PrincetonUniversity DEPARTMENT OF ArtArt ArAr cchaehae ooll o gygy & Newsletter Dear Friends and Colleagues: SPRING
As you will read elsewhere in this one could name. We are often called upon to Inside newsletter, we are fi nally back in a delve into, and even master, many of these fi elds—not to mention a number of foreign wonderfully expanded and refur- languages—in order to understand and interpret FACULTY NEWS bished Marquand Library. I’ve images and objects. Even if our students do not worked in libraries all over the continue on in the fi eld as academics or museum professionals, their training in art history will MARQUAND LIBRARY world, and when I walked in the have prepared them for successful careers in a door of the new Marquand Library range of fi elds that knows no boundaries—as EXCAVATIONS this fall, it took my breath away. perhaps no other discipline could. Furthermore, our faculty members are not just We are especially grateful to Louisa Sarofi m, a holed up in our wonderful new library but are member of our advisory council, who—along with involved in a wide range of projects outside the UNDERGRADUATE NEWS the Brown Foundation of which she is a trustee— University. As curators or organizers of major sponsored the Rare Books Room. At her request, museum exhibitions, they enrich their teaching and the room is named for Charles Rufus Morey, chair often give students invaluable hands-on experience GRADUATE STUDENT NEWS of the department from 1924 to 1945, one of the in projects that offer insights into new cultures, foremost medievalists of his time, and founder of media, and institutions. As you can read in Faculty the original Marquand Library. This is a particu- News, during the past year they lectured around the NEW DISSERTATION TOPICS larly appropriate name for a facility that will help world, maintaining Princeton’s high profi le in the us preserve a veritable treasury of precious books fi ne arts, in locales ranging from Rome, Pisa, and manuscripts for generations yet to come. Florence, and Venice to Prague, Bonn, London, FELLOWSHIPS In reading the submissions to the newsletter I Belgrade, and Stockholm, to give a partial list. was struck by the range of Finally, I take great plea- projects carried out by our sure in announcing the pro- faculty and the diverse posi- motion to tenure of Esther da TANG CENTER tions fi lled by our former Costa Meyer. Of our tenured undergraduate and graduate faculty of sixteen professors, students. All this was a vivid four are now women. Ten years VISUAL RESOURCES COLLECTION reminder that art history is ago there was only one. By con- one of the most interdisciplin- trast, our undergraduate ranks ary fi elds in the humanities, are heavily female, with a typi- INDEX OF CHRISTIAN ART encompassing all the disci- cal graduating class of twenty- plines in addition to the visual fi ve including only two or arts per se: history, religion, three men. So it looks like a lit- NEWS FROM ALUMNI politics, anthropology, music, tle more effort in that area is in economics, literature, science, order as well. classics, and almost any fi eld Patricia Fortini Brown, ART MUSEUM NEWS chair Faculty News
Patricia Fortini Brown, department chair, pub- curator of research photographs, Ćurčić organizedorganized lished a book this spring entitled Private Lives in a small exhibition, “The House in Late Antique Renaissance Venice: Art, Architecture, and the Family Syria,” drawn from the department’s archives (Yale University Press, 2004). Last fall she collabo- of drawings and photographs made by Howard rated with John Pinto in organizing an interdisci- Crosby Butler on his expeditions to Syria. The plinary symposium entitled “The Italian exhibition in McCormick Hall was conceived Renaissance City: Art, Architecture, and Civic in conjunction with the graduate seminar enti- Identity” at Princeton and in curating a related tled “The Byzantine House” that he taught in the exhibition in the Princeton University Art Museum, spring semester. Ćurčić lecturedlectured thisthis yearyear inin Bel-Bel- with the assistance of graduate student Anna grade at the School of Architecture of the Univer- Swartwood. She also gave a lecture entitled “The sity of Belgrade and at the Byzantine Institute, on Mirror of Ancient Ladies: Gendered Spaces in the the subject “Monastic Cell and Church: Symbolic Venetian Renaissance Palace,” sponsored by the Perception of the Holy Land and the Heavenly Committee for Renaissance Studies at Princeton. Jerusalem in the Late Byzantine World.” He cur- This spring she co-chaired a session with Rona rently has six articles in press. Goffen (Rutgers University) entitled “Italy in Esther da Costa Meyer co-curated the exhibi- Memory of Patricia H. Labalme” at the annual tion “Schoenberg, Kandinsky, and the Blue Rider,” meeting of the Renaissance Society of America. which was on view at the Jewish Museum in New She also gave a paper at a symposium at the Victo- York from October 2003 through February 2004. ria and Albert Museum, London, in connection This was the fi rst American museum exhibition with her work on an exhibition on the Italian to concentrate on the friendship and intellectual domestic interior, 1400–1600, to be held at the dialogue between painter Wassily Kandinsky and museum in 2006. Her other research interests composer Arnold Schoenberg. The show included include two book projects—the visual and material sixty paintings, including major works by Kan- culture of childhood in the Renaissance, and the dinsky and members of the German Expressionist artistic and cultural geography of the Venetian Ter- Blue Rider group, as well as a number of paintings raferma. She is also working on an interactive com- by Schoenberg. With Fred Wasserman, da Costa puter project, tentatively entitled “Urban Meyer co-edited the exhibition catalogue, which Itineraries in Early Modern Venice,” in collabora- included a compact disc recording of the thirteen tion with Tracy Cooper *90 (Temple University). pieces by Schoenberg performed at the 1911 con- Slobodan Ćurčić contributedcontributed iinn sseveraleveral ccapaci-apaci- cert that unexpectedly brought together the two ties to the major exhibition of later Byzantine art, modernist masters. The Daily Princetonian recentlyrecently “Byzantium: Faith and Power (1261–1557),” that selected her course “The Experience of Moder- opened at The Metropolitan Museum of Art in nity: A Survey of Modern Architecture in the March. He was involved in the selection of objects West” as one of the ten “coolest courses” offered at from Serbia and in negotiations on both sides of Princeton this semester. the Atlantic for their inclusion in the show. He Hal Foster completedcompleted ttwowo nnewew bbooksooks tthishis yyear—ear— also wrote the text “Religious Settings of the Late a short one on pop art, due out from Phaidon in Byzantine Sphere” that appears in the exhibition early 2005, and a longer book on modernism and catalogue. In conjunction with this exhibition, psychoanalysis titled Prosthetic Gods, forthcom-forthcom- in the spring semester he offered a one-time-only ing from MIT Press in 2005. He also fi nished a undergraduate seminar titled “Faith and Power: co-authored textbook on twentieth-century art Byzantine Art between Constantinople and Mos- and criticism, which will be published by Thames cow, ca. 1250–ca. 1550.” The seminar consisted and Hudson this December. His most recent book of lectures on campus as well as weekly trips to is Design and Crime (and Other Diatribes), pub- The Metropolitan Museum on Mondays, when lished by Verso in 2002. Foster gave lectures this the museum is closed to the general public. In year at Stanford, the University of North Carolina, addition to hearing lectures by the museum staff, the Architectural League in New York City, the the students gave short presentations on objects of Museum of Fine Arts in Boston, Cranbrook Insti- their choosing and in front of the objects them- tute, and the Tate Modern and Whitechapel Art selves. These presentations served as the basis Gallery in London, among other places. for additional research that culminated in writ- During the academic year 2003–2004 Thomas ten papers. With Shari Kenfi eld, the department’s DaCosta Kaufmann waswas a NNationalational EndowmentEndowment 2 for the Humanities Postgraduate Fellow in Renais- sance and Early Modern Studies at the American Academy in Rome. Before arriving in Rome, he visited Stockholm, where he was inducted into the John Blazejewski Royal Swedish Academy of the Sciences, lectured to the tenth Class (for History, Humanities, and Service to Science), and gave an acceptance speech at a plenary session of the academy. Before going abroad, in the spring he delivered the Rand Lec- tures at the University of North Carolina, Chapel Hill, on “Painterly Enlightenment.” In Europe Kaufmann lectured on a variety of subjects at the American Academy, the British School, and the Bibliotheca Hertziana in Rome; the University of Pisa; the Fondazione Longhi in Florence; the Uni- versity of Greifswald, Germany; the Institute for History of Art, Prague; and at international confer- Department faculty (left to right): T. Leslie Shear ences in Gdańsk and Wrocław, Poland, and Arras, Jr., John Wilmerding, William Childs, Patricia Fortini France. He also chaired sessions at conferences held Brown, Hal Foster, Slobodan