Institute of Fine Arts • Annual 2010 - 2011 The Institute is dedicated to graduate teaching and advanced research in the history of art, archaeology, and the conservation and technology of works of art. Table of Contents
2 | Introduction
7 | Faculty and Fields of Study
13 | Special Appointments
16 | Spotlight on Students and Alumni
23 | Faculty Research
33 | Excavations
36 | Public Programming
44 | Library and Visual Resources Collections
46 | Study at the IFA
50 | IFA Fellowships
52 | Course Offerings 2010-2011
57 | Course Offerings 2011-2012
62 | IFA Staff
63 | Donors to the Institute
Art History and Archaeology The James B. Duke House 1 East 78th Street, New York, NY 10075 Tel: (212) 992 5800 Fax: (212) 992 5807 Institute of Fine Arts [email protected]
The Conservation Center The Stephen Chan House 14 East 78th Street, New York, NY 10075 Tel: (212) 992 5847 Fax: (212) 992 5851 [email protected]
Inside cover: Conservation student Kristen Watson Institute of Fine Arts the Director the The Annual. IFA the first issue of the to Welcome about this newpurpose of is to tell you publication the past year over at the Institute what has happened our plans for the coming year. and to detail some of news a lot of about the have will see, we As you as alumni, and faculty, activities of our students, our courses, programs, as information about well student opportunities, and our supporters. make that things the of some about learn will you Here of its talented is proud The Institute special. the IFA and fortunate in its faculty, students and distinguished is to promote mission The Institute’s dedicated staff. of and close engagement with works thinking creative the importance those of understanding stress We art. historically and critically, conceptually, physically, works have professors IFA forms of inquiry. different through difficult unique opportunities and explore to propose students with investigations their share to and questions and in the field. in the laboratory, in the classroom, and York New of resources the rich benefit from We and of contacts here network our extensive from will demonstrate the many Annual The IFA abroad. our goals. realize ways in which we being undertaken in a are ambitious programs Our under are humanities the when climate, challenging The Institute is uncertain. and the economic future threat supporters,is immensely grateful to its generous who in the role enable us to continue to play a defining With and conservation. world of the arts, archaeology, forefront the at be to able is IFA the contributions their the leaders of tomorrow. while training today, of research W. Andrew the IFA’s Amir, Yaelle I am very grateful to for her work Coordinator, Activities Research Mellon and to all who contributed to in editing the Annual, be able to read will As much as you its preparation. urge and I therefore to the story, is more there here, (ifa.nyu.edu) for more to visit our website you information about our activities, news, and events. House at the Duke look forward to seeing you We in the near future! Rubin Patricia Director Steinhardt & Michael Judy Arts of Fine Institute Welcome from from Welcome
2 Institute of Fine Arts Annual 2010 - 2011 3 Institute of Fine Arts Annual 2010 - 2011 Robert S. Pirie Maurice Tempelsman Mariuccia Zerilli-Marimò Baroness Ex-Officiis Michael C. Alfano Bonnie Brier Campbell Thomas P. McLaughlin David W. Philippe de Montebello Patricia Rubin John Sexton extensive range of topics. Detailed information information Detailed topics. of range extensive on can be found programming about public pages 36-43. one a degree, not able to pursue For those at the offered opportunities of the greatest in the Connoisseurs Institute is membership is spe- program This unique patron Circle. individuals with a keen cifically designed for a genuine in the history of art and interest our mission to commitment to supporting of art historians, train the next generation program The conservators. and archaeologists, for many of our auditing privileges provides members-only exclusive to access and courses this about more to read events. I invite you on pages 42-43. program The Institute of Fine Arts is at an important celebrated having recently point in its history, celebrating its 75th anniversary and currently Center. Conservation its of anniversary 50th the as Chairman, of the In my role I am proud legacy of excellence, and excited to IFA’s the future. toward take part in its progress Judy Steinhardt Chairman Board of Trustees of Board agel, Hannelore Hannelore agel, N Judy Steinhardt, Chairman Judy Steinhardt, Chairman Emeritus Sheldon H. Solow, Suzanne Deal Booth Deborah Loeb Brice Brodsky Estrellita Gail Engelberg Mark Fisch Phyllis Lambert Stephen Lash Abby Leigh James R. McCredie Alexandra Munroe
Previous page: The Stephen Chan House Previous professionals to the Institute to speak on an professionals and conferences bring leading scholars and and conferences A variety of annual lecture series, symposia, A variety of annual lecture events, many of which are open to the public. events, many of which are organizes between eighty and one hundred between eighty and one hundred organizes research to the public. Each year, the IFA the IFA to the public. Each year, research dedication to presenting advanced fine arts dedication to presenting Another point of pride is the Institute’s Another point of pride is the Institute’s often go on to become leaders in their fields. often go on to become leaders in their mentoring of the faculty, Institute students mentoring of the faculty, nder the careful and conservation studios. Under the careful from leading museums, research institutes, museums, research leading from us to offer students an adjunct faculty drawn us to offer ew York City’s arts institutions allow City’s with New York perspectives. In addition, our unique relations our unique relations perspectives. In addition, Clemente Marconi, Alexander Alexander Marconi, Clemente and rich academic by adding diverse program Recent additions—including Thomas Crow, Thomas Crow, Recent additions—including educational exceptional enhance its already made to broaden our world-renowned faculty. faculty. our world-renowned made to broaden to allowed the IFA and Thelma Thomas—have Over the past years, great effort has been has effort great Over the past years, Shen, Robert Slifkin, Roemich, Hsueh-man for research and scholarship in the fine arts. and scholarship in the fine for research continues to flourish as a leading Institution continues to flourish Institute has a deep and rich history, and history, a deep and rich Institute has faculty, student body, and programs. The and programs. body, student faculty, of watching the tremendous growth of its growth the tremendous of watching Institute of Fine Arts, I have had the pleasure the pleasure Fine Arts, I have had Institute of In over twenty years of involvement with the years of involvement In over twenty Message from the Chairman the from Message Brief History
Art history tion, and was became a renamed the dedicated Institute of field of study Fine Arts in at New York 1937. The University in Institute was 1922, when strengthened the young greatly by scholar-ar- refugee pro- chitect Fiske fessors from Kimball was appointed the Morse Professor of the German and Austrian institutions that had the Literature of Arts and Design. He laid the given birth to the modern discipline of art foundation for much of what still distinguishes history. Foundational art historians such as 4 the Institute of Fine Arts: its core faculty of the Erwin Panofsky, Walter Friedlaender, Karl
Institute of Fine Annual 2010 - 2011 Arts highest quality, special relationships with New Lehmann, Julius Held, and Richard Krautheimer York’s museums, liberal use of the expertise set the Institute on its course of rigorous, of visiting faculty, and twin commitments to creative, and pluralistic scholarship and strong graduate education and advanced research. worldwide connections. The National Endow- ment for the Humanities has commended the In 1932, NYU’s graduate program in art history Institute as a national asset for its leadership moved to the Upper East Side in order to teach role in art historical scholarship and training. in the collections of The Metropolitan Museum The Endowment is one of numerous institu- of Art. Under the energetic leadership of tional and private benefactors that continue its chairman, Walter W. S. Cook, the program to support the Institute’s work. became one of the world’s most distinguished centers for art historical research and educa-
The Graduate Department moves to the second floor of the Carlyle IFA moves to the Paul IFA moves to the Hotel at Madison Avenue Warburg House at James B. Duke House and 77th Street. 17 East 80th Street. at 1 East 78th Street. c. 1936 1938 1959
1932 1937 1958 A Graduate The name is changed to Curatorial Studies Department in Institute of Fine Arts. program established. Fine Arts is founded separate from Washington Square and moves uptown to Munn House, opposite the Plaza Hotel. In 1958, has been Mrs. James housed in B. Duke and the Stephen Doris Duke Chan House presented across the the Institute street since with the 1983. James B. Almost from Duke House its inception, at 1 East the Institute 78th Street. By the end of the year, Robert has conducted significant archaeological Venturi had completed the remodeling of projects staffed by its faculty and students. the house for the Institute’s use. Two years Excavations are currently thriving at Aphro- later, the Institute became the first gradu- disias, Turkey (conducted jointly with NYU’s 5 ate program in the United States to offer an Institute of Fine Annual 2010 - 2011 Arts Faculty of Arts and Science); at the Sanctuary advanced degree in conservation. There was of the Great Gods in Samothrace; at Abydos, the conviction that a new kind of conservator Egypt; and at Selinunte, Sicily. In the course would be trained at the Center, an alternative of its history, the Institute of Fine Arts has to the artist-technician. The curriculum was conferred over 2,200 advanced degrees and designed as a “three-legged stool” by which trained a high number of the world’s most the conservator is supported in equal mea- distinguished art history professors, curators, sure by art historical study, scientific training, museum administrators, and conservators. and practical experience, an interdisciplin- ary approach that still forms the core of the program. Initially located in the former kitchen of the Duke House, the Conservation Center
The Stephen Chan House opens as the Faculty expansion The Conservation Conservation Center’s initiative begins Center celebrates its new home. with NYU funding. 50th anniversary. 1983 2004 2010
1960 1985 2007-08 Conservation Leon Levy and Shelby White Institute of Fine Arts Center founded. Summer Travel Grants established. celebrates its 75th anniversary.
Directors of the Institute of Fine Arts Chairmen of the Conservation Center 1931 Walter W. S. Cook 1961 Sheldon Keck 1951 Craig Hugh Smyth 1967 Lawrence J. Majewski 1973 Jonathan Brown 1975 Norbert S. Baer and 1979 A. Richard Turner Lawrence J. Majewski, Co-Chairmen 1983 James R. McCredie 1987 Margaret Holben Ellis 2002 Mariët Westermann 2002 Michele D. Marincola 2008 Michele D. Marincola, Interim Director 2008 Hannelore Roemich, Acting Chair 2009 Patricia Rubin 2011 Michele D. Marincola
ifa.nyu.edu Who We Are 7 Institute of Fine Arts Annual 2010 - 2011 - - ifa.nyu.edu Professor Shen joined Professor in fall 2010 the IFA after serving as Senior Art of Chinese Curator - at the National Muse ums of Scotland and at the Univer Lecturer Her sity of Edinburgh. in- interests research Reed Arriving from College, Professor Slifkin joined the IFA in fall 2010 to further expand the Institute’s leading scholarship in Modern and Contem- porary art. Among his focuses are research New Faculty Shen Hsueh-man of Fine Arts Assistant Professor funer between clude the interrelationship pre-modern practices in ary and religious and image of word China, the interplay of East Asia, and art in the visual culture along the ancient Silk Road. In 2010-2011 China Unearthed the lectures she offered - and Adorning Jewels of Bud the Three dhism, and the seminars 900-1000: Art in China at the End of the First Millennium and Transmission and Art in Translation: of Ideas. Appropriation Robert Slifkin of Fine Arts Assistant Professor - nineteenth- and twentieth-century Ameri can art, contemporary art, critical theory, This year and the history of photography. Photography and the lectures he offered Facticity and Contemporary Art and the and the seminarPlight of Publicity, Simulation, Repetition, Appropriation. His forthcoming publication, Out of Time: Philip Guston and the Refiguration of the 2011 Postwar Art, has been awarded Phillips Book Prize and will be published in 2013 by the University of California Press.
of modern sculpture medieval German sculpture; conservation medieval German conservation sculpture; medieval sculpture; decoration of late medieval sculpture; Conservation and technical art history of Conservation and technical art history of Consultant, Villa La Pietra Museum of Art (part-time); Conservation Museum of Art (part-time); Conservation Conservator, The Cloisters, The Metropolitan The Cloisters, The Metropolitan Conservator, tion Center and Professor of Conservation; tion Center and Professor Sherman Chairman Fairchild of the Conserva- Michele D. Marincola critical theory Museum Students and Metropolitan page: IFA Previous class in the museum’s Kopcke’s attending Prof. of Art staff Ancient Near East galleries Spain); art since 1945 in Europe and America; Spain); art since 1945 in Europe Twentieth-century European art (France and art (France and European Twentieth-century Professor of Fine Arts Professor Director of Masters Studies, Associate Director Robert Lubar history of collecting Persian and Arabic manuscripts; portraiture; Persian and Arabic manuscripts; portraiture; of Art oeb Professor in the History John Langeloth Loeb Professor Deputy Director; Director of Graduate Studies; Studies; Graduate of Director Director; Deputy Priscilla P. Soucek Priscilla P. ancient Nubian art history and archaeology ancient Nubian art history Ancient Egyptian art history and archaeology; history and archaeology; Ancient Egyptian art Excavations at Abydos Arts, NYU Excavations at Abydos niversity of Pennsylvania-Institute of Fine University of Pennsylvania-Institute Egyptian Art; Co-Director, Yale University- Yale Egyptian Art; Co-Director, ila Acheson Wallace Professor of Ancient Professor Lila Acheson Wallace Deputy Director for Faculty and Administration; Administration; and Faculty for Director Deputy David O’Connor portraiture; graphic arts portraiture; and cultural patrimony; historiography; and cultural patrimony; Italian Renaissance art; museums, collecting Italian Renaissance Professor of Fine Arts Professor Judy and Michael Steinhardt Director; Director; Michael Steinhardt Judy and Patricia Rubin Administrators Faculty and Fields of Study of Fields and Faculty Faculty and Fields of Study
Faculty in the Finbarr Barry Flood Philippe de Montebello William R. Kenan Jr. Professor Fiske Kimball Professor in History of Art and of the Humanities, Institute of the History and Culture Archaeology Fine Arts and College of Arts of Museums Kathleen Weil-Garris Brandt and Science Early Netherlandish art; Professor of Fine Arts, Insti- Art and architecture of the history of collecting; history tute of Fine Arts and College Islamic world; cross-cultural of museums; issues of of Arts and Science dimensions of Islamic material cultural patrimony Italian Renaissance art culture; theories and practices Alexander Nagel and culture of image-making; technologies Professor of Fine Arts of representation; art historical Renaissance art; the history Jonathan Brown historiography, methodology, of the history of art; relations Carroll and Milton Petrie and theory; Orientalism between artistic practice and 8 Professor of Fine Arts Jonathan Hay
