastating many cities. Responding a government employee stated, “It’s the disaster, 2018 IFA-ISLAA Symposium: 2018 IFA-ISLAA Super/Natural: Excess, Ecologies, and Art in the Americas Alexis Monroe and Spiritual Title: Cloths of Honor as Visual Abstraction in Early Netherlandish Painting Title: Moved Earth, Moving Experience: A Case for the Title: Moved Earth, Moving Experience: A Case Earth Room New York De Maria’s Publicness of Walter Title: Viewing the ‘World’ from Seventeenth-century from the ‘World’ Title: Viewing South India Alison Tufano In 2017-2018, the following presentations were given: were presentations In 2017-2018, the following Saarthak Singh symposium with presentations by three Institute by three symposium with presentations the is selected to represent students, of which one Institute. to deliver original research papers in a public forum papers to deliver original research in the field—novice and to engage with colleagues by an in-house is preceded and expert. This event For more than half a century, The Frick Collection and The century, than half a For more a symposium of Fine Arts have hosted the Institute The Symposium in art history. for graduate students in art history the opportunity offers doctoral candidates The Institute-Frick Symposium Symposium The Institute-Frick 2017-2018 Conferences and and Conferences 2017-2018 Symposia Ananda , “Killing the , “El Apocalipsis , “El Apocalipsis , “Natura in Excelsis: , “Sonic Matters: Cildo , “Sonic Matters: Cildo , Professor, Art and , Professor, , PhD, Assistant Professor of the Professor , PhD, Assistant Eduardo Kac Eduardo Sean Nesselrode Moncada Sean Nesselrode Agustin Díez Fischer Agustin Díez Gabrielle Greenlee Marcelo Nogueira Marcelo Discussant: Rachel Price, Associate Professor, Discussant: Rachel Price, Associate Professor, Department of Spanish and Portuguese, Princeton University Keynote: Studies, School of the Art Institute of Technology Chicago Panel 4: Extractions and Erosions and Erosions Panel 4: Extractions Paper 1: of Culture, Mountains as Producers Sacred and the Supernatural Colonial in the Wealth, PhD candidate, History of Andean Mining Space,” UC Santa Cruz Culture, Art and Visual Paper 2: School Rhode Island Assistant Professor, Well,” of Design Paper 3: PhD candidate, Sound Sculptures,” Meireles’ Romance Studies, Duke University Barney and Linda Pongutá,” Artist, critic, curator, Barney curator, critic, Artist, Linda Pongutá,” and Colombia Bogotá, Paper 3: y guerra Ferrari: condena divina según León 60,” PhD, Art History, en los años de Vietnam Discussant: Buenos Aires. University of Cohen-Aponte Department, CornellHistory of Art University and , “Talismanes - , “Talismanes , The Institute of , The Institute , “Steps for an , “Steps for , “On the Edge of , Assistant Professor of , Assistant Professor Edward J. Sullivan Edward , “The White Atlantic of , “The White Atlantic of , “The Missing Meteorite: The , “The Missing Meteorite: Juanita Solano Roa Juanita Solano Mariola Alvarez William Contreras Alfonso William Contreras William T. Gassaway William T. Emily Sessions Mara Polgovsky Ezcurra Mara Polgovsky Kevin Buist

Paper 2: as an spiritual tool in the work of Alicia Sculpture Glory: Death, Disease, and Divinity at the Margins Glory: Death, Disease, and Divinity at the Margins Columbia of Aztec Art,” PhD candidate, Art History, University Panel 3: Divine Nature (bilingual panel) Panel 3: Divine Nature Paper 1: Diiscussant: Modern Contemporary Latin American Art Tyler and University School of Art, Temple Paper 3: et Physique, Politique Histoire Ramon de la Sagra’s candidate, History of de l’Ile de Cuba,” PhD Naturelle University Art, Yale Irreconcilable Subjectivities of People and Rocks,” Subjectivities of Irreconcilable and Design, Student, Kendall College of Art Master’s Ferris State University Paper 1: Fellow, Aesthetics,” Junior Research Ecological College, Cambridge Queen’s Paper 2: Introductions by Professor by Professor Introductions PhD candidate Fine Arts, NYU Panel 2 at the Institute of Fine Arts: Peripatetic Peripatetic Fine Arts: of 2 at the Institute Panel Ecologies