Ćurčić, Anne-Marie at the Bibliotheca Hertziana and at the annual Bouché, Esther da Costa Meyer, Al Acres, Hugo Mey- meeting of the College Art Association. er (not pictured: Carol Armstrong, Robert Bagley, His book Toward a Geography of Art (Univer-(Univer- Thomas DaCosta Kaufmann, Thomas Leisten, Anne sity of Chicago Press) was published in 2003. A McCauley, John Pinto, Yoshiaki Shimizu, Jerome Silbergeld, Alastair Wright) catalogue of central European drawings in the Crocker Art Museum is scheduled for publication by Harvey Miller Press this summer, as is his mental Traveler: Isabella Stewart Gardner in Ven- collected essays, titled The Eloquent Artist (Pindar(Pindar ice,” to the accompanying catalogue, which is Press). Kaufmann also published articles on published by the Isabella Stewart Gardiner “Islam, Art, and Architecture in the Americas: Museum and distributed by the Antique Collectors Some Considerations of Colonial Latin America,” Club. She also wrote a number of catalogue entries in Res; onon ““NicodemusNicodemus TessinTessin thethe Younger—Younger— as well as a short essay on Claude Monet and Mary Sweden’s First Art Historian,” in Konsthistorisk Hunter, the woman who invited him to Venice to Tidskrift; onon ““EarlyEarly MModernodern IIdeasdeas aboutabout ArtisticArtistic stay at the Palazzo Barbaro. In 2003 McCauley Geography Related to the Baltic Region,” in taught two new courses: “The Nude in Photogra- Scandinavian Journal of History; onon NNetherlandishetherlandish phy,” an upper-level undergraduate class; and a art and artists in the Baltic in Swedish and Latvian graduate seminar, “Inventing Photography,” which books; and on “Eisenhoit’s Wunderwerk in the included a visit to the William Henry Fox Talbot Circle of Princely Patronage and Collecting,” in exhibition at the International Center for Photog- German translation in Wunderwerk: göttliche raphy in New York City as well as a study of the Ordnung und vermessene Welt. Der Goldschmied drawing aids and optical toys in the Graphic Arts und Kupferstecher Antonius Eisenhoit und die Collection at Firestone Library. She was on sabbat- Hofkunst um 1600, the catalogue of an exhibition ical in the spring 2004 semester, when she moder- held in Paderborn, as well as book reviews and ated a conference in Bradford, England, on Julia other miscellaneous publications. Margaret Cameron organized by the National Kaufmann continued to serve on the advi- Museum of Film and Photography. She has sory board for the Advanced Placement exami- recently completed the essays “‘Mentally Digested nations in art history; on the board of directors Bits of Universality in the Shape of Woman’: of the Historians of German and Central Euro- Alfred Stieglitz and the Female Nude,” for a book pean Art; as a discipline representative in German on Stieglitz in conjunction with an exhibition at studies to the Renaissance Society of America; the Musée d’Orsay, Paris; and “Copying Right: and he has been elected to the board of directors Photography, Property, and Genius in the Indus- of the College Art Association of America. trial Age,” for an anthology on copying edited by Anne McCauley was the co-curator of the exhibi- Patricia Mainardi, forthcoming from Cambridge tion “Gondola Days: Isabella Stewart Gardner and University Press. the Palazzo Barbaro Circle,” which opened at the Hugo Meyer isis ccurrentlyurrently completingcompleting a follow-upfollow-up Isabella Stewart Gardner Museum in April and volume to his 2000 book Prunkkameen und Staats- will travel to the Biblioteca Nazionale Marciana in denkmäler römischer Kaiser: neue Perspektiven zur Venice. She contributed a major essay, “A Senti- Kunst der frühen Prinzipatszeit (Sumptuous Cam- 3 eos and State Monuments of Roman Emperors: New Asia Society and China Institute, in New York, Perspectives on the Art of the Early Imperial Period). on the editorial board of Archives of Asian Art, andand The working title of his new book is “The Aura of on the review committee for Harvard’s depart- Imperial Rule: Historical Reliefs of the First and ment of art history and architecture. He is begin- Second Centuries A.D.” He plans to be in Athens ning a long-term project on Chinese concepts of this summer to continue work on two long-term “bad” art. projects that were interrupted by Greece’s prep- John Wilmerding spentspent mmuchuch ooff llastast ffallall wworkingorking arations for the Olympics: “The Portraits of the on a major exhibition project for the Princeton Kosmetai” and “Interpretations of the Past: Classi- University Art Museum—a show of American cal Monuments of Athens in Nineteenth-Century drawings and watercolors from the permanent col- Photographs.” Meyer also continues to work on lection which is set to open in mid-October. It will the nineteenth-century theologian and biographer be accompanied by a substantial catalogue which David Friedrich Strauß, and the works of art col- will include a long essay discussing the history of lected by King Ludwig I of Bavaria. collecting and teaching American art at Princeton, In April of 2003 John Pinto, together with Jesús comprehensive entries for the seventy-seven works Escobar *96, chaired a session entitled “Building selected for the exhibition, and a largely illustrated the Baroque City” at the annual meeting of the checklist of the entire collection of some 1,500 Society of Architectural Historians in Denver. works on paper. The exhibition will travel to the Pinto collaborated with Patricia Fortini Brown in High Museum in Atlanta and the Terra Museum of organizing an interdisciplinary conference on the American Art in Giverny, France. Several under- Italian Renaissance city in September of 2003. He graduate art majors assisted with work on the cata- also participated in the preparation of an exhibi- logue databases, and graduate student Diana Tuite tion in the Princeton University Art Museum on contributed some of the entries. Last fall Wilmerd- the same subject, which coincided with the confer- ing’s most recent book, Signs of the Artist: Signatures ence. Over the course of the year Pinto has collab- and Self-Expression in American Paintings, waswas ppub-ub- orated with Janet Temos *01 and the staff of the lished by Yale University Press. It was cited as a Educational Technologies Center at Princeton on a notable art book of the year in the year-end review new interface for his Nolli database on art and by the Wall Street Journal. HeHe alsoalso completedcompleted workwork architecture in Rome. As a trustee of the American on essays for two other forthcoming exhibitions: Academy in Rome, Pinto chairs the committee on “Dartmouth and American Art” for the Hood the School of Classical Studies. Museum of Art in Hanover, New Hampshire; and Jerome Silbergeld, director of Princeton’s Tang “Georgia O’Keeffe and the American Landscape Center for East Asian Art, fi nished work on three Tradition” for a large O’Keeffe show organized by publications: a book on globalization and regional International Arts in Memphis, Tennessee, and identity in recent Chinese, Hong Kong, and Tai- scheduled to open this summer at the University of wan cinema, titled Hitchcock with a Chinese Face Michigan Art Museum. Wilmerding’s associations (University of Washington Press); an article on the are ongoing as visiting curator in the Department Chinese gardens of Sichuan province and regional of American Art at the Metropolitan Museum; variation in Chinese architecture, for The Art Bul- trustee of the Guggenheim Museum in New York, letin (June(June 2004);2004); andand anan articlearticle fforor Archives of the College of the Atlantic in Maine, and the Asian Art onon cchanginghanging vviewsiews ooff tthehe SSong-to-Yuanong-to-Yuan Wyeth Foundation for American Art; and on a (thirteenth–fourteenth-century) transition in Chi- number of advisory boards and committees. He nese painting history and changing conceptions of was elected to the Trustees Council of the National historical change in Chinese art (“The Evolution Gallery of Art in Washington. During the past year of a ‘Revolution’”). His book review of Yingjin he gave lectures at a number of institutions, includ- Zhang’s Screening China waswas ppublishedublished iinn tthehe Jour- ing the Philadelphia Museum of Art, the National nal of Asian Studies. SilbergeldSilbergeld llecturedectured onon tradi-tradi- Gallery of Art, and the Toledo Museum of Art. His tional Chinese painting at Bonn, Germany, at the upcoming research projects include essays for an exhibition and conference on art from Taiwan’s Andrew Wyeth exhibition at the High Museum, a National Palace Museum; at Harvard University’s book on the art of Sidney Goodman, and a travel- workshop on embodiment in the arts of China; ing exhibition of works by Frederic Church from and at Wesleyan University and the Asian Art the collections at Olana. Wilmerding has just Museum of San Francisco. He was the panel dis- begun a four-year commitment of teaching half- cussant at the Association of Asian Studies annual time under Princeton’s phased retirement program. conference, for a session on “Remapping Post- Alastair Wright rrecentlyecently completedcompleted hishis fi rrstst bbook,ook, Deng Visual Culture in China.” He also served on Matisse and the Subject of Modernism, which will be the exhibition/advisory committees of both The published by Princeton University Press this fall.