Institute of Fine Annual 2010 - 2011 Arts art theory Spanish and new Spanish Ailsa Mellon Bruce Professor painting, 1500-1800; history of Fine Arts Linda Nochlin of collecting; art at European History of Chinese art; con- Lila Acheson Wallace courts, seventeenth century temporary Chinese art; art Professor of Modern Art Jean-Louis Cohen historical theory and method Nineteenth- and twentieth- century painting and sculpture; Sheldon H. Solow Professor Wu Hung in the History of Architecture contemporary art and theory; Kirk Varnedoe Visiting women and art Nineteenth- and twentieth- Professor (Spring 2011) century architecture and Asian art and archaeology; Hsueh-man Shen urbanism in Germany, contemporary art Assistant Professor of Fine Arts France, Italy, Russia, and Funerary and religious prac- North America; contemporary Günter H. Kopcke tices in pre-modern China; issues in architecture, town Avalon Foundation Professor word and image in the visual planning and landscape design in the Humanities culture of East Asia; art and Thomas Crow Art and the second millennium material culture along the Rosalie Solow Professor BCE; Mediterranean integra- ancient Silk Road tion: Crete; art and Greek of Modern Art; Associate Robert Slifkin Provost for the Arts progress from infiltration to Greek statehood, second to Assistant Professor of Fine Arts Seventeenth- and eighteenth- first millennium BCE; political Contemporary art; history of century art; nineteenth- and origin and role of Classical art photography; nineteenth- twentieth-century art; and twentieth-century contemporary art Clemente Marconi American art James R. McCredie Professor Colin Eisler in the History of Greek Art Roland R. R. Smith Robert Lehman Professor of and Archaeology; Lincoln Professor of Classical Fine Arts University Professor Archaeology, University of Early Netherlandish, French, Archaic and Classical Greek Oxford; Director, Excavations and German art; Quattrocento art and architecture; the at Aphrodisias art; graphic arts; history of reception and the histori- Art and visual cultures of the collecting; Jewish art issues ography of ancient art and ancient Mediterranean world; Okwui Enwezor architecture; the archaeology historical interpretation of Kirk Varnedoe Visiting of ancient Sicily ancient representation and its Professor (Spring 2012) relationship with social and political culture; archaeology Contemporary art; African art of Greek cities of Eastern Roman Empire 9 Institute of Fine Arts Annual 2010 - 2011
ifa.nyu.edu oeb Professor Professor oeb L . Mathews angeloth angeloth L Emeritus Faculty Jonathan J. G. Alexander Sherman Professor Fairchild Emeritus of Fine Arts - art, espe Medieval European cially manuscript illumination Evelyn B. Harrison Edith Kitzmiller Professor Emerita of the History of Fine Arts Roman sculpture; and Greek the Athenian agora; the Parthenon Egbert Haverkamp-Begemann John Langeloth Loeb Professor Emeritus in the History of Art; Arts; Fine of Professor Adjunct Robert Scholar, Coordinating Lehman Collection Scholarly Catalogue Dutch and Flemish art history of prints and drawings Thomas F John Emeritus in the History of Art Early Christian and Byzantine art and architecture James R. McCredie Sherman Professor Fairchild Director, Arts; Fine of Emeritus Excavations in Samothrace archaeology Greek and architecture annelore Roemich Hannelore Acting Chairman (2008-2011) - of Fine Arts Pro and Institute Science Conservation of fessor of art Conservation of works and artifacts; non-destructive indoor testing of art objects; glass and environment; preventive and active enamels, conservation issues
- estermann Mariët W W. Andrew Vice President, Adjunct Mellon Foundation; to and Consultant Professor NYU Abu the Vice Chancellor, of Dhabi; Adjunct Professor Fine Arts Fine Arts, Institute of Painting in the seventeenth- humor, century Netherlands; modernwit, and play in early art; the Dutch colonial imaginary 1600-1800 Conservation Center Faculty Norbert S. Baer of Hagop Kevorkian Professor Conservation, Conservation Center physiochemical of Application methods to the study and - of cultural prop preservation policy erty; environmental and damage to materials; application of risk assessment and risk management to of the preservation cultural property Holben Ellis Margaret of Eugene Thaw Professor Paper Conservation; Director, Thaw Conservation Center, Library and The Morgan Museum (part-time); Conservation Consultant, Villa La Pietra connoisseurship of Technical works of art on paper; conser of prints and vation treatment drawings; twentieth-century materials and techniques of works of art on paper; ethical issues in art conservation elch eiss and Greece) in Rome, Italy, Turkey, Turkey, in Rome, Italy, Imperial periods (particularly Republican and Roman painting of the Hellenistic/ Architecture, sculpture, and and sculpture, Architecture, Excavations at Aphrodisias Arts; Deputy Director, Arts; Deputy Director, Associate Professor of Fine Associate Professor Katherine W gies; curatorial practice torical and critical methodolo- conservation research to his- conservation research new media; applications of Modernist and Post-war art; Jeffrey W Jeffrey of Fine Arts Adjunct Professor the origins of perspective of architectural authorship; of architectural historiography; problematics historiography; problematics porality in architecture and porality in architecture urbanism; problems of tem- urbanism; problems Renaissance architecture and Renaissance architecture Romanesque, Gothic, and the History of Fine Arts Edith Kitzmiller Professor of Edith Kitzmiller Professor Marvin Trachtenberg architecture Eastern art and Christian Late Antique, Byzantine, and Late Antique, Byzantine, Fine Arts Associate Professor of Associate Professor Thelma K. Thomas Brazilian art art; art of the Caribbean; art; art of the Caribbean; and modern periods; Iberian Latin American art, colonial Latin American art, College of Arts and Science College of Institute of Fine Arts and Institute of Professor in the History of Art; in the History Professor Helen Gould Sheppard Sheppard Helen Gould dward J. Sullivan Edward Faculty and Fields of Study
Affiliated Faculty in Keith Christiansen Laurence B. Kanter Jayne Wrightsman Curator Lionel Goldfrank III Curator the History of Art of European Paintings, The of Early European Art, Yale and Archaeology Metropolitan Museum of Art University Art Gallery Beryl Barr-Sharrar Helen Evans Joan R. Mertens Adjunct Professor of Fine Arts Curator of Byzantine Art, The Curator of Greek and Roman Andrea Bayer Metropolitan Museum of Art Art, The Metropolitan Museum of Art Curator of European Paintings, William Hood The Metropolitan Museum Professor Emeritus, of Art; Coordinating Curator, Oberlin College Curatorial Studies Program; IFA Paul Lott Lecturer 10 Institute of Fine Annual 2010 - 2011 Arts Honors & Awards 2010 - 2011 Jonathan Brown James McCredie 2011 Distinguished Scholar, 2010 Samothracian Connections: Essays in College Art Association honor of James R. McCredie, ed. O. Palagia 2010 Cristóbal Gabarrón Foundation Inter- and B.D. Wescoat (Oxford and Oakville: national Restoration and Conservation award Oxbow Books, 2010) 2010 Art in Spain and the Hispanic World: Philippe de Montebello Essays in Honor of Jonathan Brown, ed. S. 2011 Centennial Award for Leadership, Schroth (London: Paul Holberton College Art Association Publishing, 2010), in association with Linda Nochlin the Center for Spain in America. 2011 Conference on ‘The Granddaughters’ Jean-Louis Cohen Generation: Feminism and Art History Now: 2010 Recipient of the Biennial Schelling The work of Linda Nochlin and its legacies, Architecture Prize for Architectural Theory University College London Thomas Crow Robert Slifkin 2011 Clark Art Institute Fellowship 2011 Phillips Book Prize for his book Out of Time: Philip Guston and the Refiguration of Colin Eisler Postwar Art, to be published by the University 2011 New Studies on Old Masters: Essays of California Press in 2013 in Renaissance Art in Honour of Colin Eisler, ed. J. Garton, and D. Wolfthal (Ontario: Marvin Trachtenberg CRRS Publications, 2011) 2012 George Sarton Medal, History of Science Society Barry Flood 2011 Ananda Kentish Coomaraswamy Book 2010 A Symposium on Medieval and Prize of the Association for Asian Studies, Renaissance Architecture in honor of South Asia Council, for his book Objects of Marvin Trachtenberg, Institute of Fine Arts Translation: Material Culture and Medieval “Hindu-Muslim” Encounter (Princeton: Princeton University Press, 2009) Clemente Marconi 2010-2011 Elizabeth A. Whitehead Professor, American School of Classical Studies at Athens
Right: Linda Downs, CAA executive director, presents Philippe de Montebello a Centennial Award. Photograph by Bradley Marks, courtesy CAA Nadine Orenstein Margo Delidow Nancy Odegaard Curator of Drawings and Andrew W. Mellon Fellow in Conservator and Head of the Prints, The Metropolitan Conservation Education Preservation Division, Arizona Museum of Art State Museum, University Jean Dommermuth of Arizona; Robert Storr Paintings Conservator; Dean, School of Art, Conservation Consultant, Professor, Department of Yale University Villa La Pietra Anthropology, University of Arizona H. Barbara Weinberg Kathy Francis Alice Pratt Brown Curator Textile Conservator Lisa Pilosi of American Paintings and Conservator, The Metropolitan Sculpture, The Metropolitan James H. Frantz Museum of Art Museum of Art; IFA Paul Lab Supervisor; Research Scientist, The Metropolitan Deborah Schorsch Lott Lecturer Conservator, The Metropolitan 11
Museum of Art Institute of Fine Annual 2010 - 2011 Arts Bonna D. Wescoat Museum of Art Associate Professor of Art Christine Frohnert Conservator for Contemporary Suzanne Siano History, Emory University; Paintings Conservator Adjunct Associate Professor Art, Modern Materials, of Fine Arts, Excavations and Media Jack Soultanian, Jr. in Samothrace Leslie Ransick Gat Conservator, The Metropolitan Objects Conservator Museum of Art; Conservation Paul Zanker Consultant, Villa La Pietra Professore ordinario di Storia Jakki Godfrey dell’arte antica, Scuola Assistant Conservator of Richard E. Stone Normale Superiore di Pisa Objects, Brooklyn Museum Senior Museum Conservator, The Metropolitan Museum Institute Lecturers Ellen Howe of Art for the Conservation Conservator, The Metropolitan Museum of Art Carol Stringari Center Chief Conservator, Solomon Nora Kennedy R. Guggenheim Museum Samantha Alderson Sherman Fairchild Conser- Associate Conservator, vator of Photographs, The Steven Weintraub American Museum of Metropolitan Museum of Art Conservator Natural History Marco Leona The Samuel H. Kress Drew Anderson Head Scientist, The Metro- Program in Paintings Associate Conservator, The politan Museum of Art Metropolitan Museum of Art Conservation Judith Levinson Dianne Dwyer Modestini Lisa Bruno Conservator, American Paintings Conservator Head Objects Conservator, Museum of Natural History Brooklyn Museum Nica Gutman Dorothy Mahon Associate Conservator Lucy Commoner Conservator, The Metropolitan Textile Conservator, Museum of Art Additional Conserva- Cooper-Hewitt National Design Museum Ana Martins tion Consultants Villa Conservation Scientist, la Pietra Joan Breton Connelly Museum of Modern Art Professor of Classics; Director, Pam Hatchfield Yeronisos Island Excavations Linda Nieuwenhuizen Conservation Consultant, (Cyprus) Objects Conservator Villa La Pietra
ifa.nyu.edu Faculty and Fields of Study
Deborah Trupin Yaelle S. Amir Christine Lilyquist Conservation Consultant, Andrew W. Mellon Research Research Associate, Excava- Villa La Pietra Activities Coordinator tions in Mendes, Egypt; Lila Acheson Wallace Curator George Wheeler Sarah Barack Emeritus of Egyptology, The Conservation Consultant, Samuel H. Kress Fellow in Metropolitan Museum of Art Villa La Pietra Technical Art History Esen Ög˘üs¸ Institute of Fine Arts Jack A. Josephson Field Director, NYU Research Associate in Excavations at Aphrodisias Research Associates Egyptian Art Matthew Adams Jennifer Raab Stephen Koob Research Scholar, Institute of IFA/Andrew W. Mellon Consulting Conservator, Fine Arts; Associate Director, Foundation Postdoctoral Excavations in Samothrace 12 Yale University-University of Fellow, 2011-2013
Institute of Fine Annual 2010 - 2011 Arts and Archaeological Exploration Pennsylvania-Institute of Fine of Sardis Kent Severson Arts, NYU Excavations Consulting Conservator, NYU at Abydos Excavations at Aphrodisias and Selinunte
Jonathan Alexander Sherman Fairchild Professor Emeritus of Fine Arts Manuscripts at the New York Public Library in 2005 (co-curated with J.H. Marrow, L.F. Sandler). In 2006, three of his IFA students organized a festschrift in his honor on the “Making and Meaning of Illuminated Medi- eval and Renaissance Manuscripts, Art and Architecture” (ed. G. Guest and S. L'Engle). As recounted by Professor Alexander’s A celebration in honor of Jonathan Alexander friend and colleague Professor Lucy Freeman Sandler, on the occasion of his This year, the IFA marked the retirement of retirement party: “Jonathan's teaching, our longtime faculty member Jonathan firmly based on profound knowledge of Alexander, Sherman Fairchild Professor of the material, has always been sensitive to Fine Arts. Professor Alexander came to the developments in methodology, to the ne- IFA in 1988 from the University of Man- cessity of understanding medieval art in the chester to share with us his passion and light of new, newer and the newest ideas in knowledge of medieval illuminated manu- art history and beyond. I truly think that this scripts. He is the author of seminal publica- liberal and open outlook has produced a tions on the subject, including Illuminated group of students themselves open to new Manuscripts in the Bodleian Library (with and original ideas in their practice of art Otto Pächt. Oxford, 1966, 1970, 1973), history and in their own teaching.” Medieval Illuminators and Their Methods of Work (New Haven: Yale University Press, The faculty, students, and staff of the 1993), and exhibition catalogue The Painted Institute are grateful for the years Professor Page: Italian Renaissance Book Illumination Alexander has shared in our midst, and 1450-1550 (Munich: Prestel, 1994). He has look forward to his guidance as an also curated major exhibitions of medieval Emeritus Professor in those to come. European art, most recently The Splendor of the Word: Medieval and Renaissance Special Appointments Kirk Varnedoe Visiting Professorship
The Kirk Varnedoe Visiting Professorship brings a distinguished scholar to the Institute each year Announcing the to teach a course and give a series of public lectures. The Professorship was endowed in 2011-2012 Kirk Varnedoe 2006 by the late Professor Varnedoe’s friends and colleagues to honor and perpetuate his Visiting Professor: legacy of innovative teaching and remarkable public presence. Past holders of this position Okwui Enwezor include David Joselit (2010), Alexander Potts In spring 2012 the IFA will welcome (2009), Molly Nesbit (2008), and Jeffrey Weiss (2007). esteemed curator and scholar Okwui Enwezor as the sixth Kirk Varnedoe Spring 2011 Varnedoe Visiting Visiting Professor. Enwezor was recently Professor Wu Hung appointed the Director of the Haus der Harrie A. Vanderstappen Distinguished Ser- 13
Kunst in Munich. He previously served as Institute of Fine Annual 2010 - 2011 Arts vice Professor in Art History and East Asian Languages and Civilizations at the University the Dean of Academic Affairs at the San of Chicago; Director, Center for the Art of Francisco Art Institute and adjunct curator East Asia, University of Chicago; Consulting at the International Center of Photogra- Curator, Smart Museum of Art phy in New York. He has curated numerous international exhibitions, including Docu- While in residence at the IFA, Professor Wu taught a seminar on issues and narratives menta 11 in Kassel, Germany, the seventh of Contemporary Chinese Art since the late Gwangju Biennale in South Korea, and 1970s, and gave three public lectures. The will serve as the 2012 chief curator of La series of lectures, Reading Absence: Three Triennale in Paris. He has written exten- Moments in Chinese Art History, discussed sively on contemporary art, with recent the enduring theme of absence throughout publications Contemporary African Art the history of Chinese art. Professor Wu Since 1980 and Antinomies of Art and contemplated three instances: 1644: Where Is Culture: Modernity, Postmodernity, the Broken Stele?, 1860: Photography Defines Contemporaneity. China, and 1985: Absence as Contemporaneity.