The Institute of Fine Arts Annual 2017 - 2018 94 The Institute of Fine Arts Annual 2017 - 2018 95 , PhD Student in Art History, , PhD Student in Art History, , PhD Student in Art History, , PhD Student in Art History, , PhD candidate in Art History, , PhD candidate in Art History, , PhD candidate in Art History, , PhD candidate in Art History, , PhD candidate in Art History, The , PhD candidate in Art History, , PhD Student in Art History, The Graduate , PhD Student in Art History, Center, CUNY Center, Title: Pornogramas: photo-performances and performance art documentation in the context of Movimento de Arte Pornô Martorell’s Salmos Portfolio Martorell’s Horacio Ramos Cerna CUNY The Graduate Center, Pan- Title: The Manual Industries of Peru: MoMA, Native Americanism, and the Crafting of “Peruvian” Arts in the 1940s Mya Dosch CUNY Graduate Center, and su 68: Nostalgia Title: Cada generación quiere Institutionalization Tie Jojima Aimé Iglesias Lukin Rutgers University Self-Portrait, and Identities in Flux Title: Signature, Remi Poindexter CUNY – Graduate Center Exotic: Depictions of Labor in Title: The Productive the 19th Century Caribbean Sonja Elena Gandert CUNY The Graduate Center, Antonio Title: The Liberation of Print and Word: , PhD Graduate, The , PhD candidate, The Institute of Title: Figuring Mexico City in the NAFTA Era Title: Figuring Mexico City in the NAFTA Emily Rose Lyver Fine Arts, NYU Institute of Fine Arts, NYU Title: Between Limit and Possibly: Bricolage, Construction, and Restoration in 1990s Art from Cuba intellectual exchanges. Blanca Serrano de Solórzano limited to, temporal and geographic proposals limited to, temporal and geographic proposals this lens, South Through of an innovative nature. further & About! seek to foster and strengthen within communities via creative interconnections scholars in our field. South & About’s thematic scholars in our field. South & About’s and welcomes interdisciplinary focus is broad including, but not methodological approaches, created South and About! This workshop series created as a student-run initiative striving to is structured open a casual space for dialogue and peer-to-peer of emerging feedback on the work in progress channels among graduate students of the New York York channels among graduate students of the New to the arts of Latin focusing on topics related Area America has Latin America and the Caribbean, IFA South & About! With the aims of opening informal communication , , The , NYU; , The Artur Ying Qian Ying , University , Artforum; Xin Wang , University of , artist. Co-chaired , artist. Co-chaired Pepe Karmel Hung Wu (2016), allow for the , Columbia University; , Columbia University; curator, and curator,

Jonathan Hay Dawn Chan

, The Institute of Fine Arts, NYU; , The Institute , NYU; Yang Fudong Yang , Princeton University; , Princeton University; James Poborsa Brick-Foot The Walther Collection; The Walther John Rajchman , artist; Judith Hopf Christopher Phillips, Christopher Phillips, the historic venue. Hopf imbues her work with a that finds expression sense of humor and irony a variety of media. Her adoption of brick through of isolated parts of the human sculptures to create as in anatomy, historic landmark building, provides an impressive an impressive historic landmark building, provides art in setting for displaying seminal contemporary academic home and the center of the Institute’s Hall Exhibitions The 2017-2018 Great community. Haley S. by Institute students organized were Kendall Follert, Scott R. Davis, and Mattos Pierce, Paschal. Fall 2017: Judith Hopf Artist: Judith beaux-arts interior, Set within the building’s a rich of brick create films and sculptures Hopf’s conceptual interaction with aesthetic and promote Pietra, Institute-sponsored excavations, and in excavations, and in Pietra, Institute-sponsored and museum laboratories, libraries, archives, private conservation studios: Digging Deeper: Conservation In the Field; Looking Closer: Conservation in the Museum; La Dolce Villa! at La Pietra. Conservation Projects Exhibitions Hall Great Exhibitions per year Hall two Great are There contemporary artists. showcasing prominent in the fall and spring semesters, place Taking Hall of the Duke House, a the expansive Great Lu Yang Toronto; Stephanie Tung Walther, Institute of Fine Arts, NYU; of Chicago; and by Columbia University. Series Summer Projects A series of informal talks by conservation students La at Villa about their summer work projects production and reception of photography, video, video, of photography, reception and production the in China from practices media art and new 1990s to present. include: Participants Crow Thomas E. Grube Katherine Fine Arts, NYU; Institute of , Yuji Yuji , followed . , Deputy Director; , Deputy Director; José Leonilson: José Leonilson: Madame B Susanna V. Temkin Susanna V. Mieke Bal , President, Projeto Projeto , President, , independent curator; , independent curator; , University of California, , Rutgers University , Director and Chief Curator, and Chief Curator, , Director Edward J. Sullivan Edward , soprano , pianist Ana Lenice Dias and the international launch of the three and the internationallaunch of the three , PhD candidate Universidad Complutense , PhD candidate Universidad Jenni Sorkin Cecilia Brunson