4 The book locates the artist in relation to aspects of scheduled for publication by Skira in the fall of modernity—the commodifi cation of the individ- 2005. Mattison is currently chair of the art history ual under capital, the challenge to ideologies of department at Lafayette College and has recently national identity presented by the modern period’s published a monograph on Robert Rauschenberg historical amnesia, and the effacement of boundar- with the Yale University Press. Hunter also pre- ies between cultures and races under the pressure sented a public dedication for a monumental (72' of imperial expansion—and offers an account of x 30') sculpture, entitled Sentinel, created by the how these contradictory historical materials and sculptor Albert Paley in formed and fabricated subjectivities fused to give birth to Matisse’s mod- weathering steel, stainless steel, and bronze, and ernism. Wright continues to work on Matisse— installed last spring on the campus of the Roch- one chapter of his book is currently being ester Institute of Technology. The dedication text developed for inclusion in a volume on Matisse’s will be expanded and published as a monograph at Le Bonheur de vivre ttoo bbee ppublishedublished bbyy CambridgeCambridge a later date. [[email protected]] University Press—but he has also begun a number of new projects. During the last year he has writ- Esther da Costa Meyer ten on the intersections between French and Turk- Awarded Tenure ish modernism; his essay “The Work of Imitation: Turkish Modernism and the Generation of 1914” Assistant Professor Esther da Costa Meyer waswas will be published in Edges of Empire: Orientalism promoted to tenure this year. Many of our fac- and Visual Culture (Blackwells).(Blackwells). HeHe hashas alsoalso beenbeen ulty have remarked on the breadth and depth of exploring the fate of political painting in later her interests and her ability to navigate with ease nineteenth-century France, examining how artists between various periods and cultures. Her fi rst such as the neo-Impressionist Maximilien Luce book, The Work of Antonio Sant’Elia: Retreat strove—but ultimately failed—to produce painting into the Future (Yale(Yale UniversityUniversity Press,Press, that could speak to a broader public sphere; some 1995), presents a critical reassessment of this material will be published in a festschrift for of one of the mythic founding fi g- Gabriel P. Weisberg. The question of painting and ures of modernism, positioning the politics is also explored in his review of three recent architect as a transitional fi gure books on later nineteenth-century French modern- mediating between historicism ism that will appear in the September issue of the and modernity. It also reevalu- Art Bulletin. Last, but not least, in December of ates prevailing views of his alle- John Blazejewski 2003 Wright and his wife Alexandra Parr wel- giance to Futurism and provides a comed into the world Luke George Parr Wright. more nuanced reading of Sant’Elia’s visionary drawings and of his remark- Emeritus Faculty able afterlife. In three articles on Arnold Schoenberg as painter and composer, da Esther da Costa Meyer Peter Bunnell participated in events surrounding Costa Meyer investigates the historical connections the centennial of Alfred Stieglitz’s periodical Cam- and artistic parallels between the advent of abstract era Work. TwoTwo ofof hishis previouslypreviously publishedpublished essays,essays, painting and the development of atonal music, pri- “A Photographic Vision” and “Alfred Stieglitz and marily in the work of Kandinsky and Schoenberg. Camera Work,”,” wwereere revisedrevised andand publishedpublished inin thethe A persistent theme of central importance catalogue of an exhibition at the James Michener in her work is evident in a number of her essays Museum in Doylestown, Pennsylvania. In addi- in which she applies the methodologies of gen- tion, he delivered a paper, “Camera Work: Idea, der studies to the analysis of space and architec- Birth, Ideal,” in a symposium held at the museum. ture. Her current project, a book on the urban He also gave the keynote address at a symposium development of Second-Empire Paris, is nearing on collecting sponsored by the Historical Society completion. Here she draws from social history, of Princeton and the Friends of the Princeton Uni- critical theory, and cultural geography to provide versity Library. Bunnell continues on a consulting a sophisticated and highly original account that basis in the Princeton University Art Museum and informs the reader not just about buildings and is also supervising graduate students who are writ- streets, but the multiple levels on which architec- ing their dissertations. Two of his students received ture and planning mold society and are in turn their degrees this academic year. shaped by human interaction. Sam Hunter and his former graduate student, In addition to having a fi ne record of teaching Robert Mattison *85, are both contributing essays and scholarship, da Costa Meyer is a much-valued to a monograph on the youngest of the Abstract colleague. We are pleased to welcome her to the Expressionists, the late Richard Pousette-Dart. senior ranks of the faculty. The book will also be edited by Hunter and is
5 David R. Coffi n formal garden, and her own on the Villa Mattei in Rome, begun in 1960. David R. Coffi n, historian of Italian Renais- David once told me that it was the experience sance architecture and gardens, died October 18, of seeing gardens in England during his war service 2003. He was 85. that inspired his academic interest in gardens, A distinguished scholar, devoted teacher, and although a return to those English gardens had to much beloved and respected human being, David wait a half century to come to fruition. Through Coffi n was the Howard Crosby Butler Memorial his books The Villa d’Este at Tivoli (1960),(1960), The Professor of the History of Architecture Emeri- Villa in the Life of Renaissance Rome (1979),(1979), aandnd tus. He retired from the Department of Art and three more published after retirement, Gardens and Archaeology in 1988 after forty years on the fac- Gardening in Papal Rome (1991),(1991), The English ulty, but this only added fuel to his productive Garden: Meditation and Memorial (1994),(1994), aandnd hhisis scholarly career. newly released Pirro Ligorio: The Renaissance Artist, David Coffi n was among the earliest scholars Architect, and Antiquarian (2003),(2003), aass wwellell asas a David Coffi n to study Italian Renaissance gardens with the full number of important articles and the many students apparatus of the discipline of art history. Before he trained, David Coffi n had a major impact on that it was principally amateurs who had appreci- making this fi eld the fl ourishing one that it is today. ated them for their beauty, historical background, The recipient of major fellowships and or design principles. Since Coffi n received his awards, Coffi n also gave generously of his time to undergraduate degree from Princeton in Princeton and to professional associations. In his 1940, and also did his graduate work there six-year tenure as chair of the Department of Art with Erwin Panofsky, he applied to his and Archaeology (1964–1970) he oversaw major interest in gardens all that he had learned of renovations to Marquand Library and the evolving discipline in those formative McCormick Hall. He also served as editor of the years in Marquand Library. This meant inves- Art Bulletin (1959–1962), on the boardboard of direc-direc- tigating not only the formal aspects of gardens, tors of the Society of Architectural Historians but also the iconographic. His model study of the (1967–1970), and on the advisory board of the Villa d’Este at Tivoli combined the meticulous Journal of Garden History. He was a key fi gure in collection of building documents, assembled establishing the Studies in Landscape Architecture during long hours in the archives, with the pre- program at Dumbarton Oaks, and he organized sentation of a theme in the garden based on an its fi rst symposium on garden history in 1971. Denise ApplewhiteDenise Some of David Coffi n’s former students, both graduate and undergraduate, met last May at a dinner for him in Princeton to celebrate his career and the forthcoming volume of his major articles with commentaries by his students. Many of us fondly recalled the small blue notebooks in which he collected material gathered from archival sources and early printed books, because Coffi n would dole these out to us, entrusting even under- graduates with such precious cargo. This enormous generosity was typical: he also kept his biblio- graphic card fi le in the library, where it was acces- sible to all—an invaluable resource, especially in those days before computers, electronic databases, or even a photocopy machine in Marquand. David Coffi n with some of his analysis of contemporary writings, which, typi- An extremely popular teacher, Coffi n once former students and colleagues at cally, reined in unfounded speculation. the reception and dinner held in In her review of the fi eld of landscape studies wrote to me that teaching was “great,” by which he apparently meant great in the number of stu- his honor in May 2003 in the Dumbarton Oaks volume Perspectives on dents, in their response, and in his own enjoy- Garden Histories (1999), Elisabeth Blair Mac- Dougall (who died two days before Coffi n) noted ment of it. This was equally true of his formal that before 1972 there were no specialized semi- lectures and the Socratic method of his precepto- nars or lecture courses in the U.S. and only three rials. Vanessa Bezemer Sellers *92, who organized doctoral dissertations. These were David Coffi n’s the celebratory event last May and the re-publica- on the Villa d’Este in 1953, that of his student tion of his articles, also compiled our written Franklin Hamilton Hazlehurst *56 on the French tributes to David. The words of Richard Betts *69 speak for many of David’s former students: “He
6 inspired the highest standards of exacting scholar- While at Princeton, John continued to be ship while treating his students with kindness involved in many professional activities world- and respect.” To this might be added that he wide, serving on the boards of prominent journals found the best in each of us, and we in turn and presses, as well as in other capacities, notably looked to him long after graduation as mentor on the UNESCO committee for the conservation and friend. Generations of Princeton undergrad- of Leonardo da Vinci’s Last Supper in Milan.Milan. InIn uates came away from Coffi n’s courses in Renais- 1984 the Bronze Medal of the Collège de France sance and baroque architecture and in garden was added to his other honors. In addition to history with a life-long devotion to both the numerous important articles on a range of topics subjects and the man. In his own quiet, unassum- published while he was at Princeton, John pub- ing, and measured way, David Coffi n broke new lished The Early Italian Paintings in the Collection paths but never lost his stride. of Her Majesty the Queen (Cambridge UniversityUniversity Claudia Lazzaro *75 Press, 1983). No publication from the Raphael Department of History of Art, Cornell University year was complete without his contribution, and, indeed, they often refl ected his foundational role, John Shearman as in the topic of Raffaello architetto, edited by Christoph Frommel, Stefano Ray, and Manfredo John Shearman, renowned scholar of Renais- Tafuri (Milan, 1984). sance art, died suddenly while on vacation in Although John once remarked to the librarian Canada on August 11, 2003. Born in 1931 in of the Courtauld who asked him how he came to Aldershot, England, he came to Princeton in 1979 achieve so much, “Rupert, it is merely a matter of from the Courtauld Institute of Art in London, apportioning neglect,” it is hard to imagine a where he had been student, professor, and deputy more engaged vita activa. Presumably this was director. He was chair of the Department of Art balanced by the advice he often gave to his stu- and Archaeology from 1979 to 1985 and held the dents to “take a walk in the woods.” Many of chair of the Class of 1926 Professor in 1986–1987, John’s subsequent publications were foreshadowed then moving to Harvard University. in his Princeton seminars, including the infl uen- In John’s fi rst years at Princeton profound tial ‘Only Connect’. . . Art and the Spectator in the changes were made in the graduate program, from Italian Renaissance (Princeton(Princeton UniversityUniversity Press,Press, the structure of the Ph.D. examinations to the 1992), his 1988 A. W. Mellon Lectures in the introduction of the historiography course. His Fine Arts. It was also at this time that he stated John Shearman immensely popular undergraduate and graduate his intention to revise Vincenzo Golzio’s funda- courses drew in Princeton students and friends of mental Raffaello nei documenti (1971), an ambi- the University, exposing them to the highest stan- tious undertaking successfully completed before dards of current scholarship—the rigorous inves- his death, and published posthumously as the tigation of all types of available evidence, from the two-volume Raphael in Early Modern Sources laboratory to the archive—and training all of us (1483–1602) (Yale(Yale UniversityUniversity Press,Press, 2003). to ask the “hard” questions. He also oversaw the A consummate scholar-teacher, John transition of a generation of faculty, creating the directed his students in a chronological, department as we know it today. geographical, and conceptual range of sub- The year 1983 saw the confl uence of the jects that paralleled the breadth of his own department’s centennial and the 400th anniver- interests and refl ected his encouragement of sary of Raphael’s birth. The department cele- independent thought. Many of these students brated with the Spencer Trask lectures, and are represented in the tribute volume Coming Sydney Freedburg gave one of the prestigious About . . . A Festschrift for John Shearman, edited lectures on Giorgione’s Allendale Nativity. The by Louisa Matthew *82 and Lars Jones (Harvard Princeton Raphael symposium that took place University Art Museums, 2001). John infl uenced that spring, co-organized by John with Marcia B. many other Princeton scholars who attended his Hall, brought together museum professionals— challenging and stimulating courses, and they in especially conservation scientists—and art histori- turn have brought his critical thought processes to ans to share their research and shed new light on their respective fi elds, leaving a rich intellectual the technical aspects of Raphael’s production. The legacy that extends beyond the Renaissance. proceedings were later published by Princeton Tracy E. Cooper *90 University Press as Science in the Service of Art Department of Art History, Temple University History: The Princeton Raphael Symposium (1990)(1990).