Wu Hung at the Director’s Extracurricular Seminar, spring 2011
ifa.nyu.edu Special Appointments The First IFA Honorary Fellow: Carol Mancusi-Ungaro
The IFA Honorary Fellowship recognizes dis- of media and approaches in contemporary tinguished scholars in art history, conservation art as well as the changing nature of “the and related disciplines, or outstanding figures original.” It may be that “best methods” to in the visual arts. This award acknowledges treat specific media could be identified, but in their contribution to learning, teaching, and general the treatment of contemporary art will practice in these fields. demand a more fluid model. In fall 2011, we will welcome our inaugural Has your work with contemporary Honorary Fellow, Carol Mancusi-Ungaro. Q media changed your outlook on Mancusi-Ungaro serves as Associate Director how to approach the conservation of of Conservation and Research at the Whit- more traditional media? ney Museum of American Art and Founding Perhaps. I am more curious about the meth- 14 Director of the Center for the Technical Study Institute of Fine Annual 2010 - 2011 Arts odology of decision-making in the past. The of Modern Art at the Harvard Art Museum. In idea of localized compensation, for example, 1990, Mancusi-Ungaro initiated the invaluable takes on a different importance at a time when Artist Documentation Program. In this project, overall compensation—replication—may be a she interviews artists about the technical nature viable alternative. of their art, resulting in a video archive to serve current and future conservators and scholars. In working with contemporary art, how do we adapt our standards of minimal Second-year IFA conservation student Q intervention, reversibility, re-treatability, etc.? Kristin Bradley recently interviewed Are these standards still relevant? Ms. Mancusi-Ungaro: Rather than generally held tenets of our How do you think training programs in profession, these standards may become Q both conservation and art history can media specific in terms of applicability. That adapt to the challenges and issues presented said, the philosophical underpinnings of in the preservation of contemporary art? these standards should continually challenge I would propose that conservators and art the conservator as s/he proposes innovative historians co-teach contemporary art courses solutions to sometimes ill-defined problems with an eye toward tackling, from their in contemporary art. individual perspectives, the more compel- You have been interviewing living ling issues of installation, interpretation, and Q artists for more than twenty years. preservation with regard to the object itself. Does anything surprise you anymore? By engaging professionals with different view- Each interview is an encounter and therefore points to seek communal resolution of issues surprising. Artists are as varied in their thinking is far preferable to each presenting a disci- about their art as they are in its creation. As pline-specific response. The dialogue itself Barnett Newman noted, “Aesthetics is to would be instructive for students. Increased artists as ornithology is to the birds.” exposure to artists would also be high on my list of recommendations. Has a consensus been reached about Q how to approach the preservation of contemporary art? Do you think a consensus is desirable? If so, how do we get there? A consensus has not been reached and I suspect the prospect of an overriding profes- sional consensus is unlikely given the variety Special Appointments The IFA/Andrew W. Mellon Foundation Postdoctoral Fellowship
In fall 2011 we will welcome our first Post- contained in one great system, to a realization doctoral Fellow to the Institute. The Fellow that details might delineate difference and is given the opportunity to pursue a research even undermine order. While “knowledge” project while gaining teaching experience at implied the pursuit of a unifying structure, a graduate level, and participating in a major “information”—a word more commonly used international research initiative on the state of as the nineteenth-century progressed—made scholarship in the fields of art history, archae- no such promises. The form and function ology, and conservation. of “detail” was increasingly debated, and no other artist was more celebrated, and In the fall, Dr. criticized, for his handling of detail than the Jennifer Raab will American painter Frederic Church. In the join us to share scientific discourse of his time, which Church 15
her expertise in carefully followed, Alexander von Hum- Institute of Fine Annual 2010 - 2011 Arts nineteenth-century boldt’s cosmological unity yielded to Charles American art. Her Darwin’s competitive vision of the world. book project, The Church’s landscapes reveal two conflicting Art and Science of impulses: a need to create a visual language Detail: Frederic for an emerging scientific realism, and a Church and desire to convey the ideas of a Humboldtian Nineteenth-Century romanticism—art as an expression of science, Landscape Paint- and science as an a priori form of humanism, ing, explores the concept of detail. What even a confirmation of religious faith. Church’s does it mean to see a work of art “in detail”? pictures mark the waning of faith in universal What, in fact, is a detail and how has the knowledge and the birth of our contemporary definition evolved? Focusing on the particu- information age. larly contested medium of landscape painting, Raab argues for a fundamental shift in represen- tation from knowledge to information during the second half of the nineteenth-century, from the assumption that all details could be
The appointment of Dr. Raab expands the along with several new galleries for decora- IFA's offerings in the field of American tive arts and the reconfigured Henry R.L uce art, which will be further enriched by the Center for the Study of American Art. The fall 2011 Paul Lott Lectureship curatorial course, which coincides with preparations studies course, Exhibition Practices: the for the opening, will consider the renova- New American Wing. In this course, led by tion as a whole (phases I and II opened in Metropolitan Museum curators H. Barbara 2007 and 2009, respectively). All of the Weinberg and Andrea Bayer, students will American Wing curators, sometimes joined have the opportunity to learn about the by conservators, will present some of the museum's recent expansion of its American philosophical and practical considerations Wing. In January 2012, the final phase of that affect their fields of scholarship, the the American Wing renovation project will installation, and strategies for enhancing be complete when the expanded galleries the visitor’s experience. for American paintings and sculpture reopen,
ifa.nyu.edu spotlight on students and alumni Patrick Amsellem
Patrick Amsellem received his Ph.D. from What would you say to someone the IFA in 2007, and went on to become Q considering studying at the IFA? the Associate Curator of Photography at the The IFA is a vibrant community and with its Brooklyn Museum of Art. accomplished faculty and always exciting How did your experience at the IFA selection of course work, the IFA experience Q inform the work you are doing at the is bound to be stimulating and formative. Brooklyn Museum of Art? Last but not least, it is a privilege and a great pleasure to spend the afternoon working by Working with inter- the large windows in the Modern room over- departmental proj- looking Central Park, knowing that the Met, ects in a large ency- Guggenheim, and Whitney are right around clopedic museum, I the corner, with many more museums and benefit enormously galleries awaiting within easy reach elsewhere 16 from the generous in the City. Institute of Fine Annual 2010 - 2011 Arts expanse of course- work in many differ- ent fields that the IFA encourages and Alumni Statistics requires students • Since 1932, the IFA has conferred over to do. I have always 1,900 M.A. degrees, approximately 550 appreciated breadth as well as depth, which is Ph.D. degrees, and 250 conservation why the IFA model was a wonderful fit. certificates Did you have your sights set on a cura- Q torial career when you were a student • Over 300 alumni serve as college and at the IFA? If yes, had you already worked in university professors a curatorial capacity? • Approximately 270 alumni work Even though I had worked as a curator at an in museums institution for a few years in Sweden before arriving at the IFA, I was open to different options. I taught a great deal during my time Student Statistics at the IFA, and since I very much enjoy it I hope to be able to continue integrating some • 326 students are currently enrolled teaching with my work in the museum world. at the IFA The intersection of exhibition practice and academia has always interested me. • 184 students are pursuing a Ph.D. What projects do you have coming up • 114 students are pursuing an M.A. Q in the near future? I have developed a plan for the growth and • 28 students are pursuing a future use of the Brooklyn Museum’s photog- Conservation certificate raphy collection, with an eye also to how new acquisitions speak to other collections and the Museum’s mission as a whole. The most interesting project so far involves developing new exhibition strategies for cross-collection collaboration and for thematic installations that involve material from the Museum’s many different collections. Katharine Josephson, Ph.D. Candidate
Katharine Josephson is a third-year Ph.D. candidate at the IFA, focusing on post-1950 American art. For the past two years she has worked in the curatorial department of the Whitney Museum of American Art. Over the last two years I have had the pleasure of working in various capacities at the Whitney Museum 17 of American Art. Throughout this time I assisted the Institute of Fine Annual 2010 - 2011 Arts curator Barbara Haskell with research on a retrospective
exhibition of the German-American artist Lyonel Fein- Institute of Fine Annual 2010 - 2011 Arts inger. As the opening of the exhibition draws near—it is scheduled for this June—I find myself taking stock of the great benefits of working at a museum while pursuing my doctorate at the Institute of Fine Arts. As a curator of pre-war art, Ms. Haskell’s area of interest is earlier than my own research focus of art made in the United States after 1950. Although this difference in emphasis originally seemed less than ideal, I have come to appreciate how much my work at the Whitney has broadened, and thereby strengthened, my knowl- edge of American art. Gathering information for the Feininger exhibition catalogue – including compiling an exhibition history that will be published in my name – I have had the chance to continue to refine the research skills I have developed as a student at the IFA. Given my goal to become a curator when I complete
Student Voices my graduate studies, my time at the Whitney has afforded me the incomparable opportunity to bolster my academic studies at the IFA with the practical training of the museum world—allowing me to experi- ence firsthand the steps necessary to pursue, and later excel in, my desired career.
ifa.nyu.edu Student Voices Photo Archives and the Denise Birkhofer, Ph.D. candidate From Street to Storage: Grupo de Fotógrafos Independientes Photographic Memory in the Personal Archives of Armando Cristeto The Samuel H. Kress Foundation Grant for Studies of Art History: Hidden in Photo Archives brought me to Mexico City in Archives the summer of 2010. During my several-week stay, 18 I looked for materials related to the Grupo de Institute of Fine Annual 2010 - 2011 Arts Fotógrafos Independientes (GFI), a photography collective founded in 1976, which is the subject of March 25-26, 2011, Institute of Fine Arts, a chapter in my dissertation exploring the theme of New York University “the street” in photographic production in Mexico The symposium Photo Archives and the Photographic City after 1968. The GFI avoided traditional exhibition Memory of Art History: Hidden Archives was the third venues and brought their work directly to the public in an ongoing series exploring the importance of by hanging their photographs in the street itself. Due photography in shaping the study of the history of to the ephemeral nature of these activities, research art and the formation of the photographic archives in “hidden” photo archives is essential for recreating that create its visual memory. Presenters at this the GFI’s history. My experiences with one such conference focused on bodies of material that have archive were the subject of the talk I presented at been inaccessible, unknown, or overlooked. With this conference. Fine Arts Annual 2010 - 2011 of Fine Institute the generous support of the Samuel H. Kress Foun- Clare Davies, Ph.D. candidate dation, five IFA students were offered travel grants to All That’s Fit: Research at the Dar al Hilal and Al research such “hidden” archives, three of whom pre- Ahram Foundation Photographic Archives sented papers on their discoveries at the conference. My paper for the conference explored the generative Peter Jonathan Bell, Ph.D. candidate role of erasure and obfuscation in the production of The Secret Life of Sculpture: Notes from Giovanni the early photojournalistic image and its contem- Mariacher’s Fototeca at Padua porary archive in Egypt. The Dar al Hilal and Al In August 2010, I visited the collection of over eleven Ahram photographic archives figure, in a sense, as thousand photographs assembled by Giovanni blind spots that help define the public imagination Mariacher (1912-1994), the prolific author, esteemed through their inaccessibility. Too often the image of museum director, and professor of art history, now the regime currently in power or the political and housed at the civic museums of Padua. My survey of social dynamics it has helped produce act as stand-ins this archive underlined the breadth of his expertise for these repositories of photojournalistic images. and the extent of his scholarship, which spanned It is possible even to trace this logic of substitution all aspects of the arts of the Veneto, and focused within press photographs from the 1910s through in particular on the sculpture and decorative arts late 1940s, when preference from the Egyptian royal of northern Italy. The photographs of bronze sculpture court granted authorial status to the photographer, that I studied–mostly familiar objects in the churches while its lack condemned a photographer to ano- and museums of Venice and Padua–provided new nymity. The history of the illustrated press in Egypt insight to issues of condition, attribution, and and our access to its images continues to unfold display. My conference paper outlined fresh ideas under the sign of the political status quo. prompted by photographs of these “old friends” in This conference was generously supported by the Samuel H. the Mariacher archive, some of which will inform Kress Foundation, NYU Humanities Initiative, IFA Visual my dissertation. Resources Collections, and Princeton University, Department of Art and Archaeology and Visual Resources Collection. spotlight on students and alumni Munir Taha
Munir Taha received an M.A. from the IFA in of them, along with 33 unique pieces were 1969 and a Ph.D. from Cambridge University. left unpacked when a small section of the He currently serves as the Archaeology expert museum was reopened prior to 2003. The at Qatar Museums Authority, and is a Visiting total number of missing items is 15,000. Professor at Qatar University. Dr. Taha has According to officials, only half of them have published numerous books and articles on been recovered. Others are still in the custody the archaeology and history of Mesopotamia, of private collections, galleries, and local and the Arabian Gulf and the Ancient Near East. foreign markets.
In what ways have you seen the I often ask myself what would have happened Q scholarship in your area of expertise to the Mesopotamian heritage if we had not evolve since you were a student at the IFA? safely stored those 130,000 objects in 1989. The action we took should serve as a good Since I was a example, not only for Iraq but for all the student at the IFA, countries that are currently witnessing 19 the area of my political and social changes in various Institute of Fine Annual 2010 - 2011 Arts expertise has been parts of the world. developed in differ- ent directions and What is the main research you fields. For example, Q are engaged in these days? excavations and I just completed a 600-page book in fieldwork were then Arabic entitled Qatar from Neolithic mainly concen- Times to Present Times. trated on Mesopo- tamia and Greater Syria, whereas for the last thirty years my area of expertise has evolved to include the whole of the Arabian Peninsula (i.e., the Arabian Gulf states, Yemen, and Saudi Arabia). The results of the fieldwork and the excavations have shed light on the archaeology and history of the area as whole. Your previous position as Curator at Q the Iraq Museum proved crucial to the preservation of some of the country’s most treasured antiquities. Could you speak a bit about this experience? When I was Curator of the Iraq Museum in 1989, a few of my colleagues and I had to take on the responsibility for the preservation of all the antiquities on exhibit at the museum at that time. Consequently, within one week nearly 130,000 pieces were packed and stored in a safe place. The treasures were later transferred to the central bank, and unpacked following the occupation in 2003. Unfortunately, a great quantity of cylinder seals, coins, and other small items were kept in storage rooms. As a result, the majority
ifa.nyu.edu spotlight on students and alumni Anusha Kasthuri, the Second Leon Levy Visiting Fellow in Archaeological Conservation
The Leon Levy Visiting Fellowship is awarded In my year of study, I have taken nine courses, to individuals interested in pursuing study including Material Science of Art and Archaeol- related to the conservation of archaeological ogy, Advanced conservation in Metal working materials of the ancient world, from the western in Antiquity, and Preventive conservation. Mediterranean to China. The Fellowship is I completed several projects, amongst them granted primarily to individuals whose home the conservation of a gilded Chinese saddle, countries do not provide graduate conservation the conservation of a Sri Lankan bronze statue training. The fellow enrolls in conservation owned by the Met, and research on micro- courses, and enjoys a compressed version climates for archaeological materials in Sri of the Conservation Center’s two-year Lanka. fundamentals curriculum. In 2010-2011, we When you return to Sri Lanka in May, welcomed Anusha Kasthuri from Sri Lanka. 20 will you have the chance to apply the Institute of Fine Annual 2010 - 2011 Arts Q What do you do in Sri Lanka? skills you acquired here? Will you be working on a specific project? Q I was trained in the Conservation of Cultural Property at the Central Cultural With the training I received at the Conserva- Fund and Postgraduate Institute of Archaeol- tion Center, I will be able to make an im- ogy, University of portant contribution to the preservation of Kelaniva. Since national cultural property as a conservator, completing my and to the Department of Archaeology’s staff studies in 1993, I as a trainer. I will also be teaching university have worked as an students as a Visiting Lecturer in the University artifact conserva- of Moratuwa, Sri Lanka. tor in the Central I have several national conservation projects Cultural Fund, and scheduled upon my return home, particularly am now working the German-Sri Lankan excavation and con- with the Sri Lankan servation of the Royal Citadel of Anuradhapura, Department of funded by the Gerda Henkel Foundation, Archaeology. Duesseldorf, University of Applied Sciences Why did you decide to apply for the in Berlin (HTW), and the Sri Lankan Q Leon Levy Visiting Fellowship? What Department of Archaeology. did you hope to accomplish during your stay at the IFA? Do you feel you have succeeded? Anusha wishes to thank the Leon Levy I applied for the Leon Levy Visiting Fellowship Foundation for funding her stay in New York, for the unique opportunity it offered in gradu- the Institute of Fine Arts and the Acting ate conservation training. The fellowship has Chairman of the Conservation Center, greatly enhanced my education, skills, and Hannelore Roemich, for the opportunity to experience; at the Conservation Center and partake in this program. the Metropolitan Museum, I had the chance to use highly advanced tools, such as radiog- In celebration of the Conservation Center’s raphy and x-ray Diffraction (XRD). I have also 50th Anniversary, we have created a special had the opportunity to study theoretical as- fund to support our students. If you wish pects of conservation and learn about recent to make a contribution, please visit techniques in the well-equipped labs of the ifa.nyu.edu or contact Oliver Luisi at Conservation Center, the Met, and other New (212) 992 5888 or [email protected] York City and Washington DC museums.
Photo © Maggie Wessling, 2010 Erika N. Nelsen, M.A. Candidate
First-year M.A. candidate Erika Nelsen discusses her experience studying at the IFA while working at The Metropolitan Museum of Art as an Assistant Development Officer I began my studies at the Institute of Fine Arts in September 2010, and at the same time, I was fortunate to have been offered a position in the Development Office of The Metropolitan Museum of Art. As an Assistant Development Officer in the area of Govern- 21 ment and Foundation Giving, I help to secure grants Institute of Fine Annual 2010 - 2011 Arts in support of projects across the museum, ranging from lectures and symposia to special exhibitions, acquisitions, and conservation work. One of the best parts of my job is the exposure to the tremendous variety of activity that takes place at the Metropolitan on a daily basis. In the process of writing grant proposals for new projects and reporting to funders on existing ones, I am afforded rare insight into the complex interactions of the Museum’s many departments in the conceptualization, planning, and realization of initiatives. Even better, however, is that working for an institution with an encyclopedic collection means my job will frequently involve an art history lesson on subjects as diverse and specific as Middle Kingdom Egyptian mastaba relief, or nineteenth-century British silver. While balancing graduate school and work can certainly be a challenge, I believe the benefits of this involved relationship far outweigh any drawbacks. Working at the Metropolitan has informed my studies in surprising ways. While my focus of research is con- Student Voices temporary art, I often find myself drawing conclusions through the lens of what I am “studying” at work. I am profoundly grateful to be a part of both the IFA and Metropolitan communities, and I look forward to the many opportunities that will surely arise from this partnership as I continue to progress through my graduate career.
ifa.nyu.edu What We Do CURRENT RESEARCH Jonathan Brown
23 Institute of Fine Annual 2010 - 2011 Arts
Jonathan Brown, Carroll and Milton Petrie is now incorporated in The Frick Art Reference Professor of Fine Arts, discusses his current Library. I pursue this interest by means of projects in the fields of Spanish art and seminars held periodically, often with the history of collecting. collaboration of the staff of The Frick Center.
My current research project centers on a In recent years, I have returned to one of my survey of painting in the American territories initial research interests, Spanish master draw- of Spain. This is a collaborative enterprise, ings. With Dr. Lisa Banner (IFA Ph.D. 2006), I which I am organizing with IFA alumnus Dr. organized the exhibition The Spanish Manner: Luisa Elena Alcalá (Ph.D. 1998) of the Uni- Master Drawings from Ribera to Goya. I am versidad Autónoma de Madrid. Working now preparing a new edition of the drawings with five additional authors, the publication of Murillo, which is due to appear in fall 2011. is tentatively entitled Painting in the Spanish I am also advising the Princeton Art Museum Territories of America from the Conquest to on a catalogue of their holdings of this material, the Revolution. With the recent increase in authored by Dr. Banner. interest in the art of colonial Latin America, there is pressing need for a synthetic view Professor Brown has been named the Col- of the period and its pictorial production. lege Art Association’s 2011 Distinguished Additionally, I am conducting research on the Scholar, and is the 2010 recipient of the history of collecting in America. Several years Cristóbal Gabarrón Foundation Interna- ago, I was instrumental in starting the Center tional Restoration and Conservation award. for the History of Collecting in America, which
Previous page: Matthew Adams (Associate Director, NYU Excavations at Abydos), Elizabeth Feery McGovern (Ph.D. Candidate), and Jennifer Tworzyanski (Archaeologist) ifa.nyu.edu CURRENT RESEARCH Professor Cohen is the recipient of the 2010 Biennial Schelling Architecture Prize for Architectural Theory, an award regarded as the most distinguished in Jean-Louis Cohen Germany in the field of architecture.