international symposium brought together leading international symposium brought international scholars, curators, writers, and artists to a wide range of topics pertinent to the address by The Institute of Fine Arts, New Co-organized Collection, the University and The Walther York Symposium on Photography and Media Art in China since the 1990s Susan Sidlauskas The Figurations of Title: Resisting Impressionism: Claude Debussy anniversary of his death. Sylvie Robert Steve Beck The Institute hosted a recital and lecture honoring and lecture The Institute hosted a recital Claude Debussy (1862-1918) on the one hundredth The Songs of Claude Debussy on the The of his Anniversary One Hundredth Death A special screening of the film, A special screening by a Q&A with the filmmaker, Mieke Bal Screening Madame B Mieke Bal Screening Helen Gould Sheppard Professor in the History of Professor Helen Gould Sheppard Arts and Art, The Institute of Fine Arts and College of Sciences Kawasima de Madrid; Leonilson; Santa Barbara; Gabriela Rangel Arts Americas Society; Visual Arts, Americas Society; Visual Assistant Curator, completed by the artist’s estate, the São Paulo-based estate, the completed by the artist’s Leonilson. Projeto Speakers: The Americas Society and The Institute of Fine Arts Society and The Institute The Americas upcoming exhibition celebrate the Empty Man raisonné, recently volume Leonilson catalogue José Leonilson: Autobiography of a Autobiography José Leonilson: Artist Brazilian Special Engagements Engagements Special

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, MA candidate, The

, MA candidate, and co- , Director of Exhibitions , Director , artist (Daniel Traub, 2013, China, 9 (Daniel Traub, , writer, researcher, and curator researcher, , writer, , photographer and filmmaker , artist and choreographer , artist and choreographer , PhD candidate and co-organizer of the , PhD candidate and co-organizer Hu Xiangqian, Samuel Fosso, He Hu Xiangqian, Samuel fall 2017 Duke House Exhibition Onyedika Chuke Responds Screening: Little North Road min) China in Africa: investment or exploitation? 2014, Doha, 25 min) (Aljazeera Inside Story, Panelists: Onyedika Chuke Megan Ashley DiNoia of the fall 2017 Duke House Exhibition organizer Xin Wang over the past decade. The exhibition presents over the past decade. The exhibition presents African works by four artists, two Chinese and two recent cross- upon nationals, who have reflected and immigration. continental relations Roundtable of Non-Others Julián Sánchez González Institute of Fine Arts, NYU Qinmin Liu C. Onabanjo Oluremi Collection Project and Collections for The Walther Space Moses Serubiri Daniel Traub contemporary and inviting viewers to engage with contemporary and inviting of the Institute. The future both the past and the by Exhibition was organized fall 2017 Duke House and Megan DiNoia. Institute students Xin Wang an interface Fall 2017: chin(A)frica: Artists: Xiangyu, Edson Chagas investigated some chin(A)frica: an interface, and geopolitics, of the ways in which identity, expansive through re-formulated otherness are exchanges between China and African countries Duke House Main Floor Main Floor House Duke Series Exhibition brings Exhibition Series The Duke House landmarked art to the walls of the contemporary is displayed in House. The work James B. Duke of residence Age interior of the former the Gilded the historic with the juxtaposing the Duke family, Flying

Some (2011). The film (2011). The

, BFA candidate, NYU , BFA , MFA candidate, Hunter College , MFA , MA candidate, The Institute of Fine , MA candidate, The Institute , Associate Professor of Art History, NYU History, of Art , Associate Professor , MFA, NYU Steinhardt , MFA, , Associate Professor of Media, Culture, and Culture, of Media, , Associate Professor , MFA candidate, Hunter College , MFA (2016), which will feature her short film, her short will feature (2016), which Jamie Isenstein support of Valeria Napoleone XX. support of Valeria Mansion, Fraunces Tavern Museum, The Vander Ende- Vander Museum, The Mansion, Fraunces Tavern House, and the Wyckoff House Museum. Onderdonk generous the The exhibition was made possible through Participating lending institutions to the exhibition include Library & Museum, Museum of the City of The Morgan Bartow-Pell Mansion Museum, Morris-Jumel New York, sets of logs from several New York cultural institutions, several New York sets of logs from and Isenstein calls attention to their familiar presence metaphorical meanings. such objects, often found within museums and historic such objects, often found within museums and of homes, shape our contemporary understanding and redisplaying truth and knowledge. By borrowing Inspired by her encounter with the decorative logs in by her encounter with the decorative logs in Inspired Jamie Isenstein’s Hall fireplace, Great the Institute’s of exhibition highlights the artifice and theatricality how these seldom noticed objects. Isenstein considers Spring 2018: Universe of Logs Artist: Dylan Reitz Tian Tan Nathan Storey Freeman Nathan Storey Steinhardt Katy McCarthy Arts, NYU and Symposium in Conjunction Film Screening with Judith Hopf Ben Kafka Communication, NYU Kendall Follert In Conversation: Pepe Karmel and Ben Kafka In Conversation: Pepe on Judith Hopf Pepe Karmel The exhibition was made possible through the generous the generous possible through The exhibition was made Napoleone XX and Kaufmann Repetto. support of Valeria End of Things: Conception of Youth End of Things: that also hints at a greater unique humor Hopf’s retains fostering a dialogue with the and sadness sense of irony of film and architecture. social and political history form and utilitarian material is only enhanced. In material is only form and utilitarian will be the sculptural work with Hopf’s conjunction Cinema humble material to assume greater artistic and artistic greater to assume material humble the ornate Set within value. architectural expressive of artistic Duke House, the contradiction design of the SUPPORT US