7 Marquand Library Andrea Kane on every fl oor, providing eighty-four seats for vis- itors in place of the previous twenty-eight. For readers who prefer the highest level of comfort, the new Marquand offers twenty-one soft chairs. The study seating is now placed in a variety of settings throughout the library so that every patron can fi nd a comfortable space. Restricted study rooms have been eliminated, and users are now free to choose seats near the books they con- sult most frequently or in the location they fi nd most appealing. The third fl oor, with its open plan and bright atmosphere, has been especially popular with seniors. Graduate students seem to favor the quiet suite of carrels on the second fl oor. Perhaps not surprisingly, archaeologists have tended to settle in the below-ground study area, Department chair Patricia Fortini fter threethree yearsyears of planning and a yearyear near the Antioch mosaics. Brown, Marquand Librarian Janice and a half of construction,construction, MMarquandarquand The books are also more comfortably housed. Powell, University Librarian Karin LibraryLibrary rreopenedeopened its doors on AAugustugust 21 All of the folios now stand upright, and the ele- Trainer, and President Shirley A phant volumes are more easily handled on the Tilghman cut the ribbon at the to a gloriously renovated and enlarged space in inauguration of the renovated McCormick Hall. More than a renovation, it is a large stand-up tables adjacent to their shelves. Marquand Library transformation. Two new fl oors have been added, Rare volumes now reside in the climate-con- increasing the size of the library by 17,500 square trolled Charles Rufus Morey Rare Books Room, feet. The three pre-existing fl oors have been with separate storage vault and reading room that completely reconfi gured, with new furnishings maintain optimal conditions for long-term pres- and fi nishes, new heating and cooling systems, ervation. Special collections that were previously improved lighting, up-to-date security, and digi- segregated have been added to the general stacks, tal capabilities at every seat. and new signage and fl oor plans make the inte- At the offi cial dedication on October 10, grated collection easier to use. President Shirley Tilghman, University Librarian The new library has made a quantum leap to Karin Trainer, Marquand Librarian Janice Powell, the forefront of the electronic art history world. and department chair Patricia Fortini Brown wel- Patrons can use any of the forty-nine public com- comed a large and celebratory crowd of patrons, puter workstations, as well as two networked print- scholars, and friends. Together they thanked the ers, two high-resolution scanners, two photocopiers, architects at Shepley, Bulfi nch, Richardson, and and a color image printer. The new microform Abbott; the contractor Skanska; and the many reader/printer is linked to a computer that can members of the Princeton team who played cru- download data from microfi lms and fi che to CDs. cial roles in the creation of the new facility. One For readers who prefer to roam, the entire library of the great tributes to everyone involved with features wireless Internet access, and students can this enormous project is that it was completed borrow wireless cards or laptops from the reference precisely on schedule and on budget. desk. The three new seminar rooms on the third The added space will allow Marquand’s col- fl oor have digital projection equipment for both lections—currently increasing at the rate of still images and videos, as well as optical slide nearly 10,000 volumes a year—to grow by about projectors. To keep patrons up to date with online 20 percent. Just as signifi cantly, the new facility resources, librarians use the new electronic demon- provides vastly increased space and comfort for stration room on the A level to give frequent pre- users, with over a hundred carrels for department sentations on digital research tools. students and faculty. The new carrels are designed Removal of designated study rooms on the to provide maximum reading space, and each three pre-existing fl oors has also opened up sight- one has a six-shelf bookcase, locking fi le cabinet, lines, bathing reading areas in natural light and reading lamp, highly adjustable chair, and Inter- optimizing views of the fl oor-to-ceiling windows. net and power connections. Study tables, also Nearly every seat in the library now feels connected equipped with Internet connections, are located to the outdoors, while the top fl oor treats visitors
8 to almost abstract views of rooftops, sky, and foli- age. Internal blinds in the third-fl oor windows automatically adjust to changing light conditions, keeping the study area well lit and comfortable. John Blazejewski The interior design takes its cue from the con- tents of the library, with colors and fabrics that give each fl oor a distinctive look. The aubergine columns, jewel-toned carpet, and river-stone fab- rics hint at the colors of Byzantine art. The B level, which is below grade and very appropriately holds the archaeology section, evokes the ancient world with its display of Antioch mosaics mounted on a wall of warm Pompeian red. As visitors ascend the spacious new stairway, they may notice that the colors become progressively cooler. On the glass-enclosed top fl oor, the green-gold fabrics and muted fi nishes blend with the leafy views. The entire University community has The redesigned entry court and embraced the new Marquand enthusiastically. The new edition of Marquand is already completely renovated Marquand Library with its new third-fl oor Last year, for example, 47,000 patrons visited proving to be everything that was hoped for dur- study area and seminar rooms the library. In only seven months since the open- ing the many years of planning. It is a more effi - ing of the new facility, more than 103,000 peo- cient, more spacious, more comfortable, and ple have used Marquand’s collections, and in the thoroughly up-to-date resource for the entire process they made over 85,000 photocopies and scholarly community, from fi rst-semester fresh- almost 40,000 color prints. Nearly sixty shelves men to senior visiting scholars. have been assigned to visiting scholars, and in the fi rst month alone librarians gave more than 600 tours of the new facility. Marquand also welcomed several new staff members this year. Assistant librarian Laurel Bliss John Blazejewski joined us from Yale, replacing Catherine Cooney, who left Marquand to become NEH senior librarian at Winterthur. We also welcomed David Fox and Lidja Nedic, who replaced Annie Farrell and Yili Fan. With library assistants Steven Brown, Olga Evanusa Rowland, Virginia Lacey, and Robert Gross, they continue to provide fi rst-rate service to the rapidly growing number of researchers.