Jean-Louis Cohen, the Sheldon H. Solow achieved the first in-depth study analyzing Professor in the History of Architecture, the modernization of architectural theory and speaks about his recent exhibition, Architecture practice during the period spanned by the in Uniform: Designing and Building for the German bombing of Guernica in 1937 and Second World War, which originated at the the American bombing of Hiroshima and Canadian Centre for Architecture in Montreal, Nagasaki in 1945. While many architects were and will travel to the NAI, Rotterdam, and the called to serve as active combatants, others MAXXI, Rome, in 2012. were able to pursue their professional work at the service of an intensified industrial pro- Following fifteen duction. The war drew upon every aspect of years of research, architectural expertise and led to significant the exhibition design innovations and advances in technology Architecture in and production. As a result, architects were Uniform: Designing 24 almost as strategically indispensable as
Institute of Fine Annual 2010 - 2011 Arts and Building for engineers and scientists in contributing to the Second World the war efforts of their respective countries. War opened at the Canadian Centre Among the defining characteristics of World for Architecture in War II were its total industrialization and the © Gitty Darugar, 2009 Montreal in mid- elimination of the traditional combat front, April 2011. The as aerial attacks brought the war to cities far exhibition investigates the consequences of removed from the front lines. Architects were World War II on the built environment, and re- involved in defining new offensive and defen- veals the immense development undertaken sive tactics, planning and building factories and responsibility carried by architecture dur- to accommodate unprecedented production ing these years. Until now, few studies have pressures, devising urban schemes for civil- analyzed the breadth of research, innovation, ian housing and concentration camps, and and building conducted by architects during influencing the occupation, destruction, and the war years. With this exhibition, I have tried reconstruction of cities. Based on a compara- to fill an important historical gap by investi- tive principle, the exhibition is organized gating the work and achievements of archi- thematically and constructs parallels of tects and designers active during World War wartime activity between the main fronts of II across the battle lines—hoping to demon- war, dealing with architects and projects in strate that the war served as an accelerator of Canada, France, Germany, Italy, Japan, the technological innovation and production that Netherlands, Spain, the United States, and would lead to the supremacy of modernism the USSR. Drawings, models, posters, books, in architecture. magazines, and films from twenty major With Architecture in Uniform, I believe to have collections document these developments.
Peenemünde rocket test station in Germany. Courtesy Jean-Louis Cohen CURRENT RESEARCH Finbarr Barry Flood
Finbarr Barry Flood, William R. Kenan Jr. Despite the perception that Islam has an Professor of the Humanities, Institute of “image problem”, there is often confusion Fine Arts and College of Arts and Science, about the precise nature of that problem and discusses his current book manuscript on its basis. Consequently, part of the project has the idea of Islamic cultures as iconophobic. entailed writing an extended analysis of the relevant Islamic proscriptive texts that is both In recent years, comparative, highlighting similarities and dif- a series of highly ferences in relation to the other monotheistic publicized contro- traditions, and directed towards emphasiz- versies—among ing their implications for the production and them the destruc- reception of art. Combining textual and mate- tion of the Bamiyan rial analysis, the book argues that concerns Buddhas in 2001 about images were never central theological and the controversy Islam, and that debates about images were al- 25
over Danish carica- ways integral to broader contestations regard- Institute of Fine Annual 2010 - 2011 Arts tures of the Prophet ing the role of materiality as a nexus between Muhammad in financial, moral, and visual economies. 2005—has rein- vigorated the perception that Islamic cultures This may seem rather arcane or obscure, but are marked by an idiosyncratic (and generally the research has, I believe, significant implica- hostile) attitude to figural imagery. The idea tions for understanding how human beings has long served as a fault line of difference in have conceived their relationship to the inter- and intra-sectarian polemics: as early as material world historically. Among the issues the eighth century, both Judaism and Islam in contention is a distinction between animate were accused by Byzantine iconophiles as beings and inanimate matter that has been having inspired iconoclasm, while nineteenth- naturalized in post-Enlightenment thought. century European scholarship coined the term At stake are not merely competing theories Bilderverbot to name the radical aniconism of the relationship between images and the held to be a defining characteristic of “Semitic” external realities that they seem to emulate cultures. Over the past decades, both the or replicate, but divergent conceptions of idea of Jewish aniconism and the role of the the real. Bilderverbot in Euro-American representations Serendipitously or not, my own exploration of Judaism have been the subject of much of these topics in relation to Islamic cultures excellent research. By contrast, there has coincides with a moment when similar questions been little attempt to explore these topics are being raised within the broader disciplines in depth in relation to Islam, despite of aesthetics and art history. This “ontological their timeliness. turn” has manifest itself in a shift of interest Responding to this need, I am currently on the part of some art historians away from completing a book manuscript, tentatively questions of iconography and the referential entitled Paradoxical Histories: Islam, Image, value of material images, towards a concern and Iconoclasm. The time frame is broad, with their affect, efficacy, and ability to ranging from the advent of Islam in the seventh manifest presence. The moment is thus century, through the period of Byzantine ripe for rethinking Islam’s relation to the iconoclasm, the Crusades and Reformation, to image for many reasons. contemporary controversies about Islam and images in relation to questions of European Professor Flood was recently awarded the identity. Rather than a comprehensive survey, 2011 Ananda Kentish Coomaraswamy Book the project argues the need to historicize the Prize of the Association for Asian Studies, topic by highlighting some revealing contra- South Asia Council, for his book Objects of dictions, paradoxes, and historical shifts in the Translation: Material Culture and Medieval ways in which images have been imagined “Hindu-Muslim” Encounter. both within Islamic traditions and in the repre- sentation of those traditions by non-Muslims. ifa.nyu.edu CURRENT RESEARCH Michele Marincola
26 Institute of Fine Annual 2010 - 2011 Arts
Michele Marincola (IFA ’90) is the Sherman The Conservation Continuum: Examining Fairchild Chairman and Professor of Con- the Past/Envisioning the Future. The second servation, Conservator at The Cloisters, The (with Sarah Maisey, Paintings Conservator at Metropolitan Museum of Art (part-time), and London’s Tate Gallery) has been accepted for Conservation Consultant to Villa La Pietra in the September 2011 Triennial Meeting of the Florence. For the 2010-2011 IFA Annual, she International Council of Museums - Committee discusses two of her recent projects. for Conservation (ICOM-CC) in Lisbon, Portugal.
During my sabbatical year in 2010, I focused My second project is a book-length manu- on two research projects. The first—making script on the conservation-restoration of Euro- mistakes in conservation—rapidly evolved pean medieval polychrome wood sculpture in when I found only a few published examples America, which I am writing with conservator of errors made during the examination or Lucretia Kargère (IFA 1996). There is no work treatment of works of art. Using these few in English on the treatment of these objects, examples (including my own) as case studies, and little is known about their conservation in I have explored the fundamentals that lie this country, or its relation to collection and behind how conservators sometimes make display. Our research to date has concen- the wrong decisions. Drawing comparisons trated on the early history of these sculptures with fields where sources of error are well once they enter American museums. Through known, including medicine and the aviation archival research and visual examination of industry, I have been able to define common collections, we have documented some of biases and heuristics found in conservation. the major trends and pioneering restorers and I wrote two papers on this topic, one given curators. Sections of the manuscript are being at the 2010 Annual Meeting of the American published in article format, and we anticipate Institute for Conservation of Historic and Ar- that the book will be completed in 2013. tistic Works (AIC) held in Milwaukee, entitled CURRENT RESEARCH Professor Trachtenberg has been awarded the next Sarton Medal on the recommendation of Ghent University, in recognition of his outstanding scholarly Marvin Trachtenberg achievement in the field of History of Science
Marvin Trachtenberg, Edith Kitzmiller Profes- of what architectural “authorship” (and non sor of the History of Fine Arts, explains the “authorship”, including “copies”) meant in development of his current research proj- the period; and in the social forces behind the ects, following the release of his recent book invention of the Chapel. This book, tentatively Building in Time; from Giotto to Alberti and entitled Brunelleschi and the Pazzi Chapel, is Modern Oblivion (Yale University Press, 2010). under contract with Yale University Press, and I hope to complete a manuscript by the end At the moment, I of 2012. am regrouping after the seemingly end- The second project emerged from Building less ten-year+ cam- in Time. I intend to study pre-modern paign to complete architecture as an aspect of the new history Building in Time, of science. This huge field, which emerged in which only termi- recent decades, relocates the origins of science in the centuries prior to Galileo, Newton, et 27
nated shortly before Institute of Fine Annual 2010 - 2011 Arts its publication last al., and in intellectual spaces apart from the fall. My plan is to canonical scientific laboratory. In this new work sequentially history, a number of extremely diverse prac- on two very different projects. The first is to tices ranging from various crafts to medicine complete the book on the authorship of the and alchemy are seen to produce an immense Pazzi Chapel, which I began prior to Building range of knowledge about the natural and ma- in Time. This book was well-advanced in the terial world. Thus far, architecture, although mid ‘90s, and aspects of it appeared in two sometimes cited, has not been substantially long articles in Casabella in 1996 and 1997. incorporated in this new history, and I wish At the time, my focus was on demonstrating to begin filling this gap. Having been just my unwelcome disattribution of the Chapel awarded, to my astonishment, a George from Brunelleschi and its reattribution to Mich- Sarton Medal by the architecture faculty of elozzo. Currently, I am more concerned with Ghent University for Building in Time and my a better understanding of the architectural- work in the field of the History of Science, I visual-historical character of the Chapel, which sense that the project I have vaguely out- has been long misconstrued; in clarifying and lined would be a promising direction for my deepening our understanding of Brunelleschi research. A proposed working title might be as architect through a revisionist treatment “Pre-modern Architecture as Primary Agent of his known works; in revising our notion of Early Proto-science.”
Pazzi Chapel, Florence, 1440s-60s. Authorship disputed, probably not Brunelleschi. Courtesy Marvin Trachtenberg
ifa.nyu.edu FACULTY RESEARCH Exhibitions and Selected Publications
Exhibitions Thomas Crow Jonathan Brown: co-curator, with IFA alumna “For and against the Funnies: Roy Lichtenstein’s Lisa Banner and Susan G. Galassi, The Spanish Drawings in the Inception of Pop Art, 1961– Manner: Drawings from Ribera to Goya, The 1962,” in Roy Lichtenstein: The Black-and- Frick Collection, 2010, and curator, Pinturas White Drawings, 1961–1968, ed. I. Dervaux de los Reinos. Identidades compartidas en el (New York: Morgan Library and Museum, mundo hispánico, Museo Nacional del Prado 2010), pp. 29-42. and Palacio Real, Madrid, 2010. “Warhol among the Art Directors,” in Andy Jean-Louis Cohen: curator, Architecture in Warhol Enterprises, ed. A. Unruh (Berlin: Hatje Uniform: Designing and Building for the Second Cantz, 2010), pp. 99-113. World War, Canadian Center for Architecture, “Call to Order: on the Legacy of Claude Montreal, 2011. Lévi-Strauss,” Artforum (April 2010), 28 Priscilla Soucek: co-curator, Three Faiths: pp. 168-171. Institute of Fine Annual 2010 - 2011 Arts Judaism – Christianity – Islam, New York Colin Eisler Public Library, 2010-2011. Essay in Irving Penn: Archaeology, exhibition Selected Publications catalogue, Pace/MacGill Gallery (New York, Jonathan Brown 2010). “A Restored Velázquez, a Velázquez Margaret Holben Ellis Restored,” in Velázquez Rediscovered “Roy Lichtenstein’s ‘Mechanical Drawings’ in (New York: The Metropolitan Museum the Age of Mechanical Reproduction,” in Roy of Art, 2009), pp. 10-15. Lichtenstein: The Black-and-White Drawings, Jean-Louis Cohen 1961-1968, ed. I. Dervaux (New York: Morgan Editor,Vivement Paris ! de Critique, Library and Museum, 2010), pp. 53-64. no. 757-758, June. “Achieving Clarity – Glazing Options for “France/Allemagne/France: porosités Works of Art on Paper,” Museum Management et étanchéités 1918-1930, in Quand and Curatorship, Vol. 25, no. 4 (2010), l’architecture internationale s’exposait pp. 399-422. 1922-1932, ed. C. Coley and D. Pauly “Jane Austen’s Writing – A Technical Perspec- (Lyon: Lyon, Fage éditions, 2010), tive,” in A Woman’s Wit: Jane Austen’s Life pp. 68-82. and Legacy, www.themorgan.org/collections/ Frankreich oder Deutschland? Ein ungeschrie- conservation/austen/default.asp, exhibition, benes Buch von Le Corbusier, Berlin, Munich, The Morgan Library and Museum, New York, Deutscher Kunstverlag, 2010. 2009 – 2010. “From Grand Landscapes to Metropolises: Barry Flood Henri Prost,” in From the Imperial Capital to Globalizing Cultures: Art and Mobility in the the Republican Modern City: Henry Prost’s Eighteenth Century, co-edited with Nebahat Planning of Istanbul (1936-1951), ed. P. Pinon, Avciog˘lu, a dedicated volume of Ars Orientalis, F. Cânâ Bilsel (Istanbul: Arastimalari Enstitüsü, Vol. 39 (2010). 2010), pp. 47-70. “Roundtable on the Global before Global- “ ‘Infiniment fraîche, infiniment neuve’ : ization,” with Alexander Nagel, Alessandra l’architecture de Los Angeles vue d’Europe,” Russo, Eugene Wang, and Christopher Wood, in Pour une poétique du détour. Rencontre moderated by David Joselit, October, no. 133 autour d’André Corboz, ed. C. Maumi (Paris: (2010), pp. 3-19. Editions de la Villette, 2010), pp. 23-46. Portrait de ville New York (Paris: Cité de l’architecture et du patrimoine, 2010). Jonathan Hay “Roundtable on the Global before Globaliza- “Qi Baishi: Three Questions,” in The Collective tion,” with Barry Finbarr Flood, Alessandra Works of the International Forum (2010 Beijing) Russo, Eugene Wang, and Christopher Wood, on Qi Baishi’s Art (Beijing: Beijing Fine Art moderated by David Joselit, October, no. 133 Academy, 2010). (2010), pp. 3-19. “Seeing through Dead Eyes: How Early Tang “The Afterlife of the Reliquary,” in Treasures Tombs Staged the Afterlife,” RES: Anthropology of Heaven: Saint, Relics and Devotion in and Aesthetics, no. 57/58 (2010), pp. 16-54. Medieval Europe, ed. M. Bagnoli, H. A. Klein, C. Griffith Mann, and J. Robinson (Baltimore: Sensuous Surfaces: the Decorative Object Walters Art Museum, 2010), pp. 211-22. in Early Modern China (London: Reaktion Books, 2010). Linda Nochlin “Courbet and the Representation of Misere: Clemente Marconi a Dream of Justice”, in Courbet: A Dream of “Orgoglio e pregiudizio. La connoisseurship 29 Modern Art, ed. K. Herding and M. Hollein, Institute of Fine Annual 2010 - 2011 Arts della scultura in marmo dell’Italia meridionale exhibition catalogue, Schirn Museum, e della Sicilia,” In Scolpire il marmo. Impor- Frankfurt, 2010, pp. 76-83. tazioni, artisti itineranti, scuole artistiche nel Mediterraneo antico, ed. G. Adornato David O’Connor (Milan: LED, 2010), pp. 339-59. “The Shunet el-Zebib at Abydos: Architec- “Choroi, Theo-riai and International Ambitions: tural Conservation at One of Egypt’s Oldest The Hall of Choral Dancers and Its Frieze,” in Preserved Monuments,” with M. D. Adams, in Samothracian Connections: Essays in honor of Offerings to the Discerning Eye: An Egypto- James R. McCredie, ed. O. Palagia and B. D. logical Medley in Honor of Jack A. Josephson, Wescoat (Oxford and Oakville: Oxbow Books, ed. S. D’Auria ( Brill: Leiden/London, 2010), 2010), pp. 106-35. pp. 1-8. “Un frammento di anathema fittile dal grande “The Funerary Cult Enclosure of Khasekhem- santuario urbano di Selinunte,” with Rosalia wy at Abydos,” with M. D. Adams, W. Remsen Pumo, Mare Internum, Vol. 2, pp. 39-43. and A. Crosby, in Preserving Egypt’s Cultural Heritage: The Conservation Work of the “Sculpture, Architectural,” in The Oxford American Research Center in Egypt 1995-2005, Encyclopedia of Ancient Greece and Rome, ed. R. Danforth (San Antonio: American ed. M. Gagarin, Vol. 6 (New York: Oxford Research Center in Egypt Inc., 2010), University Press), pp. 247-57. pp. 11-18. Alexander Nagel Hannelore Roemich The Controversy of Renaissance Art P. Bellendorf, H. Roemich, S. Gerlach, P. Mott- (Chicago: Chicago University Press, 2011). ner, E. López, K. Wittstadt, “Archaeological Subject as Aporia in Early Modern Art, Glass: the Surface and Beyond” in Glass and co-edited with Lorenzo Pericolo (Burlington, Ceramics Conservation 2010, ed. H. Roemich, VT: Ashgate Press, 2010). Interim Meeting of the ICOM-CC Working Group, October 3–6, 2010, Preprints, ICOM Anachronic Renaissance, co-author Christopher Committee for Conservation (Corning NY: Wood (New York: Zone Books, 2010). Corning Museum of Glass, 2010), pp. 137-44. Contribution to the forum “Questions H. Roemich and S. Weintraub, “Teaching of Style,” Artforum, Vol. 49, no. 1 Preventive Conservation: Preparing Conserva- (September 2010), pp. 258-9. tors for the Complex World of Interdisciplinary Decision Making,” in Proceedings of the Final Meeting of COST Action D42 (Dublin and Brussels: Trinity College and COST, 2010), pp. 85-88.