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Zurbarán’s Jacob and His Zurbarán’s and click “Support Us.” Jane Draizen Huber Richard Roberta Huber David Tobey Marica Vilcek Alicia Volk Christine Poggi (ex-officio) Christie’s; and a visit to the private collection of and a visit to the private collection Christie’s; Lindemann. Programs Amalia Dayan and Adam as well with City expand beyond New York global experiences. domestic day-trips and call Circle, about the Connoisseurs learn more To visit our website us at (212) 992-5837 or ifa.nyu.edu Executive Committee Stephen R. Beckwith, Chair William L. Bernhard interest. Recent events include an after-hours, include an after-hours, Recent events interest. tour of curator-led Auckland Castle from Sons: Paintings Twelve of The a private viewing The Frick Collection; at Peggy and David Rockefeller Collection of .

; ls; and Thomas Technology & Structure of & Structure Technology Topics in Graphic Design Since 1950 in Topics

curator-led exhibition tours, to visits to some curator-led collections, the finest private of New York’s offers something for every Connoisseurs Circle Members also receive invitations to exclusive art Members also receive designed especially for their world events that are artist studio visits to faculty- and benefit. From Crow’s Crow’s Special Events courses include Philippe de Montebello’s de Montebello’s courses include Philippe of Museums The History and Meaning Michele Marincola’s Materia of Art I: Organic Works Members receive the privilege of auditing Institute the privilege Members receive of topics within art courses that cover a range Recent conservation, and archaeology. history, beyond. Course Auditing group the Connoisseurs Circle offers unparalleled offers unparalleled Circle the Connoisseurs group renowned rich academic program, access to our City and and to the art world in New York faculty, Connoisseurs Circle Connoisseurs Arts’ patron to the Institute of Fine Membership Support Support Us

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to align their philanthropy with their business and with their philanthropy to align their Our institutional supporters marketing objectives. benefits in addition an array of significant receive entertain at our historic to the unique ability to James B. Duke House. landmark building, the please contact about the program, learn more To us at (212) 992-5812. Corporate Patron Program Program Patron Corporate the provides Program Patron The Corporate small businesses for corporations and opportunity

Eric M. Zafran* Anonymous (8) *Institute Alumnus/a Dorothy Ko and Marvin L. Trachtenberg* Dorothy Joan Troccoli* Phoebe Dent Weil* Allen Rosenbaum* Smith St. George Virginia Stephanie Stokes* Harriet K. Stratis* David T. Owsley* David T. Anne L. Poulet* James D. Roberts* Paul Lott Michele D. Marincola* Dianne Dwyer Modestini Norton* Ann Wood Margaret Holben Ellis* Margaret Maria Fera* Shelley Fletcher* Patricia and Stephen R. Beckwith Brush* Katherine F. Ruth A. Butler* Anne* and Joel Ehrenkranz Legacy Society Members Corrine Barsky us you have done so already, please contact the please contact the us you have done so already, at (212) 992-5869. Development Office further art history, conservation, and archaeology conservation, and archaeology further art history, for years to come. scholarship and discovery Institute or to alert start planning your gift to the To estates, or other gift planning arrangements, such estates, or other gift planning are We to the donor. as gifts that pay income of our Legacy pleased to honor the generosity loyalty to the Institute will Society members. Their faculty, and friends who have recognized the recognized and friends who have faculty, by of planning their philanthropy importance their wills and for the Institute through providing Legacy Society Legacy alumni, of special Society is a group The Legacy Support Support Us