The library’s new below-ground wing includes book stacks, study tables and carrels, and a suite of
John Blazejewski Antioch mosaics mounted on a Pompeian red wall beneath a skylight
Marquand Library’s newly renovated reading area
9 Nathan Arrington ’02 supervises excavation of the Archaic/Classical Excavations levels beneath the Roman “villa” at Polis Chrysochous period (circa 800 to 500 B.C.), and this building has been tentatively identifi ed as the Archaic “pal- ace.” Last summer’s digging revealed more of this William Childs William imposing structure, including walls from an ear- lier phase and a cistern that contained a mass of pottery vessels, a number of them complete. Large decorated storage vessels manufactured on Cyprus were retrieved from the cistern, along with extremely fi ne, thin-walled imported wares. All of this pottery dates to the late sixth century B.C. and provides still more evidence suggesting that this may in fact be the Archaic “palace.” Excavations also continued at a site near the center of the modern village, where an Early Christian basilica of the sixth century A.D. has been unearthed. Digging adjacent to the basilica in 2003, the Princeton crew uncovered an inter- section of two major streets with a complex drain- age system and the base of a tetrapylon archway, all dating to the Late Antique period. To the west of the street, a well-preserved fl oor of the Helle- nistic period emerged, nicely dated by the stamped pottery resting on it. The most tantaliz- ing discovery in this area was a well of Hellenistic date, accessible only through one small gap in the stonework and apparently never fi lled in. The highest point of the modern village, a ridge overlooking the Chrysochous bay of the Mediterranean, was the site of intensive excava- tions. Tina Najbjerg *97 supervised digging in six trenches in this area, which was occupied succes- sively by a Roman building (probably a villa), a Byzantine basilica, and a fourteenth- to fi fteenth- Excavations at Polis century Lusignan structure. Exploration of the Chrysochous, Cyprus Byzantine levels last summer revealed an olive oil Jugs with a spout in the form of press of the seventh century A.D. as well as the a small pitcher held by a female he ancient cities of Marion and Arsinoe, western edge of the Roman “villa.” The oil press is fi gurine were produced at the site set on a picturesque bay on the northwest a type associated with churches on Cyprus, link- of Polis Chrysochous throughout Tcoast of Cyprus, were once again the focus ing it to the nearby basilica. the Archaic and Classical periods of excavations sponsored by the department in the A new trench was dug to explore the most sig- summer of 2003. Led by director William Childs, nifi cant feature of this area: a large ashlar-block a large contingent that included assistant director wall that disappeared into the scarp beneath the old Nancy Serwint *87, Tina Najbjerg *97, Amy excavation house. In 2003 the house was removed Papalexandrou *98, Brett Sedgwick ’01, Nathan to allow excavators to trace the course of this Arrington ’02, Richard Massony ’04, and graduate imposing wall and to understand its original func- students Alexis Belis and Susan Satterfi eld con- tion. The results were a complete surprise. Rather ducted a ten-week season of digging at various than a continuous wall, it is in fact a series of cut- locations around the village of Polis Chrysochous. stone structures, more like a row of pylons, each One of the most intriguing areas currently one over two meters thick and with the intervening being excavated is a large structure built of ashlar gaps fi lled with multiple layers of mud brick. The blocks and set on a broad terrace at the northern stone blocks, which are obviously re-used, have edge of the village. Literary sources record that masons’ marks in Cypriot syllabary and appear Marion was the seat of a kingdom in the Archaic
Elisabeth Childs to be Archaic in date. Equally intriguing was the
10 discovery of more than one hundred Archaic/ Classical bronze arrowheads. Was this the site of a pitched battle? Was there a bronze foundry or a warehouse of armaments nearby? Future excava- Leisten Thomas tions may provide answers to these questions. Excavations at Bālis, Syria Despite the ongoing war in neighboring Iraq, a small Princeton team was able to reach the Roman/Islamic site of Bālis, perched on the bank of the Euphrates River in northern Syria. The State Department’s travel advisory for Syria remained in effect until May 4, too late for Princeton students to arrange visas and make travel arrangements. Nevertheless, director Thomas Leisten assembled a crew of former Princeton students, a surveyor, and a few colleagues from Germany. Supervising over The entrance of one of the tombs ninety local workmen, Leisten’s team expanded ert palace” built by an Umayyad caliph in the late excavated at Bālis in 2003 their earlier excavations in a large palace of the seventh or early eighth century A.D. The bath, or Umayyad period and unearthed part of a Roman hamam, had been fi lled with massive amounts of necropolis. broken stone, brick, painted plaster, and ash. In On an earlier visit to the site, Professor 2003 Leisten focused on removing this debris, Andreas Grüner of the University of Munich had working toward the southern edge of the structure. been intrigued by the visible traces of tombs along Another team conducted a fi eld survey of the cliffs that now rise above Al Assad Lake, a res- the area surrounding the palace, looking for the ervoir formed by the Tabaqah Dam. Returning houses and other structures that would have clus- in 2003 with global satellite positioning equip- tered around the palace. A good number of these ment, Grüner surveyed the area and succeeded in subsidiary buildings were found and drawn, giv- mapping the locations of more than eighty tombs. ing the fi rst glimpse of the community that fl our- Almost all of them are hypogaea—burial cham- ished around the noble estate. bers cut into the rock of the cliff faces—and they Princeton’s Educational Technologies Center apparently lined both sides of the ancient road that is now developing a Web site devoted to the exca- led down to the Roman city. vations at Bālis. The searchable site will include Six of the tombs were excavated, revealing preliminary reports, photographs, information on access corridors leading to doors that were orig- small fi nds, interviews, and a 3-D walk-through The interior of a rock-cut tomb inally sealed by stone slabs, and in some cases reconstruction of the palace. with multiple burial chambers and by large discs of rock that could be rolled aside. niche reliefs depicting divinities Tomb robbers had already ransacked the tombs, leaving behind only minor fi nds—beads, glass, fragments of mirrors, and large pottery jars. But the decoration of the burial chambers remained Leisten Thomas and was of great interest. The reliefs cut into the walls included depictions of Heracles, Aphro- dite, and Jupiter Dolichenus, as well as bulls and eagles, all motifs typical of the pantheon of deities venerated in Roman north Syria. These tombs were obviously constructed by inhabitants of the Roman town of Barbalissus, a major way station along the Euphrates, which has now been submerged by Al Assad Lake. Some material from the Late Roman town, including pilaster capitals, was found re-used in Islamic buildings at Bālis. But the tombs being excavated by the Princeton team are now the only remain- ing testimony of that once thriving community. Elsewhere at the site, Leisten directed further excavations in the marble-paved bath of the “des-
11 Undergraduate News
Maya Aravind ’04 worked with Norman Muller, and the idea of infi nity. Dunbar works both with conservator at the Princeton University Art shifting hues so subtle that the viewer almost cannot Museum, on a senior thesis titled “Beyond the recognize them and with color juxtapositions so Limits: The Sculpture of Eva Hesse and the Prob- bold that they become strikingly confrontational. lems in Conserving Contemporary Art.” She spent Outside of class, she served as the vice president of a semester abroad in Florence and looks forward Hallelujah, a campus Christian organization, vol- to returning to Italy. Aravind is a member of the unteered in several community service projects, Princeton Tigerlilies and spends much of her free and worked in the Marquand Library. This sum- time on campus singing a cappella. Her post-grad- mer she hopes to intern at the Princeton University uation plans include working in the fi eld of art in Art Museum or at an art gallery, and then in the New York City for at least a year, probably in an fall to enter a graduate program in industrial White Painting by Tiff any auction house or gallery. She then intends to apply design. This spring, Dunbar initiated the ambitious Dunbar ’04 to graduate schools in the city for an art-related project of assembling a catalogue of exhibitions by degree and is currently investigating the year-long seniors in Program 2 and those pursuing certifi - master’s program through Christie’s Education. cates in the visual arts program. The catalogue, [[email protected]] which she hopes will become an annual produc- Maggie Brown ’04 investigated the landscapes of tion, is intended to serve as a permanent record of Henri Manguin painted between 1904 and 1907. creative arts projects that are the result of months Her senior thesis, supervised by Professor Alastair or years of work but are shown for only two weeks. Wright, suggests that Manguin’s conservative [[email protected]] approach to an avant-garde style of painting Michelle Everidge ’’0404 wwroterote a seniorsenior thesisthesis ttitleditled allowed his works to fi t the Academy’s ideals of “Implicating the Viewer: The Prostitute Body from French painting. After graduation she hopes to Manet to Louie.” Her advisor was Professor Jerome work for an auction house or gallery in New York Silbergeld. Next year she will enter the master’s City. [[email protected]] program in the history of decorative arts at Parsons Tiffany Dunbar ’04,’04, wwhoho iiss iinn tthehe ddepartment’separtment’s School of Design and the Cooper-Hewitt National Program 2, has worked closely with the faculty of Design Museum. [[email protected]] Rachel Gutwein ’04’s senior thesis the Program in Visual Arts, concentrating primarily Rebecca Farbstein ’04 drew on her interests in exhibition on painting but also doing much work in sculp- both archaeology and art while researching and ture. Her senior thesis project, “The Science of writing a senior thesis that investigated the ways in Art,” was based on her long-standing interest in which Upper Palaeolithic artists used natural geo- geometric abstraction, which was spurred by her logical formations as the inspiration for their cave background in engineering. Her painting explores art. Her thesis, supervised by Professor Robert the highly-structured world of geometric abstrac- Bagley, is titled “Chance Images: Natural Geolog- tion—a fi eld that has developed its own idiosyn- ical Formations as Inspiration for Upper Palaeoli- cratic vocabulary, including permutations, fractals, thic Art.” Next year she will attend the University John Blazejewski