ifa.nyu.edu FACULTY RESEARCH Exhibitions and Selected Publications
Patricia Rubin Thelma Thomas “‘Not … what I would fain offer, but … what J. Alchermes, ed., with H. Evans and T.K. I am able to present’: Mrs. Jonathan Foster’s Thomas, Anathemata Eortia: Studies in Honor translation of Vasari’s Lives,” in Le Vite del of Thomas F. Mathews (Wiesbaden: Reichert Vasari: Genesi, Topoi, Ricezione/ Die Vite Verlag, 2010), and “Coptic Textiles in the Vasari: Entsthehung, Topi, Rezeption, ed. K. Dikran G. Kelekian Textile Album of c. 1910,” Burzer, C. Davis, S. Feser, and A. Nova pp. 300-12. (Florence: Marsilio Editore, 2010), pp. 317-31. “Coptic Art,” in Coptic Art Revealed, ed. “’The Liar’: Fictions of the Person,” Art History, Nadja Tomoum, exhibition catalogue, Coptic Vol. 34, no. 2 (April, 2010), pp. 332-51; and Museum, Cairo (Cairo and Frankfurt am Main: co-editor, with Catherine Grant, of this special Supreme Council of Antiquities in Egypt and issue, Creative Writing and Art History. Centrum für internationale Migration und Ent- wicklung, 2010), pp. 26-39. 30 Robert Slifkin Institute of Fine Annual 2010 - 2011 Arts “Donald Judd’s Credibility Gap,” “Egyptian Art in Late Antiquity,” in American Art, Vol. 25 (forthcoming in A Companion to Ancient Egypt, ed., summer 2011). A. Lloyd, Vol. 2, pp. 1032-64. Review of Kenneth Haltman, Looking Close and Seeing Far, Great Plains Quarterly, Vol. 30 (Winter 2010), pp. 63-4. Edward Sullivan “Art Worlds of Nueva York,” in Nueva York: 1613-1945, ed. E. Sullivan, exhibition catalogue, El Museo del Barrio (New York: New York Historical Society and Scala Publishers, 2010), pp. 172-215. “Rafael Ferrer in the Tropics: Encounters with Caribbean Art,” in Retro/Active: The Work of Rafael Ferrer, exhibition catalogue (New York: El Museo del Barrio, 2010), pp. 53-68. “Professor Esteban Vicente: Teaching & Creativity in his Art,” and “Interviews with Irving Sandler, Chuck Close, Elizabeth Frank, Susan Crile, Dorothea Rockburne,” in Concrete Improvisations: Collages and Sculpture by Esteban Vicente, exhibition catalogue, Grey Art Gallery, New York University and the Museo de Arte Contemporáneo Esteban Vicente, Segovia (New York, 2011).
The IFA offers a unique experience to its students through a range of sponsored archaeological projects. Students of any discipline are invited to participate in annual excavations, to enhance their historical studies with object-based research. IFA Excavations Abydos, Egypt
In collaboration with Yale University and the University of Pennsylvania, the IFA is engaged in an ambitious long-term archaeological study of the history of the significant site of Abydos in southern Egypt. Abydos is known as the burial place of Egypt’s first kings, and later became the primary cult place of the god Osiris, ruler of the Land of the Dead. The excavations aim to build a comprehensive understanding of the ancient activities at the site, how its operations and meaning evolved over time, and its relation to the broader context of Egyptian history and culture. 33 Institute of Fine Annual 2010 - 2011 Arts
Matthew Adams (Associate Director, NYU Excavations at Abydos), Ileana Selejan (Ph.D. Candidate) and Elizabeth Feery McGovern (Ph.D. Candidate), Previous page: IFA student Adam Rizzo (Ph.D. candidate) Abydos excavation 2010 and a Turkish workman, Aphrodisias excavation 2010
Elizabeth Feery McGovern (Ph.D. Candidate), Abydos excavation 2010
ifa.nyu.edu IFA Excavations Aphrodisias, Turkey
34 Institute of Fine Annual 2010 - 2011 Arts
IFA student Kirsten Lee (Ph.D. candidate) and two Turkish workmen
Aphrodisias is one of the most important archaeological sites of the Greek and Roman periods in Turkey. The city was famous in antiquity for its cult of Aphrodite and for its marble sculptures. It enjoyed a long, prosper- ous existence from the second-century BCE through the sixth-century CE, and its buildings, marble sculpture, and public inscriptions are remarkably well preserved. The current excavation focuses on the recording and con- servation of previously excavated monuments, establishing permanent systems for docu- mentation and conservation, new targeted excavations, and scientific research and publication.
IFA students during a seminar by historian Angelos Chaniotis IFA Excavations Samothrace, Greece & Selinunte, Sicily
Samothrace, Greece Since 1938, the IFA has worked in the Sanctuary Voices from the Field of the Great Gods, uncovering the home of its famous mystery cult with a series of great marble buildings, dedicated by Philip II and his successors, and seminal in the formation of Hellenistic architecture. At this stage, the project’s emphasis is on study and preparation of publications, as well as conservation. Selinunte, Sicily Selinunte was famous throughout the Classical world for the richness of its farmland and IFA students Veruschka Aízaga-Thomason (Ph.D. monumental temples. It enjoyed a prosperous candidate) and Kirsten Lee (Ph.D. candidate), Selinunte excavation, summer 2010 existence from the second half of the seventh- 35 Institute of Fine Annual 2010 - 2011 Arts century BCE through the middle of the third- The various opportunities students have century BCE, and its sanctuaries, temples, to participate in archaeological excavations fortifications, and houses are well preserved. are among the benefits of studying Clas- In 2007, the IFA began its excavation on the Acropolis of Selinunte in western Sicily, focusing sical art and archaeology at the Institute. on the area of the main urban sanctuary of Last summer I was able to partake in two the ancient Greek colony. The excavations of the sponsored archaeological excava- document the social history, as well as the tions, at Selinunte, Sicily, and Aphrodisias, architectural and visual culture of an ancient Turkey. The opportunity to excavate at city in unusually fine detail. Fieldwork to date these locations not only helped to has already provided important evidence contextualize the information that I had concerning the history of Selinunte prior to studied the previous spring in seminars the arrival of the Greek colonists, as well as significant finds of pottery and sculpture on each site, but also allowed me to learn originally dedicated as votive offerings in the the methodology of archaeological sur- sanctuary area. vey and the fundamentals of excavation techniques and analysis, such as how to handle finds and record stratigraphy. An- other wonderful part of working on each excavation is that there was never a short- age of people to talk to and learn from. My numerous exchanges with professors, archaeologists, conservators, architects, pottery and sculpture specialists, proved as important as working in a trench and looking at material that was coming out of the ground as it was being excavated. I feel very fortunate to have had the op- portunity to excavate at both Selinunte and Aphrodisias, and I look forward to working at Samothrace this season.
- Veruschka Aízaga-Thomason, third-year Ph.D. candidate in the Classical art and
Samothrace archaeology program
ifa.nyu.edu PUBLIC PROGRAMMING AT THE INSTITUTE Annual Lecture Series, Colloquia, and Consortia
Archaeological Research at Aphrodisias Samuel H. Kress Lecture This annual lecture brings together members The Samuel H. Kress Lecture is delivered of the Aphrodisias excavation team to discuss annually by a prominent scholar in conserva- their findings and research resulting from their tion, who presents important issues within the most recent trip to the site. fields of painting conservation and technical art history. This event is made possible The fall 2010 lecture was presented by Roland through the generosity of the Samuel H. R.R. Smith, Director, Lincoln Professor of Kress Foundation. Classical Art and Archaeology, University of Oxford, and Research Professor, Institute Petria Noble, Head of Paintings Conservation, of Fine Arts; and Esen Ög˘üs¸, Field Director, Royal Picture Gallery, Mauritshuis, The Neth- Senior Research Scholar, Institute of Fine Arts. erlands: Reconstructing Original Formats: 36 Technical Examination of Rembrandt paint- Institute of Fine Annual 2010 - 2011 Arts Artists at the Institute ings in the Mauritshuis Taking advantage of the IFA’s location in one of the world’s leading art centers, the Archaeological Research at Selinunte Graduate Student Association invites artists In 2011-2012, the IFA will host its first annual to discuss their work at the Institute. Begun lecture on the Selinunte excavation in Sicily. in 1983, these talks are now funded by a The project’s director, Professor Clemente generous gift in memory of late IFA Professor Marconi, and other members of the team will Kirk Varnedoe, who inspired the series. discuss the research they conducted on site. In spring 2011 we welcomed artists Daniel H. Silberberg Lecture Series Rachel Harrison, Marina Abramovic, Planned and coordinated by the Graduate and Mika Rottenberg. Student Association, this series of lectures invites art historians, archaeologists, and con- Walter W.S. Cook Annual Lecture servators, specializing in a variety of periods The Walter W. S. Cook Lecture is organized and genres to share their latest research with by the IFA Alumni Association in honor of the IFA community and general public. professor Cook, Founding Director of the IFA and historian of Medieval Spanish Art. Matthew Canepa, Assistant Professor of Art and Archaeology of Ancient Iran, Hellenistic Gary M. Radke, Dean’s Professor of the Hu- Asia, and the late Roman Empire, University manities, Syracuse University: “As will please of Minnesota: Performances of Power and the ladies”: Planning Choirs, Kitchens, and Topographies of Memory: Theorizing Compet- Latrines in Fifteenth-Century Venetian Convents ing Visual, Spatial and Ritual Technologies of Director’s Extracurricular Seminar Power in Hellenistic and Iranian Western Asia The Director’s Extracurricular Seminar invites Boris Groys, Global Distinguished Professor distinguished scholars to share and discuss of Russian and Slavic Studies, New York their current research with the IFA community University; Professor of Art History, Philosophy and students. and Media Theory, Staatliche Hochschule fur Gestaltung, Karlsruhe: Rules of Repetition: Wu Hung, Kirk Varnedoe Visiting Professor: Reflection of the Medium in Time-Based Art On the Verge of Absence Christopher Heuer, Assistant Professor of Richard Ettinghausen Memorial Lecture Art and Archaeology, Princeton University: This annual lecture was established by Dürer’s Folds Elizabeth Ettinghausen in memory of Dana Leibsohn, Priscilla Paine Van der Poel her late husband Richard Ettinghausen, Professor of Art History, Smith College: IFA professor of Islamic Art. Trading Histories: Foreign Things in Manila Barbara Brend, Independent scholar: and in Mexico Muhammad Juki’s "Shahnamah" of Firdausi in Persia and India Carol Mancusi-Ungaro, Founding Director, Inaugural lecture by Iftikhar Dadi, Professor Center for the Technical Study of Modern Art, of Art History at Cornell University and Artist: Harvard Art Museum; Associate Director of Between Global Media and the Urban Subaltern Conservation and Research, Whitney Museum of American Art: The Elusive Original New York Aegean Bronze Age Colloquium Founded in 1974, the New York Aegean Bronze Dietrich Neumann, Royce Family Professor for Age Colloquium is celebrating its 37th year the History of Modern Architecture and Urban at the IFA. The Colloquium is internationally Studies, Brown University: A Skyscraper for recognized as a premier venue for presenting Mussolini: Mario Palanti and Urban Planning new discoveries and ideas in Aegean Bronze in Fascist Rome Age and related Eastern Mediterranean Pamela Smith, Professor, History Depart- prehistory and art. In 2010, the IFA hosted 37 ment, Columbia University: Art, Science, and nine lectures in this series. Institute of Fine Annual 2010 - 2011 Arts Techne: Practical Knowledge and the Written Word in Early Modern Europe Colloquium on Spanish and Latin American Art and Visual Culture Susan Stewart, Professor of English, Princeton For this series of informal lectures and panels, University: In View of Ruins leading specialists are invited to the Institute The Annual Kirk Varnedoe Memorial Lectures to explore art historical and broader contextual The Kirk Varnedoe Memorial Lectures were issues relating to the arts of Spain and Latin established in 2006 to honor and perpetuate America. The series is coordinated by Professors the memory of Professor Varnedoe’s dedicated Jonathan Brown, Robert Lubar, and Edward and innovative teaching, mentoring, and Sullivan. We gratefully acknowledge the scholarship at the Institute of Fine Arts. This continuing support of Roberta and Richard series of three talks, given annually by the Huber for making the Colloquium possible. Visiting Varnedoe Professor, explores new Laura Bass, Associate Professor of Spanish research in modern and contemporary art. and Latin American Studies, Tulane University: This year we welcomed Wu Hung, Harrie A. Picturing Baroque Madrid: Social Geographies Vanderstappen Distinguished Service Profes- and Urban Curiosities sor in Art History and East Asian Languages Diana Fane, Curator Emerita, Arts of the and Civilizations at the University of Chicago; Americas, Brooklyn Museum: From Feather Director, Center for the Art of East Asia; Shields to Coats of Arms: Iconographies of Consulting Curator, Smart Museum of Art. Place and Power in 16th-Century Mexico In spring 2011 he offered the lecture series Daniel Haxall, Assistant Professor, Department Reading Absence: Three Moments in of Fine Arts, Kutztown University: Esteban Chinese Art History: Vicente, Abstract Expressionism, and the 1644: Where Is the Broken Stele? Spanish Legacy of Collage 1860: Photography Defines China 1985: Absence as Contemporaneity Jo Labanyi, Director, King Juan Carlos I of Spain Center at NYU and Professor, Department Colloquium for Modern and Contemporary of Spanish and Portuguese, NYU: Noir Visuality Art from the Middle East and South Asia in Spanish Cinema of the Early Franco This Colloquium offers a platform from which Dictatorship: Complicating Regime Ideology to explore modern and contemporary art and the visual cultures from the Middle East and James Oles, Senior Lecturer, Art Department South Asia. Art historical scholarship on art and Adjunct Curator of Latin American Art, from these regions is in a state of flux. Rather Davis Museum, Wellesley College: The than propose definitions, the colloquium aims Cézanne Effect in Latin America: From to support a long-term dialogue with a cumu- Rivera to Soto lative impact on critical writing and the study of modern and contemporary art histories of these regions. ifa.nyu.edu PUBLIC PROGRAMMING AT THE INSTITUTE Annual Lecture Series, Colloquia, and Consortia
Nuno Senos, Resident Director, CIEE Study Anachronic Renaissance: A Conversation Center Lisbon and Associate Researcher, Centro with the Authors de História de Além-Mar FCSH, Universidade Speakers: Alexander Nagel, Professor of Fine Nova de Lisboa: Counter-curved Walls and Arts, Institute of Fine Arts, New York University; National Identity in Brazil Christopher S. Wood, Professor of History of Art, Yale University Contemporary Art Consortium The Contemporary Art Consortium acts as a Moderators: Patricia Rubin, Judy and Michael network and outlet for students of modern Steinhardt Director, Institute of Fine Arts; and contemporary at the IFA. Its mission is to Marvin Trachtenberg, Edith Kitzmiller Professor connect our academic community with artists, of the History of Fine Arts, Institute of Fine Arts scholars, curators, conservators, gallerists, 38 New Perspectives on the Man of Sorrows: collectors, and other New Yorkers with an Institute of Fine Annual 2010 - 2011 Arts Art and Devotion in Renaissance Venice interest in the arts. Beginning fall 2011, the and the North Consortium will organize events, including This symposium was held at the IFA in the Artists at the Institute series. conjunction with the exhibition Passion in New York Renaissance Consortium Venice, Crivelli to Tintoretto and Veronese The Renaissance Consortium has been (The Man of Sorrows in Venetian Art) at the established to take advantage of the wealth Museum of Biblical Art by IFA alumni William of Renaissance teaching and research in the Barcham and Catherine Puglisi, co-curators New York metropolitan area. It is intended of the exhibition. to facilitate a community among scholars, students, curators, and others with interest in the arts of the Renaissance, and also holds a number of events each season.