Richard E. Oldenburg E. Oldenburg Richard Jr.* Oliver, Andrew Janice Carlson Oresman* Alice Pacthod Maddalena Paggi-Mincione*and Raffaele Mincione Palmer Purcell Peter G. Peterson M. Phillips Wendy Robert R. Littman* Paul Lott and Javier Lumbreras Lorena Robinson Mahon* and Dorothy S. Mahon* Terrence Mary S. Manges Svetlik Mann* Claire B. Mann* Vivian Michele D. Marincola* Matisse and Tana The Pierre Foundation McCann*and Anna Marguerite Robert D. Taggart James R. McCredie Medinger Beatrix* and Gregor Mellon W. The Andrew Foundation Dara J. Mitchell* and Michael Offit Charles S. Moffett* Philippe de Montebello* Joanne D. Murphy Naini Terry Napoleone and Gregorio Valeria and Victoria Samuel I. Newhouse, Jr. Norton* Ann Wood Lucio A. Noto Michael A. O’Connor Mary Ellen and

Jay A. Levenson* Colleen Ritzau Leth* Daphne R. and Tom S. Kaplan Daphne R. and Tom Patricia E. Karetzky* Jr. Kelly, Joseph F. The Hagop Kevorkian Fund Susan and Robert Klein Estate of John H.B. Knowlton Ko and Dorothy Marvin Trachtenberg* Foundation Samuel H. Kress Stephen S. Lash Nancy Chang Lee* Robert Lehman Foundation Leon Levy Foundation Mary Schuette and Debora A. Guthrie Elisabeth Hackspiel-Mikosch* Riley de Havenon and Georgia Michael de Havenon S. Hedberg* Gregory Heleniak* Kathryn Moore Howard* Loretta Huber Roberta and Richard Isabella Hutchinson and Diego Gradowczyk Institute for Studies on Latin American Art (ISLAA) Mary and Michael Jaharis Laleh Javaheri-Saatchi and Cyrus Pouraghabagher Shelley Fletcher* Larry Gagosian Hass Goldman Carol and James Goodale Toni Lorna B. Goodman Jane Mack Gould Grotevant Sharon

We are pleased to recognize Institute’s trustees, alumni, faculty, and friends who have contributed to the and friends who have contributed trustees, alumni, faculty, Institute’s to recognize pleased are We made commitments of $1,000 or more for student support. The following list reflects Momentum Campaign 2011. the Momentum Campaign on September 1, since the beginning of student support to ensure that future art historians, conservators and archaeologists have the chance to have archaeologists conservators and art historians, that future to ensure student support dreams. achieve their Over the past several years the Institute of Fine Arts has participated in New York University’s $1 billion University’s York participated in New of Fine Arts has several years the Institute Over the past met its has successfully this year as the University come to a conclusion Campaign, which will Momentum million for has raised over $36 as part of this campaign that the Institute report delighted to are goal. We Hart N. Fessenden, Jr. Estate of Robert H. Ellsworth Elizabeth B. Estabrook* Evnin Judith W. Nancy B.* and Hester Diamond Durr Nancy P. Anne* and Joel Ehrenkranz Holben Ellis Margaret Margaret Culver Margaret Rachel Davidson and Mark Fisch Dedalus Foundation Eileen and Michael Cohen Cohen Evelyn Streit Mariana R. Cook Amy Kathleen Cosgrove Gabriella Befani Canfield* Sofia Chappuis and Kent Charugundla Marguerite Daniel and Estrellita* Brodsky Daniel and Estrellita* Mary Braman Buchan* Ildiko and Gilbert Butler Ruth A. Butler* Catherine Coleman Brawer* and Robert Brawer Deborah Loeb Brice Glenys and Kermit Birchfield Debra and Leon Black Lois Earl Blumka Suzanne Deal Booth* Lawrence B. Benenson Lawrence William L. Bernhard Beyer and John Treacy Darcy Antiquarium, Ltd. Meg A. Armstrong* Gini and Randy Barbato Patricia and Stephen Beckwith Laurel Acevedo Laurel Dita G. Amory* Momentum Momentum Campaign

Arts Annual 2017 - 2018

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Hanjing Xu Eric M. Zafran* Dale* and Rafael Zaklad Mariuccia Zerilli-Marimò Baroness Nadia Zilkha Nicholas S. Zoullas Anonymous (9) *Institute alumnus/a Jan T. and Marica Vilcek Jan T. Volk Alicia and Norman Michael* Ward Stark* and Susan M. Wasserstein Weill Marie-Hélène Felecia Weiss and Mariët Westermann* II Charles H. Pardoe, Wilf Rachel* and Jonathan Eileen Guggenheim Wilkinson and Maya Lin Daniel Wolf Reva June Wolf*