Students and professor dressed in “period costumes” for the fi nal meeting of Professor John Wilmerding’s undergraduate seminar on Pop Art and the 1960s
12 of Cambridge in England to pursue an M.Phil. Field Kallop ’04 wrote a degree in world archaeology. Outside the depart- senior thesis on the life and ment, she is a member of the Triangle Club. work of French artist Suzanne [[email protected]] Valadon. Though not particu- Elsbeth Linn Field ’04’04 ddidid a ddetailedetailed sstudytudy ooff tthehe larly well known today, Vala- Book of Kells, an eighth-century gospel book, for don enjoyed a successful her senior thesis. Working with Professor Anne- career as a professional artist Marie Bouché, she investigated the working meth- in Paris during the fi rst ods of the scribes and artists who created the decades of the twentieth cen- fantastically ornate illuminated initials in the man- tury. Professor Alastair Wright Horses superimposed on a wall uscript. Outside the classroom she has been active served as her advisor. After graduation, Kallop with a natural contour resembling as a member of the Sailing Team for four years, plans to spend some time traveling in South America and then settle in New York, where she a horse’s head at Pech-Merle cave serving as practice captain last year, and is a mem- in Lot, France, one of the Upper hopes to fi nd a job in the art world. In addition to ber of Campus Club. This summer Field will be Palaeolithic works studied by looking at and studying art, she also loves to paint the head instructor of a junior sailing program on Rebecca Farbstein ’04 Long Island Sound and next year will work for and hopes to return to school to pursue a master’s Bethel New Life, a community-building organiza- degree in fi ne art. [[email protected]] tion in Chicago, as a Project 55 Fellow. Catherine La Farge ’04’04 ddevelopedeveloped anan interestinterest inin [efi [email protected]] Scandinavian art during a trip to Europe last sum- Sarah Fraumann ’04 is a pre-med and art his- mer. This led to her senior thesis on the relatively tory major who particularly enjoys studying phi- unknown Finnish artist Helene Schjerfbeck, who losophy. Her senior thesis combined two of these painted around the turn of the twentieth century. interests. Working with Professor Thomas Leisten, Working with Professor Esther da Costa she wrote on “Unconscious Self: Refl ections of Meyer, La Farge analyzed the ways that Emerson’s Philosophy in Edward Hopper’s Art.” the northern light of Scandinavia infl u- Fraumann has been on the varsity swimming enced Schjerfbeck’s domestic interiors, team since her freshman year, and during those and investigated her ambivalent relation- four years the team has been undefeated in the ship to women’s movements at the time. Ivy League. She was selected for the All-Ivy swim- La Farge has been admitted to the mas- ming team four years in a row and at last year’s ter’s program at the Bard Graduate Cen- Ivy League championship meet was voted swim- ter for Studies in the Decorative Arts, mer of the meet by the Ivy League coaches. She is Design, and Culture in New York City currently the school record holder in three events but may work for a gallery before enroll- Mom, an image from Lauren and qualifi ed for the NCAA championship meet ing. On campus she has been involved in Arts Holuba ’04’s senior thesis project both this year and last. Fraumann plans to take the Alive, Princeton’s response to 9/11, and as a weekly MCAT this summer and then apply to medical volunteer at the Cotsen’s Children’s Library in school. She is currently looking for a job, prefera- Firestone, where she reads books and designs arts bly in England or France, working in a laboratory, and crafts projects for three- to fi ve-year-olds. She a museum, for an art dealer, or somewhere else in is also a member of Ivy Club. [clafarge@alumni. the art world. [[email protected]] princeton.edu] Lauren Holuba ’04’04 iiss cconcentratingoncentrating iinn pphotogra-hotogra- Emily Lenz ’04 worked under the supervision of phy and will also earn a certifi cate in the Teacher Professor Alastair Wright on a senior thesis that Preparation Program. Her thesis project, “Family investigates the American Tonalism movement Is Where We Come From,” was exhibited at the which became popular in the late 1890s as an Lucas Gallery in April. Working under the guid- alternative to American Impressionism. She was ance of Emmet Gowin, Jocelyn Lee, and Andrew particularly interested in Tonalism’s importance as Moore, she created an exhibition of black-and- a transition from the detailed Hudson River school white silver gelatin prints and large digital color style to the modernism of twentieth-century prints centering on the theme of family, specifi - American art. This summer she will begin working cally, her relationship with her mother and sister. at D. Wigmore Fine Art, Inc., in Manhattan, a In the fall, she will do student teaching to com- gallery that specializes in American art from 1840 plete her teaching certifi cation and in the spring to 1949. While at Princeton, Lenz worked with will volunteer in an orphanage in the Dominican Professor George Scherer of the Department of Republic. Her long-range plans include entering a Civil Engineering on a project to conserve Egyptian Girl with Pussywillows by Helene graduate program in photography. stone objects in the collection of the Princeton Schjerfbeck, the Finnish artist [[email protected]] University Art Museum. She also served as a who is the subject of Catherine La research assistant for Professor Thomas Leisten’s Farge ’04’s thesis
13 excavations at Bālis in Syria. [[email protected]] Silbergeld served as her advisor, and she also bene- Rachel Marks ’04 spent a semester studying in fi ted from the guidance of Professor Emeritus Peter Berlin during her junior year, and this experi- Bunnell. In the fall Phelan will return to Princeton ence was one of the factors that led her to study to teach upper elementary students, a requirement twentieth-century photography, with a particu- of the Program in Teacher Preparation. In Janu- larly strong emphasis on German photography ary she plans to take a consulting job in Washing- and theory. Advised by Professor Thomas Leisten, ton, D.C., while looking for a teaching position. she wrote a thesis on the myth and image of archi- On campus she has been a member of Expressions tecture in Berlin after the Wall, paying particular dance company for the past four years and was attention to the Reichstag (parliament) building in president of the company this year. She also pres- the West and Alexanderplatz in the East. She has ents a weekly story hour at the Cotsen’s Children’s dedicated most of her time outside the classroom Library. [[email protected]] Field Kallop ‘04 turns in her to leading Shere Khan, a contemporary co-ed a Kathryn “Kita” Schmidt ’’0404 wwroterote herher seniorsenior the-the- senior thesis cappella group. Following graduation her goal is sis on Leonid Lamm, a “nonconformist” artist who to return to Berlin for a few years to work in either was imprisoned for three years in the Soviet Union. the museum or academic community. While in prison he was forced to paint propaganda [[email protected]] posters in the offi cial style—Socialist Realism. Richard Massony ’04’04 wwroterote hishis seniorsenior thesisthesis oonn To exorcise his guilt, he painted watercolors and “Monumental Art and Visual Propaganda in made sketches which became an installation called Hafez Assad’s Syria,” supervised by Professor “Birth of an Image,” now at the Zimmerli Museum Thomas Leisten. His thesis examines Islamic art at Rutgers University. Focusing primarily on this and visual propaganda in the Middle East, particu- installation, she worked with advisor Professor larly monuments commissioned by Assad and Sad- Jerome Silbergeld on some of Lamm’s other art, his dam Hussein. In the summer of 2002 Massony experiences after his emigration to the U.S., and participated in Leisten’s excavations in Syria, and other nonconformist artists. Outside the classroom, last summer he was a member of Professor William Schmidt is a member of Mock Trial, a yellow belt Childs’s dig in Cyprus. In January he returned to in Tae Kwon Do, the manager of the Student Ring Syria to do research for his senior thesis. On cam- and Frame Agency, and was the activities chair at Charter Club. After graduation she intends to do Bust of Hafez Assad in the Military pus Massony has played on a rugby team, worked museum work, journalism, and work in art and Museum in Damascus, one of the on the staff of the Daily Princetonian, and been an monuments studied by Richard active member of Pi Kappa Alpha fraternity. This law in New York City, eventually pursuing a career Massony ’04 summer he will work once again with Leisten at in either art and law or broadcast journalism. [[email protected]] Princeton’s dig at Bālis in Syria. In the fall he will take a job in Washington, D.C., with the National Peter K. Sculco ’04 has had long-standing interests Council on U.S.-Arab Relations, a non-profi t group in vision and theories of perception and will also committed to promoting a positive image of Arabs earn a certifi cate in neuroscience. His thesis, which in America. [[email protected]] combines his interests in art and the brain, evalu- Katie Norbury ’04’04 wworkedorked underunder thethe directiondirection ofof ates the impact that the titles of artworks have on Professor Al Acres on her senior thesis “The Ico- the process of viewing art. Using an eye-tracking nography of Saint Joseph in Holy Family Renais- machine owned by the psychology department, he showed study participants six paintings that were sance Paintings.” She is the co-captain of the identifi ed by their real title or by one of two varsity lacrosse team, which began its undefeated invented titles. Graphing their eye scans revealed 2004 season as back-to-back defending NCAA that the titles did in fact have a powerful impact on Division I champions. In 2003 she played in all how art, especially non-representational art, is twenty games on defense and earned second-team viewed. His interdisciplinary work was supervised All-America honors. She hopes to pursue a career Richard Massony ’04 displays by the department’s Professor Robert Bagley and in museum education or fund raising. the department T-shirt given to by Professor Sabine Kastner of the psychology seniors when they turn in their Alanna Phelan ’04 studied the work of Helen department. Sculco ran on the track team for four theses; the shirt reads “My Senior Levitt, the photographer who fi lmed people in Thesis Is a Work of Art” years, was the president of Ivy Club, and sang in New York City from the 1930s through the 1990s. Shere Khan, a campus a cappella group. After grad- Her thesis, “Penetrating Psychological Insights: uation