Robert Storr, Estrella de Diego, Dan Cameron, Robin Cembalest, and Javier Montes, at the Contemporary Transatlantic Dialogues symposium, spring 2011 PUBLIC PROGRAMMING AT THE INSTITUTE The Conservation Center’s 50th Anniversary Conferences Celebration and Symposia
In fall 2010, the Conservation Center cel- Contemporary Transatlantic Dia- logues: Art History, Criticism, and ebrated a milestone: fifty years of conservation 50thAnniversary Exhibition Practices in Spain and education in the United States. The event the United States brought alumni and friends from as far away This symposium focused on cultural as Canada, Switzerland, and Japan. What and artistic dialogues between began in 1960 in the basement of the Duke Spanish and American artists and House today stands as a premier graduate scholars in the post-war era. The program in art conservation and a critical sessions dicussed three topics: art center for academic research. history, contemporary criticism, and museums and exhibition practices. The anniversary festivities kicked off this fall 39 The IFA-Frick Symposium with a celebration weekend on October 15th Institute of Fine Annual 2010 - 2011 Arts For more than half a century, The and 16th. An open house at the Conserva- Frick Collection and the Institute tion Center welcomed many longtime friends, of Fine Arts have hosted a sym- alumni, and supporters to tour our facilities posium for graduate students in and meet students presenting and discussing a art history. The symposium offers variety of current projects. The attendees then doctoral candidates in art history all gathered at the Duke House, where a memo- the opportunity to deliver original rable afternoon of presentations and special research papers in a public forum recollections commenced, followed by a lovely and to engage with novice and evening reception. The next day attendees made expert colleagues in the field. their way to an autumn picnic at The Parsonage Photo Archives and the Photo- in Wappingers Falls, NY, the former home of graphic Memory of Art History, Larry Majewski (Chairman of the Conservation Part III: Hidden Archives Center, 1966 – 1986). This conference was a third in an ongoing series that investigates It is in this spirit that we created a special 50th the role of photographic archives Anniversary Fund dedicated to the support of and collections in art historical current students, including tuition, stipends, studies. It explored the role of and presentations of their academic work at “hidden” photo archives in current conferences across the country and abroad. art historical research, emphasizing If you wish to contribute to this fund, please those collections that are not digi- visit ifa.nyu.edu or contact Oliver Luisi at tized, catalogued, publicized, or readily accessible except in person (212) 992 5888 or [email protected]. and on-site. For more information see page 18. Symposium in Honor of Marvin Trachtenberg In fall 2010, a symposium was held at the Institute in honor of IFA Professor Marvin Trachtenberg, Edith Kitzmiller Professor of the History of Fine Arts, on the subject of Medieval and Renaissance architecture.
ifa.nyu.edu PUBLIC PROGRAMMING AT THE INSTITUTE Special Engagements
Lecture by Beat Brenk Beat Brenk, Visiting Professor, Williams College: Rhetoric, Ambition and the Function of the Cappella Palatina in Palermo Faculty Inaugural Lecture: Philippe de Montebello Philippe de Montebello, Fiske Kimball Professor in the History and Culture of Museums A la recherche...d’un autre temps A Special Seminar by Roberto Nardi Monastery of Saint Catherine in Sinai: The Conservation of the Mosaic of 40 the Transfiguration
Institute of Fine Annual 2010 - 2011 Arts Professor Trachtenberg addressing the audience Next page: Patrick Salland (Ph.D. candidate) in the at the symposium held in his honor in fall 2010 Marble Room
Photo Archives Conference, spring 2011
PUBLIC PROGRAMMING AT THE INSTITUTE Connoisseurs Circle
The Connoisseurs Circle is a unique patron Auditing Privileges program specifically designed for individuals The privilege of auditing courses at the Insti- with a passion for art, a keen interest in art tute provides access to our inspiring faculty, history, and a genuine commitment to sup- renowned for the breadth and depth of its porting our mission to train the next genera- expertise; as well as adjunct faculty, drawn tion of art historians, archaeologists, and from top museums, research institutes, and conservators. Members enjoy a variety of spe- conservation studios. Each semester, the cial benefits throughout the year, including Institute makes a wide range of courses auditing privileges for a number of courses; available to Connoisseurs Circle members. visits to private art collections; exclusive tours Many courses are taught in the colloquium of museum exhibitions led by distinguished format, allowing for an especially intimate scholars and curators; visits to the studios of and engaged educational environment. prominent artists; and access to our world- 42 renowned research libraries. While participat-
Institute of Fine Annual 2010 - 2011 Arts ing in the intellectual life of the Institute and the greater New York arts community, the Connoisseurs Circle Connoisseurs Circle helps to facilitate the Executive Committee education of our students. The tax-deductible Stephen R. Beckwith, Chairman contributions of our members directly support William L. Bernhard financial aid for a number of our brightest and Toni Goodale most promising students, the Connoisseurs Roberta Huber Circle Fellows. Cynthia Polsky For examples of course offerings and exclu- Wendy Reilly sive events, please visit the Institute’s website Judy Steinhardt at ifa.nyu.edu. Alicia Volk Ex Officio Patricia Rubin
Lecture at the Institute Special Events Museum Exhibitions Private Collections Our group regularly visits many of the most The Connoisseurs Circle is invited to visit anticipated museum exhibitions each year. many of New York’s most spectacular private Tours are led by the Institute’s faculty and art collections. Not only do these visits provide alumni, as well as exhibition curators and mu- unparalleled opportunities to view works of seum professionals. Though a more complete art that are not normally made available to the listing can be found on our website, notable public, but they offer a special atmosphere to past events include a visit to MoMA’s sculpture meet collectors and other patrons. conservation studio with sculpture conservator Lynda Zycherman; The Third Mind: American Artists’ Studios Artists Contemplate Asia, 1860 to 1989 with Members visit the New York studios of many Alexandra Munroe, Senior Curator of Asian of the world’s most famous artists. These visits Art at the Guggenheim Museum; and The allow a privileged glimpse into the creative Age Of Rembrandt: Dutch Paintings in The process of artists that have shaped modern and 43
Metropolitan Museum of Art with Egbert Institute of Fine Annual 2010 - 2011 Arts contemporary art. Recently, the Connoisseurs Haverkamp-Begemann, John Langeloth Loeb Circle has visited the studios of Cecily Brown Professor Emeritus in the History of Art. and Chuck Close. Research Library Access Connoisseurs Circle members also receive admittance to the Institute’s world-class research libraries. The Stephen Chan Library and our Conservation Center Library hold an outstanding collection of scholarly publications which allow members to access course materials as well as to conduct independent research.
To learn more about the Connoisseurs Circle, please visit tinyurl.com/IFAcircle, or contact Marc Cincone at (212) 992 5812 MoMA Curator Roxana Marcoci leads us through the exhibition, Take Your Time: Olafur Eliasson or by email at [email protected]
Visit to the studio of Chuck Close ifa.nyu.edu News from the Library
44 Institute of Fine Annual 2010 - 2011 Arts
The Stephen Chan Library of Fine Arts
The IFA houses two libraries: The Stephen modern and contemporary American art. With Chan Library of Fine Arts, located on the the recent faculty hire in this area (see page 7), second floor of the Duke House, and the we are thrilled that the Spiegel gift greatly Conservation Center Library, situated on the improves our now expanded collection in second floor of the Conservation Center’s Ste- this field. phen Chan House. The libraries support the - Amy Lucker, Head Librarian research and curricular needs of the Institute’s graduate programs in art history, archaeology, and conservation. They hold over 114,000 volumes, subscribe to over 700 periodicals, and maintain distinguished rare book and videotape collections.
The Institute of Fine Arts Receives Modern and Contemporary Art Library of Emily and Jerry Spiegel In 2010, the Institute of Fine Arts library received a generous donation of more than 2,000 books on modern and contemporary art from the estate of eminent collectors and philanthropists, Emily and Jerry Spiegel. The gift was made by the Spiegels’ daughters, Pa- mela Sanders and Lise Wilks. Emily and Jerry Spiegel started building their modern and contemporary art collection in the 1950s and amassed more than 400 paintings, sculptures, and photographs. At the same time, they assembled a library on modern and contem- porary art and were also given books by the many artists whom they counted as friends. This is a significant gift for the IFA library, which in years past did not collect heavily in Kate Holohan (Ph.D. candidate) in the library Recent Projects from the Visual Resources Collections
Accessible to IFA students and faculty, the Visual Resources Collections comprise more than a million images, in every photographic format practiced during the last century. Included are approximately 150,000 digital images accessible through the University’s LUNA database, 150,000 black and white photographs, 250,000 lantern slides, 780,000 35mm slides, about 10,000 postcards, and a variety of other archival materials covering the View of right jamb with Saints Peter, Paul, James, full scope of the field of art history. and John (left to right) on the Portico de la Gloria 45 available approximately 4,000 slides from Collaboration: The Metropolitan Museum’s Institute of Fine Annual 2010 - 2011 Arts Image Library, ARTstor, and IFA’s Visual Mr. Keighley’s extensive collection. The Image Resources Collections Library made the initial selection of slides Following a lucrative career as a director and ARTstor provided high quality scans. IFA of such films as The Adventures of Robin graduate students Mailan Doquang (Ph.D. Hood (1938) and The Man Who Came to 2009), Shannon Wearing (Ph.D. candidate) and Dinner (1942), William Keighley (1889-1984) Kate Holohan (Ph.D. candidate) provided area worked as a photographer and amateur art expertise and research assistance in clarifying and architectural historian, documenting Mr. Keighley’s scripts and completing cata- architecture and the fine and decorative arts loguing requirements for the Image Library, in Western Europe, the Near East, and New ARTstor, and IFA’s local image database. York. Between 1958 and 1983, Mr. Keighley Two of the most important groups of slides donated some 75,000 original slides to The catalogued by IFA graduate students are The Metropolitan Museum of Art’s Image Library. Pilgrimage Roads to Santiago de Compos- The Keighley Collection is arranged themati- tela and Parisian Houses. The Pilgrimage cally, each theme representing a lecture or Roads group documents the routes traveled series of lectures Mr. Keighley and Met staff by medieval pilgrims to the Romanesque gave through the years, and is accompanied cathedral in northwest Spain, and includes in most cases by descriptive text, in French. In unique examples of medieval architecture, his gift, Mr. Keighley encouraged the continued architectural details, and sculpture. Most of educational use of his collection in all media. these photographs were made around 1960. With that in mind, in 2007 the Image Library The Parisian Houses group, photographed in began a three-way collaboration with IFA’s 1975, showcases private mansions construct- Visual Resources Collections and with ARTstor ed in and around Paris during the eighteenth to scan, document, catalogue, and make and nineteenth centuries. The images, as well as the research of our graduate students, is available to everyone at NYU through the ARTstor digital library interface, and have already proved to be invaluable for teaching and research purposes. - Jenni Rodda, Curator of the Visual Resources Collections Images from Catedral de Santiago de Compostela, Spain, photographed in 1960 by William Keighley The Metropolitan Museum of Art, William Keighley Slide Collection Photograph © William Keighley View of octagonal crossing dome built in 1448 Copy Photograph © The Metropolitan Museum of Art
ifa.nyu.edu 46
Study at the IFA 2010-2011 Ph.D. Graduates
Qamar Adamjee Lindsay Harris Cheryl Korte “The Sultanate Chandayana: “Picturing the Primitive: “Polychromed Quattrocento An Exemplar of Cultural Photography, Architecture, Sculpture in Florence” and Artistic Interaction in and the Construction of Italian (Colin Eisler) Sixteenth-Century India” Modernism, 1911-1936” Jonathan Lackman (Priscilla Soucek) (Jean-Louis Cohen) “Art-Critical Invective in Paris: Marta Ameri Keely Heuer 1844-1876” (Linda Nochlin) “Sealing at the Edge of Third “The Head as a Decorative Kathryn Moore Millennium Middle Asian Motif in South Italian Vase “Italian copies of Holy Land Interaction Spheres: The Painting” (Joan Mertins and architecture: the illustrated View from Gilund, Rajasthan, Clemente Marconi) India” (Holly Pittman for versions of Niccolò da Pog- Heather Horton gibonsi’s Libro d’oltramara” Donald Hansen) 47 “Authority and Innovation in
(Marvin Trachtenberg and Institute of Fine Annual 2010 - 2011 Arts Esther Bell Alberti’s Theory and Practice” “Charles-Antoine Coypel: Barry Flood) (Marvin Trachtenberg) Painting and Performance in Heather Turnbow Eighteenth-Century France” Pamela Huckins “Sarcophagi and Funerary (Jonathan Brown for “Art in the Alta California Display in Roman Aphrodisias” Donald Posner) Mission Churches, (Katherine Welch) Johanna Blokker 1769 – ca. 1834” “(Re)Constructing Identity: (Jonathan Brown) World War II and the Maile Hutterer Reconstruction of Cologne’s “Broken Outlines and Struc- Destroyed Romanesque tural Exhibitionism: The Flying Churches, 1945-1985” Buttress as Aesthetic Choice (Jean-Louis Cohen) in Medieval France” Michael Brown (Marvin Trachtenberg) “Portraiture in new Spain, Matthew Israel 1600-1800: Painters, Patrons “Paradigms of Protest: and Politics in Viceregal American Artists Against the Mexico” (Jonathan Brown) Vietnam War” (Robert Storr) Amy Calvert Anna Jozefacka “The Integration of Quantita- “Rebuilding Warsaw: tive and Qualitative Research Conflicting Visions of a in a Study of the Regalia of Ramses III” (David O’Connor) Capital City, 1916-1956” (Jean-Louis Cohen) Luis Castaneda “The Twilight of the ‘Miracle’: Yumiko Kamada The Politics of Architecture “Flowers on Floats: in Mexico, 1953-1968” The Production, Circulation (Jean-Louis Cohen and and Reception of Early Edward Sullivan) Modern Indian Carpets” (Priscilla Soucek) Jacqueline Coutré “Jan Lievens: Painting, Politics Lauren Kinnee and Decoration in Dutch “The Roman Trophy from Previous page: Blanca de la Valgoma (M.A. candidate) Art, 1653-1669” (Egbert Battlefield Marker to Emblem and Sandra Williams (M.A. candidate) in Haverkamp-Begemann) of Power” (Katherine Welch) Foundations I for M.A. Students course Study at the IFA
The Institute of Fine Arts is dedicated to development, art conservation, or eventual graduate teaching and advanced research in doctoral work in art history or archaeology. the history of art and archaeology and in the The program is two years of full-time study conservation and technology of works of art. or three years of part-time study for those The Institute encourages students to excel with established professional careers, who in historical and material investigation and wish to continue working while attending the to develop skills in close looking and critical Institute. A total of 10 courses are required thinking. It promotes independent judgment for the M.A. degree. and the highest standard of research. The degree programs provide a focused and rigorous experience supported by interaction with leading scholars, and access to New York’s museums, curators, conservators, 48 archaeological sites, as well as NYU’s global
Institute of Fine Annual 2010 - 2011 Arts network. The Ph.D. and M.A. programs at the IFA offer a course of study designed for the individual who wishes to investigate the role of the visual arts in culture through detailed, object-based examination, as well as historical and theoretical interpretation.