Courtney Finch Taylor Maurice Tempelsman Cristin Tierney* Susan B. Tirschwell Alice M. and Thomas J. Tisch Julie and David Tobey Umland* Anne W. Betty Selly Smith* Smith St. George Virginia Sheldon H. Solow Soth* Lauren Sally Spooner Deanie and Jay Stein Judy and Michael H. Steinhardt Eliot B. Stewart Stockman Family Foundation Trust Stephanie Stokes* Harriet K. Stratis* Suesser Mildred Aso Tavitian Lois Severini* and Lois Severini* Gittes Enrique Foster Sharp Foundation The Peter Jay Singer* Christine M. Slusser Estate of Mary

Robert Scully Selz T. Lisa and Bernard Lauren Berkley Saunders* Lauren Schneider T. Fredric Lise Scott and D. Ronald Daniel and Nancy Peretsman Lisa A. Rotmil* Bonnie Sacerdote Tina Samii Ida and William Rosenthal Foundation Mimi Rosenwald Patricia A. Ross Anne N. Rorimer* Kenneth J. Rosenbaum Elaine Rosenberg Nicholas Rafferty Richards Elizabeth and Reuben Curtis M. Roberts* Meeker Rom Family Foundation Anne L. Poulet* Rabinowitz Jonathan D. and Cummings Rafferty* Caroline Barbara Pine Polsky and Cynthia Hazen Leon Polsky Momentum Momentum Campaign

Nancy Lee Fellowship Support for outstanding doctoral students Robert Lehman Fellowships for Graduate Study in the Fine Arts For students showing promise of making distinguished contributions to the field Lore and Rudolf Heinemann and Lore Fund and Support for curatorial and scholarly travel, research conservation of 14th-19th century paintings and drawings Elizabeth A. Josephson Fellowship assistance for doctoral Tuition candidates and Samuel Karlan Florence Memorial Fellowship a student who support To evidence of creativity presents and initiative Antoinette King Fellowship Support for Institute students in paper conservation Krautheimer Richard Fellowship For a distinguished student working in one of Professor fields of interest Krautheimer’s J. Paul Getty Trust Fellowship Trust J. Paul Getty For internships in conservation Fellowship Robert Goldwater outstanding doctoral Support for candidates Donald S. Gray Fellowship For student travel Julia A. Harwood Scholarship Support for doctoral candidates

Roman Art and Archaeology For an outstanding doctoral candidate in the field Shelley Fletcher Scholarship Fund For Conservation Center underrepresented students from communities Larry Gagosian Fellowship in Modern Art For doctoral candidates studying Modern art Peninsula, 1400-1900 Robert H. Ellsworth Doctoral Fellowship Fund in Asian Art For doctoral fellowships in the field of Asian art Fellowship for Excavation Archaeological For student travel to the five archaeological Institute’s sites and Fellowship in Greek archaeology Cook W.S. Walter Scholarship Fund the study For study in Spain, or of Medieval art and architecture Cook Payer Fellowship Cook W.S. In memory of Walter Elkow-Muller Fellowship For the study of the arts of Spain, Portugal, and Eurasia within and beyond the Classical Art or Archaeology Art or Archaeology Classical in Honor of Fellowship and Shelby White Leon Levy candidates For doctoral art and studying classical

For student travel Robert Chambers Memorial Fellowship Fellowship for Latin American Art History For the study of Latin American art Egyptian art B. Brodsky Estrellita Bernard V. Bothmer Bernard V. Memorial Fellowship For the study of ancient Fellowship in Conservation support conservation To students For doctoral study in the field of Italian art Suzanne Deal Booth Bernard Berenson Bernard Berenson Fellowship Batchelor Fund For student summer travel to study Mediterranean art and archaeology For the study of art in Italy Charles and Rosanna the Institute Bader Isabel and Alfred Fellowship in Italian Art Isabel and Alfred Bader Isabel and Alfred Art Fellowship in Dutch art at For the study of Dutch Alfred Bader Fellowship Bader Alfred art in For the study of Dutch the Netherlands Fellowship summer travel For student Endowed Fellowships Endowed Altman Barbara P. Institute Institute Fellowships

The Institute of Fine Arts Annual 2017 - 2018 104 The Institute of Fine Arts Annual 2017 - 2018 105 Jerusalem students Lila Acheson Wallace Fellowship Egyptian, For students studying Modern, Ancient Near East, and Roman art Greek Florance Waterbury Fellowship For students specializing in Asian art and the art of the western hemisphere Fund for Phoebe Dent Weil Art Conservation Education training and research support To in art conservation programs Martin and Edith Weinberger Fund For travel and general scholarly purposes Willner Family Fellowship For scholarly purposes, including travel to Israel and work at the Israel Museum, Stephanie Stokes Student Student Stokes Stephanie Fund Travel students with stipends for Travel and Asian, European, a focus on Easternthe Middle art through the 20th century Jan Vilcek Marica and Fellowship in Art History support outstanding doctoral To students Marica and Jan Vilcek Fellowship in Conservation support conservation To