he will work in a kinematics lab for a year Helen Levitt’s Early Photographs and Films of studying running and pitching motion and the Children,” focused particularly on Levitt’s early biomechanics of sports injuries. He will also be the photographs and fi lms of children and their rela- junior varsity basketball coach at his former high tionship to contemporary developments in chil- school and then coach track in the spring. He then dren’s psychology of the 1930s. Professor Jerome plans to apply to medical school. [[email protected]] 14 Lucia Stella Smith ’04, working with Professor art history, museums, the art market, critics, and Department John Wilmerding, wrote her senior thesis on the artists. Toledano has been on the senior board and Lecture Series voyeuristic elements in the paintings of Edward was a disk jockey at WPRB, the Princeton Uni- Hopper. Like “any good humanities major,” she versity radio station, for four years. He also started Fall Term likes to spend her free time reading and writ- and plays guitar in an Afrobeat big-band-style November 6, 2003 ing. Last summer she received an advance from group that plays the funk music that came out Gary Vikan Rabbit’s Foot Press to write a book titled What of Nigeria in the ’70s. Two years ago he founded Walters Art Museum Every High School Student Doesn’t Know . . . Yet. the ethnic food club Flavor (www.princeton.edu/ Whose art is it, anyway? Antiqui- Intended for high school seniors and incoming ~fl avor), which brings authentic cuisine from local ties, Ethics, and the Law college freshmen, it covers topics ranging from ethnic restaurants to campus and presents lec- November 11, 2003 asking for recommendations and choosing classes tures on the various cultures’ culinary history. After Lucette Valensi to planning inexpensive vacations. Smith’s book graduation he will be in Paris for four months École des Hautes Études en Sciences Sociales, emerita is currently being test marketed by Rabbit’s Foot studying French and will then go to Israel to learn The Flight into Egypt Press, with a limited print run being offered in Hebrew. He plans to enter graduate school in his- November 14, 2003 selected stores. In the long term she is interested tory the following year, probably to study cultural Gülru Necipoğlu-Kafadarlu-Kafadar in development, children’s book publishing, and history. [[email protected]] Harvard University administrative museum work, or a combination Indre Vengris ’04 spent a year as a professional Centralized Domed Spaces in of all three. [[email protected]] Mediterranean Religious Architec- dancer with the Washington Ballet before enrolling ture: Thoughts on Ottoman and Regin Tanler ’04’04 wwroterote a thesisthesis titledtitled ““TheThe AArtrt ooff at Princeton, and later took a year off to dance Italian Renaissance Parallels Impressionist Printmaking: Medium as Modern professionally with the Finnish National Ballet in James F. Haley ’50 Memorial Metaphor in the Graphic Work of Cassatt, Degas, Helsinki. Drawing on this strong background in Lecture and Pissarro.” Her advisor was Professor Yoshiaki dance, she wrote her senior thesis on the collabora- December 8, 2003 Shimizu. In her spare time she loves to paint and tion of Robert Rauschenberg with Merce Cun- Christopher Phillips draw, and enjoyed expanding her repertoire by ningham and John Cage and its effect on International Center for Photography taking a pottery class this semester. Next year she Rauschenberg’s early combines. Focusing on Observations: Recent Chinese intends to work in arts education in some capacity, Rauschenberg’s fi rst work for the Merce Cunning- Photography and Video either teaching or working in a museum. [rtanler@ ham Company, Minutiae (1954), her thesis alumni.princeton.edu] explores how Rauschenberg’s experience with the Spring Term Soren Thompson ’05, originally a member of the stage affected the freestanding combine. Professor February 5, 2004 Class of 2004, took this year off to prepare for the Thomas Leisten was her faculty advisor. At Stephen Houston 2004 Olympic Games in Athens. He is currently Princeton Vengris has maintained her involvement Brigham Young University with dance—she is a member of a student dance The Beginning and Ending the number two ranked U.S. men’s épée fencer of Writing and placed eighth at the 2003 World Champi- group on campus and will earn a certifi cate in the February 10, 2004 onships in Havana, the best U.S. result in that dance program. She is also writer for the arts sec- tion of the Daily Princetonian. Her post-graduation Wen Fong event in almost forty years. He is currently ranked Princeton University, emeritus number thirty-seven in the world, which is also plans include moving to New York City and look- Chinese Art as Cultural History among the best U.S. world rankings ever for the ing for a job in the art world. Cosponsored by the Tang Center event. In March, Thompson and his team qual- [[email protected]] for East Asian Art ifi ed for the Olympics, and he will represent the Simran Winkelstern ’04 worked with advisor February 12, 2004 U.S. in Athens this summer. This year the World Professor Esther da Costa Meyer on a senior thesis Wen Fong Princeton University, emeritus Cup competitions took him to Kuwait, Switzer- titled “The Fish Meets the Tiger: Frank Gehry Calligraphy and Painting as One land, Qatar, Germany, Estonia, Portugal, Spain, Builds at Princeton.” She is active as one of the Cosponsored by the Tang Center Slovakia, Hungary, and Canada. The fi nal event of coordinators of Princeton’s rock-climbing wall and for East Asian Art the year will be the U.S. National Championships is a dedicated baker and traveler. Winkelstern February 16, 2004 in Atlanta. Between events he has had a wonder- hopes to work in event planning after graduation. Wen Fong ful time exploring the architecture and visiting the [[email protected]] Princeton University, emeritus art museums of the host countries. He will return Eastern Art with a Western Face Rebecca Zack ’04’04 wwroterote herher thesisthesis onon thethe wworkork ofof Cosponsored by the Tang Center to campus in the fall as a member of the Class of Daniela Rossell, the young Mexican photographer. for East Asian Art 2005. [[email protected]] Her study, which was supervised by Professor Hal continued on page 35 Alex Toledano ’04 wrote a senior thesis on the Foster, is a feminist reading of Rossell’s Ricas y development and enduring reign of abstract famosas, a bbookook ooff pphotographshotographs ooff tthehe rrichich aandnd expressionism: “Revealing the Abstract: A Dis- famous of Mexico City in their luxurious homes. tillation of the Canon of Abstract Expressionist Zack, who will also receive a certifi cate in Spanish, Painting.” Working with his advisor Al Acres, he studied abroad for a semester in Madrid, is a mem- focused on the processes that caused this canon to ber of the Kappa Kappa Gamma sorority, and vol- form and then to endure for forty years, examining unteers as an advisor for the middle school youth the various institutions that have played a role— group at the Nassau Presbyterian Church. This 15 summer she will study Spanish in Cuba with the visit to the Princeton University Art Museum set program Lexia International. She then plans to her fi rmly on another track. Inspired by the attend nursing school and anticipates earning a breadth and quality of the collections, she decided master’s degree in women’s health. [rzack@alumni. to major in art history and began painting again in princeton.edu] earnest. Sainsbury’s studio work at Princeton has been guided by Greg Drasler, lecturer in the Sainsbury Awarded Council of Humanities and Visual Arts. She has Rhodes Scholarship also been strongly infl uenced by a series of studio visits and lectures by prominent artists from New Willow Sainsbury ’04 has been awardedawarded a York City. In a recent visit to her studio, for exam- Rhodes Scholarship, which will fund two or three ple, William Kentridge discussed her work and years of study at the University of Oxford in Eng- suggested that she look at the classic cartoon series land. Sainsbury came to Princeton from Auck- Krazy Kat. SainsburySainsbury llovedoved thethe cartooncartoon aandnd tthehe land, New Zealand, and is the fi rst Princetonian “scratchy” style of its drawing, which has infl u- from New Zealand to win a Rhodes. While at enced some of her most recent paintings. Oxford she will pursue a master’s degree in mate- In her postgraduate work at Oxford, Sains- rial anthropology and museum ethnography. bury will continue her studies of the papers of Sainsbury’s senior thesis examines Maori scholar Makereti Papakura. Sainsbury the role of the Venice Biennale in form- began the project while at Oxford on a Martin Ruth Stevens ing concepts of nationalism and interna- Dale ’53 Summer Fellowship from Princeton fol- tionalism in art during the course of the lowing her sophomore year. While cataloging arti- twentieth century. Her study, supervised facts of New Zealand’s Maori people in research by Professor Hal Foster, also investigates centers around England, she discovered the papers the forces that have guided the selec- in the Pitt Rivers Museum at Oxford. tion of artists for the Biennale and how the Papakura is an extraordinary but neglected Biennale has in turn molded the expectations fi gure in twentieth-century anthropology. She was and reactions of visitors to the various national raised in a traditional Maori village, eventually exhibitions. moving to England where she married an Eng- Willow Sainsbury ’04 In addition to her scholarly work, Sainsbury lishman and settled near Oxford. Appalled by the is a prolifi c and versatile painter and is a candi- inaccuracy of what contemporary scholars were date for certifi cates in visual arts and European writing about the Maori culture, Papakura began cultural studies. Eve Aschheim, director of the to give lectures on the subject and was eventually Program in Visual Arts, calls Sainsbury “a deeply invited to write a dissertation at Oxford. She died motivated student” and a passionate and in 1930, three weeks before submitting her thesis. resourceful painter whose landscapes often evoke Makereti Papakura’s papers are vaguely known the vistas of her native New Zealand. Her recent to anthropologists and cultural historians, but no work has ranged from highly representational real work has been done on them. The twelve boxes landscapes to pure abstractions, and for the of archives that Sainsbury discovered during her paintings shown in her senior exhibition she Martin Dale research project contain Papakura’s adopted a radically new approach to both style personal writings, Maori family trees and songs, and color palette. and a collection of her manuscripts and memen- Sainsbury came to Princeton expecting to run tos. These boxes, with their trove of neglected and on the track team. While an injury in her fresh- unique material on the Maori people, await Sains- man year ended her career as a runner, her fi rst bury’s arrival in Oxford next fall.