Doctor of Philosophy The Ph.D. course prepares students to conceptualize, plan, and execute ambitious and original research projects and to make contributions to scholarship. The program is designed for six years of full-time funded study. Students have the opportunity to be exposed to a wide range of questions and approaches through taking a combination of courses that introduce historical periods and give overviews of major issues along with specialized seminars that explore topics in depth. They have opportunities to pursue their studies in museum settings and in Conservation student Jennifer Hickey fieldwork. Research-led teaching and close mentoring equip students to work critically Advanced Certificate in Conservation and creatively in a specialist field and to take The Institute’s Conservation Center, located in a sophisticated approach to broader areas the Stephen Chan House, is dedicated to the of art historical inquiry. study of the technology and conservation of works of art and historic artifacts. The Center Master of Arts prepares students for careers in conservation The Institute’s M.A. in the History of Art and through a four-year program that combines Archaeology is intended for students with practical experience in conservation with art a developed interest in the visual arts who historical, archaeological, curatorial, and wish to earn an advanced degree without scientific studies of the materials and con- the commitment to a multi-year doctoral struction of works of art. Students enroll in the program, or for those students who wish to M.A. program in art history and at the same further develop their writing and academic time undertake research projects, laboratory areas of interest before pursuing a Ph.D. The work, and seminars in special areas of conser- M.A. degree will prove useful for students vation, such as advanced x-ray techniques or interested in careers in art museums, galleries, the treatment of modern and contemporary auction houses, cultural centers, arts founda- paintings. tions, archaeological site management and technical art history for those pursuing studies in art history, archaeology, and curatorial stud- ies, which are intended to acquaint them with the physical structure of works of art, need for preservation, and possibilities and limita- tions of conservation. Classes are taught by the Center’s distinguished full and part-time faculty, many of whom serve as conservators and scientists at New York City’s prestigious museums. Curatorial Studies This doctoral-level program is offered jointly by the Institute of Fine Arts and The Metro- politan Museum of Art, under the supervision 49 of the Joint Committee on Curatorial Studies, Institute of Fine Annual 2010 - 2011 Arts which is composed of faculty, curators, and the Directors of both institutions. The purpose of the program is to prepare students for cu- ratorial careers in specialized fields. Problems of museum education and general adminis- IFA conservation students and Metropolitan tration are raised but not emphasized. The Museum of Art staff attending class in the course of study normally requires three and museum’s Medieval galleries one-half to four years, including completion of the requirements for the Master’s degree Students gain intensive conservation expe- in the History of Art and Archaeology. rience through advanced fieldwork and a nine-month internship. They are encouraged to obtain additional conservation experience For more information about our programs during summer archaeological excavations and how to apply to the IFA, please visit or other formal work projects. The Center ifa.nyu.edu also provides courses in connoisseurship and
Professor Hsueh-man Shen in the seminar room
ifa.nyu.edu IFA Fellowships
Endowed Fellowships Robert Goldwater Paul Lott Fellowship Fellowship Fund Tuition awards for IFA students Barbara P. Altman Fellowship For outstanding Philip Mahon For summer student travel doctoral candidates Memorial Fellowship Alfred Bader Fellowship Donald S. Gray Fellowship For a student who shows For the study of Dutch art For student travel great promise in the study of in Holland history of prints and drawings The Fellowship in Greek & I. & A. Bader Fellowship Fund Roman Art and Archaeology James R. McCredie For the study of Dutch art at For an outstanding doctoral Summer Grants the IFA candidate in the field Provide summer stipends to enable IFA students to take Bader Fellowship in Italian Art The Elizabeth A. Josephson part in archaeological For the study of art in Italy Fellowship excavations in classical lands 50 Charles and Rosanna For general student support Institute of Fine Annual 2010 - 2011 Arts Andrew W. Mellon Batchelor Fund Florence And Samuel Karlan Foundation Fellowships For summer travel to Memorial Award For the study of Conservation study Mediterranean To support a student who Art and Archaeology presents evidence of creativity National Endowment for Bernard Berenson Fellowship and initiative the Humanities Stipend For the study of Conservation For doctoral study in the field Richard Krautheimer of Italian Art Fellowship Pearson Travel Bernard V. Bothmer Memorial For a distinguished student Fellowship Fund Fellowship Fund working in one of Krautheim- For summer student travel er’s fields of interest For the study of Ancient The Khalil R. Rizk Egyptian Art Latin-American Art Fellowship Travel Fellowship Robert Chambers Funds apply to fellowship For student research and Memorial Fund or professorship or other travel in Venice and Italy purposes related to the For student travel Jean B. Rosenwald Spanish and Latin American Scholarship Fund Walter W. S. Cook Fellowship art program For study in Spain, or For summer student travel Robert Lehman Fellowships the study of medieval Theodore Rousseau For Graduate Study in the art and architecture Fellowships Fine Arts For doctoral candidates who Walter W. S. Cook Scholarship For students showing promise are considering museum Scholarship in memory of of making distinguished careers, for travel and study Water W.S. Cook contributions to the field abroad in the field of Maria and Bri Fera Fellowship Classical Art/Archaeology European painting Tuition assistance for IFA Fellowship in Honor of Leon Roslyn Scheinman students who demonstrate Levy and Shelby White Scholarship Fund academic merit and For Ph.D. students studying To provide tuition assistance financial need classical art and archaeology to students at the IFA who J. Paul Getty Trust and Leon Levy & Shelby White demonstrate financial need Andrew W. Mellon Fellowships and academic merit Foundation Fellowships For internships in the field Starr Foundation Fellowships Internships in Conservation of Conservation For the study of Asian art Beatrice Stocker Fellowship Eastern and Mediterranean La Pietra Conservation For general student support Art and Archaeology Stipends Stipends for Conservation Lila Acheson Wallace Kaplan-Fisch Fellowship students at Villa La Pietra Fellowship Program For students studying Egyp- Provides tuition, stipend, Wendy and Robert Reilly tian, Modern, Ancient Near and travel support for Student Travel East, Greek and Roman Art the connoisseurship of Support Student travel European Paintings Florance Waterbury (Asian or Modern Preferred) Fellowship Fund Hagop Kevorkian Ida & William Rosenthal For students specializing in Conservation Fellowship Foundation Scholarship Asian art and the art of the Support for Conservation For the support of an incom- Western Hemisphere students ing student at the IFA Martin and Edith Leon Levy Fellowship 51
Sheldon Solow Institute of Fine Annual 2010 - 2011 Arts Weinberger Grants Program in Archaeological Scholarship Fund For travel and general Conservation Provides tuition support scholarly purposes Provides financial aid for students in archaeological Stockman Family Foundation Wilner Family Fellowships conservation Fellowship For scholarly purposes, Support for students studying including travel to Israel and Leon Levy and Shelby White photography conservation work at the Israel Museum, Summer Travel Fund Jerusalem Supports travel grants for students after the completion Grants of their first year Connoisseurs Circle John L. Loeb, Sr. Fellowship Fund Fellowship Fund Provides student To support first and second fellowship support year students at the IFA Dedalus Foundation Andrew W. Mellon Fellowship Foundation Fellowships For the support of a third-year Provides financial aid to Conservation student Conservation students Richard Ettinghausen Mario Modestini Fellowship Fellowship in Islamic Art Fellowship in paintings Fellows supported by the conservation Hagop Kevorkian Fund National Endowment for the The Donald P. Hansen Humanities Fellowships Student Travel Fund Support for Conservation To support student travel students and research in Ancient Near
To learn more about ways to support IFA students and programming, please contact Marc Cincone at (212) 992 5812 or [email protected]
ifa.nyu.edu IFA Course Offerings Art History and Archaeology Courses 2010-2011
Fall 2010 Course highlights Foundations I for M.A. Students: Practices of The Decorative Object in Art History Early Modern China (Lecture) Jonathan Hay Jonathan Hay (Fall 2010) The Decorative Object in In early modern China, c. 1570-1840, individual objects Early Modern China made for consumers on Chinese soil conformed to evolving (Seminar) conventions governing the topographic configuration and Jonathan Hay sheer physical presence of surface. These conventions of 52 the individual object as surfacescape were tightly linked China Unearthed Institute of Fine Annual 2010 - 2011 Arts to a parallel set of unspoken rules of interior decoration (Lecture) governing the combination of object surfaces to create Hsueh-man Shen objectscapes. The two sets of conventions together 900-1000: Art in China at the constituted a system that underpinned the production and End of the First Millennium reception of decorative objects. Utilizing HyperImage Open (Colloquium) Source software, this seminar explored the implications of Hsueh-man Shen the system for the interpretation of individual objects; series and sets of objects; assemblages of objects for The Central Islamic display; and the decoration of entire rooms. Lands from the 10th to 15th Centuries (Lecture) Priscilla Soucek Interpreting Ancient Sculpture Some Problems of (Seminar) Architectural Authorship Beyond Representation: Paul Zanker in the Italian Renaissance Art, Animacy, and Agency (Seminar) Arts of Late Antiquity (Proseminar for Marvin Trachtenberg Ph.D. Students) and New Rome Barry Flood (Lecture) Renaissance Art in Question Thelma K. Thomas (Lecture) Sexuality and the Erotic in Alexander Nagel Ancient Egyptian Art Art and Sacred Space (Lecture) in Late Antique Egypt Art Before and David O’Connor (Seminar) After Modernity Thelma K. Thomas (Seminar) Greek Art Before, During, Alexander Nagel and After the Persian Wars. Romanesque Art An Assessment in Europe, C. 1050-1200 The Golden Age of (Lecture) (Lecture) Painting in Spain Günter Kopcke Jonathan Alexander (Lecture) Jonathan Brown The Greeks and their Portraiture and Representa- Eastern Neighbors, tion in European Medieval Art Problems in New 12th – 6th Centuries BCE (Seminar) Spanish Painting (Seminar) Jonathan Alexander (Seminar) Jonathan Brown Günter Kopcke Introduction to the The Ancient City of Rome: Study of Medieval and From Republic to Empire Renaissance Architecture (Seminar) (Colloquium) Katherine Welch Marvin Trachtenberg French and English Art Criticism of the Second Half Course highlights of the 19th-Century and Early Modernism in Four Latin American Centers 20th-Century (Colloquium) (Mexico City, Havana, Rio/Sao Paulo, Linda Nochlin Buenos Aires/Montevideo) 1920-1950 Misery: The Representation Edward J. Sullivan (Fall 2010) of Poverty, Deprivation and Abjection from Courbet to the This survey examined key figures in painting and the Present in France, England graphic arts in these four major Latin American centers, and the United States including Mexican muralists, émigré Surrealists in Mexico, (Seminar) the first two generations of the Cuban Vanguardia, the 53 Linda Nochlin impact of Pettoruti, and the São Paulo Week of Modern Institute of Fine Annual 2010 - 2011 Arts Art of 1922 to geometric constructivism in the 1950s in Form, Formalism, Brazil. Consideration was given to the artists’ interactions Informe, Anti-Form with their European and North American contemporaries (Seminar) in such places as Paris and New York. Robert Lubar Modernism in Four Latin American Centers (Mexico The Multiple Lives of the Constructing Identity in City, Havana, Rio/Sao Paulo, Work of Art Ancient Egypt: Art, Buenos Aires/Montevideo) (Colloquium) Architecture and the 1920-1950 Philippe De Montebello Female Pharaoh Hatshepsut (Lecture) (Seminar) The Paul Lott Lectureship: Edward J. Sullivan David O’Connor Curatorial Studies II Box with the Sound of its (Colloquium) How Did Greek Classical Own Making: Minimalisms Andrea Bayer & Maryan Art Happen? (Seminar) Ainsworth (Lecture) Jeffrey Weiss Günter Kopcke Spring 2011 Photography and Facticity Greek High Classical (Lecture) Adorning the Three Sculptural Production at Robert Slifkin Jewels of Buddhism the Time of the Parthenon (Lecture) Art Since 1940: The View (Seminar) Hsueh-man Shen from Los Angeles Günter Kopcke (Lecture) Art in Translation: Transmission Hellenistic/Republican Thomas Crow and Appropriation of Ideas and Roman Imperial Art, (Seminar) Epics Ancient and Modern 3 C. BCE to 3 C. CE Hsueh-man Shen in the Art of the Long 18th- (Lecture) Century: The Persistence and The Qur’an as Art, Katherine Welch Interplay of Themes from the Qur’an as Text Ancient Roman Spain Homer, Virgil, Ariosto, and (Seminar) (Seminar) Tasso in French, British, and Priscilla Soucek Katherine Welch Italian Art Early Egypt, the Origins Art Production and Commerce (Seminar) and Evolution of a in Byzantium and the Christian Thomas Crow Classic Civilization East, 7th – 9th Centuries (Lecture) (Colloquium) David O’Connor Thelma K. Thomas
ifa.nyu.edu IFA Course Offerings Art History and Archaeology Courses 2010-2011
Late Antique Material Culture: Textiles Course highlights (Seminar) Contemporary Art and Thelma K. Thomas the Plight of Publicity Independent Print Narratives (Colloquium) Robert Slifkin (Spring 2011) Colin Eisler Although modern art has long been defined by its The Van Eycks – Their Origins desire for social engagement and political agency, the and Futures question of art’s relationship to life – both in individual (Seminar) experience and social organization and interaction – 54 Colin Eisler has become a crucial factor motivating a significant Institute of Fine Annual 2010 - 2011 Arts Painting in 14th-Century Flor- strand of contemporary artistic practice. This course ence: Richard Offner and the considered the current focus on public art projects, Polemics of Connoisseurship artistic interventions into commercial and mass-cultural (Seminar) systems, and “relational” practices, exploring the Laurence Kanter ways in which such projects engage with and define Goya and the 18th-Century the shifting contours of the public sphere within an in Spain information-based global society. (Lecture) Jonathan Brown The Poor are Always with Us: Post-Minimal World of Collecting Modern The Representation of Poverty (Seminar) and Contemporary Art in the 20th Century Jeffrey Weiss (Seminar) (Colloquium) Jonathan Brown Contemporary Art and the Linda Nochlin Plight of Publicity Italian Renaissance Art in Contemporary Women (Lecture) New York Collections Artists and Their Critics Robert Slifkin (Seminar) (Seminar) Patricia Rubin Simulation, Repetition, Linda Nochlin Appropriation The Context of Goya as International Constructivism (Seminar) Printmaker: Art, Experience, (Seminar) Robert Slifkin and Imagination Robert Lubar (Seminar) The History and Meaning Jesusa Vega Latin American & Caribbean of Museums Artists in Paris 1880-1980 (Lecture) Urban Reform and Radical (Seminar) Philippe De Montebello Form (1918-1940) Edward J. Sullivan (Lecture) Curatorial Studies I Jean-Louis Cohen Contemporary Chinese Art: (Colloquium) Issues and Narratives Andrea Bayer Nation, Nationalism and (Seminar) Modernism: The French- Wu Hung German Intrigue (Seminar) Jean-Louis Cohen IFA Course Offerings Conservation Courses 2010-2011
Fall 2010 Course highlights Courses for Conservators The History and Meaning of Museums Material Science of Art & Archaeology I Philippe de Montebello (Spring 2011) (Lecture) Norbert Baer This course surveyed select issues in the prehistory of the museum, such as collecting in classical antiquity Technology & Structure through the Renaissance, the birth of the “modern” of Works of Art I: museum in the Enlightenment, and the early history of Organic Materials the major European institutions in the nineteenth and (Lecture and Laboratory) twentieth centuries as they emerged alongside the 55 Conservation Center faculty new scientific disciplines of archaeology and art his- Institute of Fine Annual 2010 - 2011 Arts and consultants. Coordina- tors: Hannelore Roemich and tory. The outstanding concerns of our times—among Margo Delidow them cultural patrimony, context, interpretation, and professionalization—are of particular interest, and Instrumental Analysis I today’s museum serves as a constant against which the (Lecture) multiple agendas of collecting, access, and display in James H. Frantz the past can be assessed. Easel Paintings I (Seminar and Laboratory) Dianne Dwyer Modestini Individualized Instruction: Spring 2011 Examination & Analysis I The Conservation Treatment Courses for Conservators of Prints & Drawings I (Seminar and Laboratory) (Seminar and Laboratory) Conservation Center faculty Material Science of Art & Margaret Holben Ellis and consultants Archaeology II (Lecture) Metalworking in Antiquity Conservation Courses for Art Historians and James H. Frantz and (Seminar and Laboratory) Hannelore Roemich Deborah Schorsch and Archaeologists Lawrence Becker These courses are open to all Technology & Structure of Works of Art II: Practical Problems of Preserva- art history, archaeology and Inorganic Materials tion: Conservation of Organic conservation students. (Lecture and Laboratory) Anthropological Materials Environmental Effects (Seminar and Laboratory) Conservation Center faculty on the Preservation of Linda Nieuwenhuizen and consultants. Coordinator: Cultural Property Margo Delidow The Conservation of Glass (Colloquium) (Seminar and Lab) Norbert S. Baer Instrumental Analysis II Lisa Pilosi and Drew Anderson (Lecture) The Technical Connoisseurship Marco Leona Individualized Instruction: of Works of Art on Paper Treatment of Deteriorated (Seminar) Principles of Conservation Works of Art I Margaret Holben Ellis (Lecture and Laboratory) (Seminar and Laboratory) Conservation Center faculty Conservation Center faculty and consultants. Coordinator: and consultants Jean Dommermuth