To support conservation To students candidates Judy and Michael Steinhardt Fellowship Support for doctoral candidates of the Director at the discretion Beatrice Stocker Fellowship assistance for doctoral Tuition candidates Stockman Family Foundation Art Conservation Fellowship to Institute students who demonstrate academic merit Peter Jay Sharp Foundation Fellowship tuition, living stipend provide To and travel bursary for an Institute student Starr Foundation Fellowship For the study of Asian art Stein Family Fellowship Support for outstanding doctoral Jean B. Rosenwald Jean B. Rosenwald Memorial Fund For student summer travel Rousseau Theodore Scholarship Fund who are For doctoral candidates considering museum careers, in for travel and study abroad painting the field of European Roslyn Scheinman Fellowship assistance tuition provide To Eleanor H. Pearson H. Pearson Eleanor Fellowship Travel summer travel For student Khalil R. Rizk Fellowship Travel travel in Italy For student

preference for students preference specializing in Iranian, and particularly Sasanian, iconographic studies Dorothy Shepherd Payer Shepherd Dorothy Endowed Fellowship assistance with a Tuition Raffaele Mincione Fellowship For students with a focus in the study of ancient world studying an aspect of Asian art Maddalena Paggi and Ann Wood Norton Ann Wood Scholarship Fund assistance for students Tuition with a focus on those who are Humanities Fellowship For the study of conservation or curatorial students with a focus in contemporary art National Endowment for the Valeria Napoleone Fellowship Valeria support students specializing To in the fields of conservation and/ Andrew W. Mellon Foundation Mellon W. Andrew Fellowships For the study of conservation archaeological excavations in archaeological classical lands James R. McCredie James R. McCredie Summer Grant to For student summer travel Scholarship Fund funding in Support for fellowship ancient art Tuition support for Institute support for Institute Tuition students McAfee Liberal Arts conservation Fellowship Paul Lott Leon Levy and Shelby White Shelby White Levy and Leon Fellowship For internships in the field of

Deanie and Jay Stein Deanie and Jay Stein Fund Dissertation Travel travel stipend provide To support for PhD students conducting dissertation research Rachel and Jonathan Wilf Fellowship in Time-based Media Art Conservation support to one provide To inaugural student in the Institute of Fine Arts Conservation training four-year Center’s in time-based media program art conservation Zerilli-Marimo Baroness Fund Travel support student travel and To in Italy research La Pietra Conservation Conservation La Pietra Stipends support conservation To to students traveling La Pietra Villa Rosenthal Ida and William Fellowship Foundation incoming For the support of an student at the Institute The Selz Foundation Conservation Fellowship Support for conservation students students Andrew W. Mellon Mellon W. Andrew Foundation Fellowships Support for conservation students Mario Modestini Fellowship in Paintings Conservation support paintings To conservation students National Endowment for the Humanities Fellowship Support for conservation Shelby White and Leon Levy Grants Travel support student summer To travel Fellowship John L. Loeb, Sr. support first- and second- To year students at the Institute Matisse and Tana Pierre Foundation Fellowship the stipends for increase To doctoral students in Conservation Support for conservation students Foundation Samuel H. Kress Fellowship a Fellowship support for painting student specializing in conservation in Leon Levy Fellowship Conservation Archaeological For visiting scholars studying conservation archaeological Institute of Fine Arts of Fine Institute in Painting Fellowship Conservation student For a conservation easel studying traditional paintings Fellowship Hagop Kevorkian

Roberta and Richard Huber Roberta and Richard Fellowship support students working in To field of Latin American Art To provide travel funding for provide To Institute of Fine Arts students The Egbert Haverkamp- Begemann Student Fund Travel To support student travel To in Ancient Near and research Easternand Mediterranean art and archaeology Donald P. Hansen Donald P. Fund Student Travel To encourage the study of the To the decorative arts, in particular, study of textile arts or cultural history of dress Elisabeth Hackspiel- Mikosch Scholarship in Decorative Arts PhD Students support travel for doctoral To candidates Hagop Kevorkian Fund Friends of the Institute Richard Ettinghausen Richard Art Fellowship in Islamic the Fellows supported by Fellowship Support for a third-year conservation student Support for outstanding Support for outstanding doctoral candidates Dedalus Foundation Rachel Davidson and Rachel Davidson Mark Fisch Fellowship Connoisseurs Circle Circle Connoisseurs Fellowship outstanding Support for doctoral candidates Annual Fellowships Annual