ifa.nyu.edu IFA Course Offerings Conservation Courses 2010-2011
Preventive Conservation (Lecture and Laboratory) Course highlights Hannelore Roemich and Easel Paintings I Steven Weintraub Easel Paintings III Dianne Dwyer Modestini (Fall 2010) (Seminar and Laboratory) In the course of the semester, each student completes Nica Gutman Rieppi the consolidation, cleaning, filling, retouching, and The Conservation Treatment varnishing of an Old Master painting drawn from of Prints & Drawings II Samuel H. Kress Collections in museums and (Seminar and Laboratory) universities across the United States. Examination, 56 Margaret Holben Ellis documentation of condition, and comparative study of Institute Readings in Paper other works by the same artist and school accompany Conservation the treatment. The student must provide a full report,
of Fine Annual 2010 - 2011 Arts (Seminar) including photographic records, other examination Margaret Holben Ellis findings, and analytical results as indicated. The making of cross sections and their analysis is incorpo- Analytical Methods in Conser- vation: An Advanced Science rated into the course in addition to imaging with X-ray Course in Conservation radiography and Infrared Reflectography. Approaches (Seminar) to cleaning, compensation, and issues in connoisseur- James H. Frantz ship relating to the particular painting are emphasized. Examination and Conservation of Modern and Contemporary Individualized Instruction: Subjectivity and Conservation Paintings Examination & Analysis II (Seminar and Laboratory) (Seminar And Laboratory) (Seminar and Laboratory) Carol Stringari Suzanne Siano Conservation Center faculty Informed Looking: Technical and consultants Polychromy & Monochromy: Considerations for the Art Examination and Treatment Conservation Courses Historian and Archaeologist of Wooden Sculpture for Art Historians and (Colloquium) (Seminar and Laboratory) Archaeologists Richard E. Stone Michele D. Marincola These courses are open to all Issues in Conservation: His- art history, archaeology and torical and Ethical Consider- conservation students. ations in the Development of a Discipline Issues in Conservation: His- (Lecture) torical and Ethical Consider- Michele Marincola ations in the Development of a Discipline Individualized Instruction: (Lecture) Treatment of Deteriorated Michele Marincola Works of Art II (Seminar and Laboratory) Conservation Center faculty and consultants IFA Course Offerings Art History and Archaeology Courses 2011-2012
List as of May 2011. Please check the IFA website Course highlights for updates: ifa.nyu.edu Between Materiality and Spirituality: Fall 2011 Chinese Buddhist Sculptures in the Foundations I for MA Collection of the Metropolitan Students: Practices of Museum of Art Art History (Lecture) Hsueh-man Shen (Fall 2011) Thelma Thomas This course uses the collection of Chinese Buddhist Green Beijing: The Imperial sculptures at The Metropolitan Museum to explore the 57
Landscape of China’s relationship between the media and the object. It aims Institute 15th-Century Capital to create a dialogue between art historians and object (Colloquium) conservators. Instead of providing an interpretive Jonathan Hay discourse based solely on stylistic analysis, this course of Fine Annual 2010 - 2011 Arts The Decorative Object in offers multiple entries into the world of Buddhist Early Modern China sculptures in China. (Seminar) Jonathan Hay Aphrodisias and its Neigh- Graphic Art and Freedom of Between Materiality and bors in Western Asia Minor Thought in the European18th Spirituality: Chinese Buddhist (Seminar) Century: The Case of Picard’s Sculptures in the Collection Katherine Welch and Bernard’s Religious Cer- of the Metropolitan Museum emonies and Customs of All of Art The Arts of Healing – the Peoples of the World (Colloquium) Healing in Art (Seminar) Hsueh-man Shen (Seminar) Thomas Crow Colin Eisler Multiples, Replicates and The Gilded Age of Mass-Production in the Albrecht Dürer – New Collecting in America Making of Chinese Art Discoveries, New (Seminar) (Seminar) Avenues of Study Jonathan Brown Hsueh-man Shen (Colloquium) Colin Eisler Le Corbusier in Search Rome North of the Alps of the Modern City (Lecture) Architecture and Urbanism in (Lecture) Günter Kopcke Italy Before the Renaissance Jean-Louis Cohen (Seminar) Greek Art and Architecture I Marvin Trachtenberg Problems of Interpretation in (Lecture) Architectural History Clemente Marconi Problems of Style (Colloquium) (Colloquium) Anthropologies of Greek Art Jean-Louis Cohen and Alexander Nagel (Seminar) Marvin Trachtenberg Clemente Marconi The Emergence of Drawings Dance, Art, and Artists in European Art Pompeii and the Ancient from the mid-19th Century (Seminar) Roman Cities around to the Present Alexander Nagel Mount Vesuvius (Seminar) (Colloquium) Velázquez as He Is, Linda Nochlin Katherine Welch Velázquez as He Was (Colloquium) Jonathan Brown ifa.nyu.edu IFA Course Offerings Art History and Archaeology Courses 2011-2012
Manet and His Critics Spring 2012 Writing the History of Late (Colloquium) Antique Egyptian Art: Current Linda Nochlin Understanding Art in Issues and Approaches Chinese Tombs (Colloquium) Art in Wilhelmine Germany, (Colloquium) Thelma Thomas 1871-1918 Hsueh-man Shen (Lecture) Advanced Study in Medieval- Robert Lubar China Among Equals: Renaissance Architecture Art and Material Culture Culture (Workshop) Abstractions in the Americas during the Tang-Song (Colloquium) (Seminar) Transitional Period Marvin Trachtenberg Edward Sullivan (Seminar) Architectural Theory and 58 The Death of Painting Hsueh-man Shen Institute Practice in Italian Renaissance (Seminar) Islamic Art and the (Seminar) Jeffrey Weiss Late Antiquity Marvin Trachtenberg of Fine Annual 2010 - 2011 Arts Graphic Design and Fine Art (Lecture) Facing Up to in the 20th-Century Barry Flood 15th-Century Portraits (Lecture) The Interpretation of Objects (Seminar) Thomas Crow (Seminar) Patricia Rubin Abstract Expressionism Priscilla Soucek Before Vasari: Florentine (Colloquium) Archaeology at the IFA; Painting in the 15th-Century Robert Slifkin Discovery and Challenge, (Lecture) Is Contemporary Art History Theory and Practice William Hood (Pro-seminar for incoming (Lecture) Inside Out: The Soul in PhD students) David O’Connor 17th-Century Roman Art Robert Slifkin A Neglected Dimension; (Seminar) The Encyclopedic Museum: Art and the Utilitarian in William Hood Enlightened or Entitled? A Ancient Egypt Quattrocentro Venice study of the legitimacy of the (Seminar) (Seminar) Enlightenment model in our David O’Connor Colin Eisler global, post-colonialist world Approaches to Greek (Colloquium) Sculpture The Art of the Philippe de Montebello (Seminar) French Renaissance (Colloquium) Curatorial Studies: Exhibition Clemente Marconi Colin Eisler Practices, The New Selinunte American Wing (Seminar) Art, Science, and Expedition (Colloquium) Clemente Marconi in America (TBC) H. Barbara Weinberg and (TBC) Andrea Bayer Ornament in Late Jennifer Raab Antique Dress (Seminar) France 1871-1968: From Thelma Thomas Structural Rationalism to Machine Aesthetics (Lecture) Jean-Louis Cohen Architectural Modernism and the Question of Landscape Course highlights (Seminar) Problems of Style Jean-Louis Cohen Courbet and the Realist Alexander Nagel (Fall 2011) Imagination Co-taught with Alva Noë (Distinguished Professor (Seminar) of Philosophy, CUNY Graduate Center), this course Linda Nochlin investigates the emergence of style as a term of Realism and Its Fate in art theory during the Renaissance period and its Modern Times codification during the Enlightenment and in (Colloquium) twentieth-century art history, also exploring the ways 59
Linda Nochlin in which the critique of the concept of style has been Institute of Fine Annual 2010 - 2011 Arts The Non-Objective Universe: bound up with pronouncements about the end of the Painting in Europe, c. 1914 discipline of the history of art. A sustained appreciation (Seminar) of the philosophical dimensions of style, however, Robert Lubar points beyond this endgame. If style is a way of doing things, essential to how we negotiate and perceive the Mexico/Moscow/New York: world, then it is a primary means by which meaning Diego Rivera and Public Art and experience is made available to us, and not merely Reconsidered (Seminar) the dressing up of “content.” Its investigation by art Edward Sullivan historians since 1500 thus may point to lessons that art might have to teach philosophy. Object Sculpture (Seminar) Jeffrey Weiss American Pastoral: Land Art The Films of Jean-Luc Godard and its Antecedents and Douglas Sirk in the (Lecture) Formation of Young American Robert Slifkin Artists during the 1970s TBD and 1980s (Seminar) (Colloquium) Okwui Enwezor Thomas Crow The Multiple Lives of the Doctoral Research in Modern Work of Art Art: Approaches and Problems (Colloquium) (Seminar) Philippe de Montebello Thomas Crow The Paul Lott Lectureship: The Slow Decade: American Curatorial Studies - Collections Cinema 1967-1977 and Curating (Seminar) (Colloquium) Robert Slifkin Andrea Bayer
ifa.nyu.edu IFA Course Offerings Conservation Courses 2011-2012
Fall 2011 Individualized Instruction: Dating & Provenance Studies Examination & Analysis I in Art & Archaeology Courses for Conservators (Seminar and Laboratory) (Colloquium/Seminar) Material Science of Art & Conservation Center faculty Norbert S. Baer Archaeology I and consultants Joan B. Connelly (Lecture) Conservation Courses Alteration and Deterioration Norbert Baer for Art Historians and of Works of Art: Technology & Structure Archaeologists Photographic Materials (Seminar and Laboratory) of Works of Art I: Organic These courses are open to all Nora Kennedy Materials art history, archaeology and (Lecture and Laboratory) 60 conservation students. Conservation Center Institute faculty and consultants Coordinator: Margo Delidow Course highlights of Fine Annual 2010 - 2011 Arts Instrumental Analysis I Issues in Conservation: Historical and (Lecture) TBD Ethical Considerations in the Development Easel Paintings I of a Discipline (Seminar and Laboratory) Michele D. Marincola (Spring 2012) Dianne Dwyer Modestini This course will examine the development of art con- The Conservation Treatment servation in both theory and practice from its earliest of Prints & Drawings I manifestations to the current decade. An historical (Seminar and Laboratory) TBD overview of the field will serve as background for a more detailed exploration of core issues in preservation The Conservation Treatment and restoration. How does conservation change the of Stone Sculpture appearance – and by extension, the meaning – of (Seminar and Laboratory) a work of art? How have the theoretical underpinnings Michele D. Marincola of the discipline evolved, and what role do they play Function in Conservation: in practice today? And how has conservation responded Examination & Treatment of to the enormous social, historical and intellectual changes Utilitarian Objects of the last 100 years? Topics to be discussed include (Seminar and Laboratory) the role of artist-restorers; the rise of a discipline; the Margo Delidow impact of science and scientific inquiry; cleaning con- Individualized Instruction: troversies and the lure of positivist thinking; making Treatment of Deteriorated mistakes; historic preservation, the development of Works of Art I ethical standards and the persistence of ambiguity; (Seminar and Laboratory) decision-making in conservation; conservation and Conservation Center faculty the law; and the challenge of modern and and consultants contemporary art. Spring 2012 Examination and Conserva- tion of Modern and Contem- Courses for Conservators porary Paintings Material Science of Art & (Seminar and Laboratory) Archaeology II Suzanne Siano (Lecture) Issues in Conservation: Hannelore Roemich Historical and Ethical Technology & Structure of Considerations in the Works of Art II: Inorganic Development of a Discipline Materials (Lecture) (Lecture and Laboratory) Michele D. Marincola 61 Conservation Center faculty Conservation and Modern Institute and consultants and Contemporary Art Coordinator: Margo Delidow (Seminar and Laboratory) and Hannelore Roemich Margo Delidow of Fine Annual 2010 - 2011 Arts Instrumental Analysis II Individualized Instruction: (Lecture) Treatment of Deteriorated Marco Leona Works of Art II Principles of Conservation (Seminar and Laboratory) (Lecture and Laboratory) Conservation Center faculty Conservation Center faculty and consultants and consultants Individualized Instruction: Coordinator: Examination & Analysis II Jean Dommermuth (Seminar and Laboratory) Preventive Conservation Conservation Center faculty (Lecture and Laboratory) and consultants Hannelore Roemich Conservation Courses Steven Weintraub for Art Historians and Easel Paintings III Archaeologists (Seminar and Laboratory) These courses are open to all Nica Gutman Rieppi art history, archaeology and The Conservation Treatment conservation students. of Prints & Drawings II Issues in Conservation: (Seminar and Laboratory) Historical and Ethical TBD Considerations in the Readings in Paper Development of a Discipline Conservation (Lecture) (Seminar) Michele D. Marincola TBD Conservation and Modern Analytical Methods in and Contemporary Art Conservation: An (Seminar and Laboratory) Advanced Science Margo Delidow Course in Conservation (Seminar) TBD IFA Staff
Director’s Office Kevin Martin James Cook (212) 992 5806 Academic Advisor Public Safety Officer Patricia Rubin Building Office Egerton Kelly Director (212) 992 5811 Public Safety Officer David O’Connor Gabe Rothauser Visual Resources Deputy Director Sr. Director, Facilities & (212) 992 5810 Construction Management Priscilla P. Soucek Jenni Rodda Deputy Director Wilfred Manzo Curator Facilities Supervisor Brenda Phifer Shrobe Nita Lee Roberts Assistant to the Director for Robert Doucette Photographer Administration and Human Building Operator Fatima Tanglao Resources 62 Ivan Singh Circulation and Institute Development and Public Building Operator Reference Assistant Affairs Office Computing Services Jason Varone (212) 992 5812 of Fine Annual 2010 - 2011 Arts (212) 992 5884 Imaging Services Supervisor Marc Cincone Joe Rosario Development & Alumni Computer Services Manager Affairs Officer George L. Cintron Academic Office Computer and Network (212) 992 5868 Support Technician Priscilla P. Soucek Finance Office Director of Graduate Studies (212) 992 5895 Keith Kelly Stanley Ng Administrator Director of Budget Sarah Johnson and Planning Academic Advisor Lisa McGhie Hope Spence Financial Analyst Assistant to the Administrator Library Conservation Center (212) 992 5825 (212) 992 5847 Amy Lucker Michele Marincola Head Librarian Sherman Fairchild Chairman Daniel Biddle of the Conservation Center Conservation Center (as of September 2011) Library Supervisor Hannelore Roemich Paul Boscoe Acting Chair of the Conserva- Library Assistant tion Center (2008-2011) Kimberly Hannah Oliver Luisi Library Assistant Assistant to the Chairman for Administration and Public Michael Hughes Affairs Library Services Supervisor Annual design by Catherine Lukaszewski Public Safety The Mardiney Group, Inc. Administrative Aide (212) 992 5808 www.themardineygroup.com Donors to the Institute
Private philanthropy plays an Robert S. Pirie, Esq. Nina Joukowsky Köprülü essential role in fulfilling the $10,000 - $24,999 Nanette L. Laitman Institute’s mission to train the 1984 Foundation Gerrit L. Lansing** next generation of art histo- rians, museum curators, and Phyllis Putter Barasch Myron Laskin, Jr. * conservators. We gratefully Patricia and Mary S. Manges acknowledge the generosity Stephen Beckwith Michele D. Marincola* of the following donors: Louise Bourgeois** Mercedes Mestre $1,000,000 + Catherine Brawer* Helen Nash The Andrew W. Mellon Dedalus Foundation, Inc. Foundation Purcell Palmer Richard L. Feigen Eugene V. & Clare E. Thaw Barbara Pine Gabriele Geier Charitable Trust Duncan Pollock Gertrude M. Helms 63 $100,000 - $999,999 Elizabeth B. Richards Institute Corrine Barsky Estate of Joseph F. McCrindle Kenneth J. Rosenbaum Cynthia and Leon Polsky
The Sherman Fairchild Pamela S. Sanders of Fine Annual 2010 - 2011 Arts Foundation, Inc. Jonathan D. Rabinowitz Sheri Sandler Mark Fisch Reed Foundation Inc. Virginia St. George Smith J. M. Kaplan Fund Laleh Javaheri-Saatchi Gloria H. Spivak Samuel H. Kress Foundation Fredric T. Schneider Eliot B. Stewart The Leon Levy Foundation Maurice Tempelsman Stephanie Stokes* National Endowment for Mariët Westermann* & Fern K. Tessler the Humanities Charles Pardoe II Susan B. Tirschwell Shelby White Anonymous (3) Alicia Volk Anonymous $5,000 - $9,999 Susan M. Wasserstein Robert Ascheim $50,000 - $99,999 Anonymous American Research Center William Bernhard & in Egypt Catherine Cahill *IFA Alumni **Deceased Gail Engelberg Glenys G. Birchfield Hagop Kevorkian Fund Debra & Leon Black This list represents contributions received Paul Lott Katherine F. Brush* from January 1, 2010 to Alexandra Munroe* Austin B. Chinn April 22, 2011 Judy & Michael Steinhardt Eileen Cohen Malcolm H. Wiener Georgia R. de Havenon World Monuments Fund Hester Diamond To learn more about ways $25,000 - $49,999 Tina S. Flaherty to support IFA students Suzanne Deal Booth* Edward L. Gardner and programming, please contact Marc Cincone at Deborah L. Brice The J. Paul Getty Trust (212) 992 5812 or Estrellita Brodsky* Toni K. Goodale [email protected] Anne* and Joel Ehrenkranz Elizabeth M. Gordon Roberta & Richard Huber Gregory S. Hedberg* Institute for Bioarchaeology Constance Kassouf Arthur L. Loeb Linda T. Kastan Victoria and Si Newhouse Eric R. Kaufman
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