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*Institute Alumnus/a J. M. Kaplan Fund Eileen Guggenheim Wilkinson Debora A. Guthrie Elisabeth Hackspiel-Mikosch* Heller Christine and Sanford Julie E. Herzig* and Robert J. Desnick Howard* Loretta Ko and Dorothy Marvin L. Trachtenberg* Meeker Rom Family Foundation Lucio A. Noto Mary Ellen and E. Oldenburg Richard Eijk and Rose-Marie van Otterloo Alice Pacthod Anne N. Rorimer* Bonnie Sacerdote Schneider T. Fredric Smith St. George Virginia Eliot B. Stewart and Mariët Westermann* II Charles H. Pardoe, Anonymous (5) This list includes commitments July 1, 2017 to from received July 1, 2018. $5,000-$9,999 Mary Lee Baranger* Gini and Randy Barbato William L. Bernhard Lois Earl Blumka Ildiko and Gilbert Butler of the a program Furthermore:

Victoria and Samuel I. Newhouse Victoria Cynthia Hazen Polsky Jonathan D. Rabinowitz Elizabeth B. Richards Ida and William Rosenthal Foundation Patricia A. Ross Lois Severini* and Enrique Foster Gittes Alice M. and Thomas J. Tisch Julie and David Tobey Paula J. Volent* Alicia and Norman Volk Anonymous (1) $10,000-$24,999 Patricia and Stephen Beckwith Philanthropies Bloomberg Catherine Coleman Brawer* and Robert Brawer Nancy B. Fessenden* Riley de Havenon and Georgia Michael de Havenon The Hagop Kevorkian Fund Arthur Loeb Foundation Kessler Rosa Lowinger* and Todd and Javier Lumbreras Lorena Suzanne Deal Booth* Dedalus Foundation Institute for Studies on Latin American Art (ISLAA) Stephen S. Lash Matisse and Tana The Pierre Foundation Alexandra Munroe* Berkley Saunders* Lauren Daniel Lise Scott and D. Ronald Deanie and Jay Stein Anonymous (2) $25,000-$49,999

Charles K. Williams, II Anonymous (2) Sheldon H. Solow Malcolm Hewitt Wiener Foundation Societies Rachel Davidson and Mark Fisch Huber Roberta and Richard Lounsbery Foundation Richard $50,000-$99,999 American Council of Learned Rachel* and Jonathan Wilf Anonymous (3) Maddalena Paggi-Mincione* and Raffaele Mincione Stephanie Stokes* Valeria and Gregorio Napoleone and Gregorio Valeria The National Endowment for the Humanities Norton* Ann Wood Samuel H. Kress Foundation Samuel H. Kress Nancy Chang Lee* Leon Levy Foundation $100,000-$999,999 Shelley Fletcher* Larry Gagosian Harriet K. Stratis* and Marica Vilcek Vilcek Jan T. The Andrew W. Mellon W. The Andrew Foundation Judy and Michael H. Steinhardt $1,000,000-$6,000,000 Anne* and Joel Ehrenkranz Philanthropy plays an essential role in fulfilling the Institute’s mission to educate future generations of art generations to educate future mission Institute’s the in fulfilling an essential role plays Philanthropy of our supporters. acknowledge the generosity gratefully We and archaeologists. historians, conservators, Annual Annual Donors to the Institute Contributors to Photo the 2018 Annual Credits

Indira A. Abiskaroon Matthew Adams Matthew Adams Leo Amiri Lisa A. Banner Lisa Hoang Daniel C. Biddle Kathryn Howley Jacquelyn N. Coutré Haley Pierce Andria Derstine Louisa M. Raitt Megan DiNoia Nita Roberts Kathryn Falato Jason Varone Finbarr Barry Flood Christine Frohnert Lyla Halsted Sarah Higby Lisa Hoang Design and Kathryn Howley Sandhya Jain-Patel Graphics Kelly Keegan Bryanna Knotts Jason Varone Karen Leader Sophie Phoenix Lo Conley Lowrance Clemente Marconi Kevin Martin Compiling Robert A. Maxwell Rachel Mochon Editor Joseph Moffett Elyse Nelson Jenni Rodda Sam Omans Hae Min Park Haley S. Pierce Christine Poggi Hannelore Roemich Jason Rosenfeld Samantha Rowe Julián Sánchez González Brenda P. Shrobe Lowery Stokes Sims Roland R. R. Smith Edward J. Sullivan Marvin Trachtenberg Richard Turnbull Jason Varone Marica Vilcek Xin Wang Bonna Wescoat Andy Wolf Ayşin Yoltar-Yıldırım