New Zealand landscape by Willow Sainsbury ’04
16 New Dissertation Graduate Student News Topics Scott Allan, “Gustave Moreau (1826–1898) and the Afterlife of Scott Allan passed his general examinations last French History Painting” (Carol fall and presented his formal dissertation proposal Armstrong) under the tentative title “Gustave Moreau (1826– 1898) and the Afterlife of French History Paint- Leisten Thomas Kaira Marie Cabañas, “Toward a Performative Realism: Art in ing.” His principal advisor is Professor Carol France, 1958–1964” (Hal Foster) Armstrong. This spring, he presented two papers on Moreau’s early masterpiece Oedipus and the Eva Diaz, “Chance and Design: Ex- Sphinx, oneone aatt tthehe PPrincetonrinceton graduategraduate studentstudent perimental Art at Black Mountain College” (Hal Foster) symposium in March, and the other at the Insti- tute of Fine Arts/Frick graduate student sympo- Michelle Foa, “Rethinking the sium in New York. In the fall he will move to Oeuvre: Georges Seurat’s Figure Paris, where he will conduct dissertation research Paintings, Landscapes, and Draw- ings” (Carol Armstrong) for most of the 2004–2005 academic year. [[email protected]] Graduate students Francesca Leoni, Jelena Zehavi Victoria Husser, “The Socio-political Role of Jupiter in Nikolas Bakirtzis received a Whiting Fellowship Bogdanović, and Denwood Holmes in the Museum of Islamic Art in Berlin, where Professor Thomas Offi cial Roman State Religion and in the Humanities to support the fi nal stages of Leisten’s seminar on Mshatta studied the facade of Ideology in Italy during the Impe- writing his dissertation, “The Monastery of Saint the eighth-century Mshatta palace; the March trip rial Period from Augustus to the John Prodromos on Mt. Menoikeion: A Topogra- was sponsored by Princeton’s Group for the Study Antonines" (Hugo Meyer) phy of Monastic Life,” supervised by Professor of Late Antiquity. Loukas Karentzos, “Court and Slobodan Ćurčić. He spent the spring semester in Countryside: Central Italian Villas northern Greece working on his dissertation at the Graduate School, the Council on Regional Studies, of the Mid-Sixteenth Century” site of the monastery of Saint John Prodromos, the Stanley J. Seeger Fund, and the Greek Minis- (John Pinto) near the town of Serres. He will remain at the site try of Culture to pursue an intensive language Jennifer King, “Space as Object: this summer, working on his thesis as well as par- course at the International Summer School for Michael Asher and the Limits of ticipating in the restoration projects being carried Greek Language, History, and Culture in Peraia, Architecture” (Hal Foster) out at the monastery. At the end of June he will near Thessaloniki. Along with modern Greek, she Noriko Kotani, “Jesuit Missions travel to Moscow, where he has been invited to took additional courses in ancient Greek and in and Nanban Art” (Thomas DaCosta present a paper on “The Creation of a Sacred Byzantine art. While in Greece she visited numer- Kaufmann) Landscape in Byzantium” at the International ous museums, monuments, and archaeological Symposium on Hierotopy: Studies in the Making sites in Thessaloniki and Macedonia, focusing on Dissertations of Sacred Space, organized by the Research Centre a fi eld survey of fortifi cations and Early Christian Recently Completed for Eastern Christian Culture. He is also currently and Byzantine churches. She also made visits to preparing an article on the “Visual Culture of the the Byzantine fortress in Kavala and some exam- June 2003 Fortifi cations of Thessaloniki.” ples of Ottoman architecture, including the Hui-wen Lu, “A New Imperial Style [[email protected]] Hamza Bey Camii and Bey Hamami in Thessa- of Calligraphy: Stone Engravings Jelena Bogdanović, a second-year graduate stu- loniki. In addition to her work on Byzantine art in Northern Wei Luoyang, 494– 534” (Wen Fong) dent studying with Professor Slobodan Ćurčić, and architecture, Bogdanović hashas rrecentlyecently pub-pub- gave two papers that grew out of her work for the lished an article, “Architect Nikola Dobrović: A December 2003 Member of the Heroic Generation,” in the 2003 seminar “Problems in Late Byzantine Architec- Nadja Aksamija, “Between issue of Serbian Studies. The article grew out of a ture.” At the roundtable on Palaeologan culture Humanism and the Counter- lecture that she delivered at the national conven- held at Oxford University, she presented a lecture Reformation: Villa and Villeggiatu- titled “The Role of Mid-Fourteenth-Century Sko- tion of the American Association for the Advance- ra in Renaissance Ragusa” (Patricia pje in the Development of Byzantine Church ment of Slavic Studies in Arlington, Virginia, in Fortini Brown) 2001. She continues to be active in the Cultural Architecture.” Her research on architecture in the Lisa Hostetler, “Photography and Diversity Committee within the College Art Asso- region of Skopje was also the basis for a paper she Everyday Life: The Case of Louis gave at the Twenty-Ninth Annual Byzantine Stud- ciation. [[email protected]] Faurer, 1937–1955” (Peter Bunnell) ies Conference, held at Bates College last Octo- Kaira Marie Cabañas, a third-year Ph.D. candi- continued on page 18 ber: “The Church of the Assumption of the date, is now working on her dissertation, “Toward Virgin at Matejič: Regional Re-interpretation of a Performative Realism: Art in France, 1958– Middle Byzantine Constantinopolitan Architec- 1964,” under the direction of advisor Hal Foster. ture in the Palaeologan Era?” In the summer of Beginning this May the majority of her research 2003 Bogdanović receivedreceived supportsupport fromfrom thethe will take place in Paris at the Centre Pompidou’s
17 Dissertations Centre de Documentation et de Recherche, the fourth year of her Javits Fellowship. Diaz’s art-crit- continued from page 17 Archiv Yves Klein, the Bibliothèque Nationale, ical writing has appeared regularly in Time Out and Les Archives de la Critique d’Art near Rennes. New York and is forthcoming in Art in America. January 2004 [[email protected]] [[email protected]] Gordon Hughes, “Resisting Nicola Camerlenghi spent this academic year as a Mary Frank isis ccurrentlyurrently writingwriting herher disserta-disserta- Abstraction: Cubism, Robert member of the Swiss Institute in Rome, just off tion, titled “The Woman of a Certain Age in Six- Delaunay, and the Crisis of Repre- the Via Veneto of Federico Fellini fame, which he teenth-Century Secular Venetian Art,” under the sentation in Early Twentieth-Cen- reports is a wonderful place to study and to enjoy direction of Professor Patricia Fortini Brown. This tury French Painting” (Hal Foster) a stunning view of the city. His work at this point year Frank contributed the essay “Visible Signs of Janice Katz, “Collecting and has largely been carried out at the Vatican Library. Aging in Renaissance Venice” to the volume Grow- Patronage of Art in Seventeenth- Camerlenghi’s dissertation focuses on the Basilica ing Old in Early Modern Europe: Cultural Repre- Century Japan: The Maeda of San Paolo fuori le Mura, and in particular the sentations, forthcomingforthcoming ffromrom AAshgate.shgate. SShehe aalsolso Daimyo” (Yoshiaki Shimizu) 1,400-year history of interventions on the Late presented two papers: one at the Renaissance Soci- Helen Deborah Walberg, “The Antique fabric. His research indicates that for the ety of America conference in Toronto on “Agnesina Marian Miracle Paintings of Ales- most part the transformations were minimal, Badoer: Mater Familias” and a second, “Titian’s sandro Varotari (il Padovanino, mostly consisting of efforts at reconstruction or Venus with a Mirror: Refl ections on Growing Old 1588–1649): Popular Piety and restoration, but each episode is like a snapshot in in Sixteenth-Century Venice,” at the Princeton Painted Proselytizing in Seven- time and offers an opportunity to explore the way Gender Studies Colloquium. In 2003 she was teenth-Century Venice” (Patricia in which the basilica functioned and was thought elected to the board of Save Venice, an organiza- Fortini Brown) of at important moments in its history. In January, tion dedicated to the restoration and conserva- June 2004 he braved the cold of Stockholm, where he viewed tion of Venice’s art and architecture. For the past Jelena Trkulja, “Aesthetics and the enormous and understudied collection of Ital- year she has divided her time between her home Symbolism of Late Byzantine ian Renaissance drawings, with particular interest in Miami, Florida, and Venice, where she contin- Church Facades, 1204–1453” in the architectural ones. He has been awarded a ues to do research for her dissertation. In Miami (Slobodan Ćurčić) Kress Fellowship that will fi nance two additional she serves actively on the board of the Miami Art John S. Welch, “Aristocratizing the years of study in Rome in affi liation with the Bib- Museum, the city’s leading museum of contempo- Community: Roger Fenton and liotheca Hertziana. [[email protected]] rary art, as well as the Wolfsonian-FIU, a museum British Photography in the 1850s” Eva Diaz presented her dissertation proposal, founded by Princeton’s own Micky Wolfson ’63. (Peter Bunnell) “Chance and Design: Experimental Art at Black [[email protected]] Mountain College,” in February. Her advisor is Ludovico Geymonat hashas bbeeneen rreappointedeappointed lec-lec- Professor Hal Foster. Diaz’s dissertation will focus turer at the University of Milan, Italy, for a second on rival methodologies of experi- year. He is responsible for teaching the survey mental art as elaborated and prac- course in medieval art to art history majors. Gey- ticed by three key Black Mountain monat delivered a paper on “Politics and Painting College teachers in the late 1940s in the Parma Baptistery” at the conference “Pictor and early 1950s: Josef Albers, John in Carmine” at the Institute of Fine Arts in New Cage, and Buckminster Fuller. The York, and a second on “The Baptistery and the models of experiment they pro- Medieval City” at the Casa Italiana Zerilli Maribò posed—the methodical testing of at New York University. His article on late medieval the appearance and construction mural paintings in Venice is forthcoming from the of form in the interest of design- Istituto Veneto di Scienze, Lettere ed Arti in Venice. ing new visual experiences (Albers); He also presented a paper at a conference on the the organization of aleatory pro- Fourth Crusade held at the Istituto Veneto in early cesses and the anarchical acceptance May. He will return to Princeton this summer and of accident (Cage); and comprehen- plans to defend his Ph.D. in the fall. sive, anticipatory design science that [[email protected]] propels current limited understand- Robert Glass is currently conducting research for ing towards a fi nite totality of uni- his dissertation, entitled “Filarete’s Sculpture and versal experience (Fuller)—represent the Taste for the Antique in Mid-Fifteenth-Cen- important incipient yet disparate tury Italy.” His advisors are Professors Patricia For- directions of postwar art practice. A Two of the major fi gures being tini Brown, Leonard Barkan, and John Pinto. Spears Grant will fund Diaz’s travels this summer studied by Eva Diaz: Buckminster A Kress Travel Grant and department funding Fuller and Merce Cunningham in to a number of institutions nationwide to con- allowed him to spend the 2003–2004 academic a 1948 production of Erik Satie’s duct archival research on Cage, Fuller, and Albers year working in archives, libraries, and collections play The Ruse of the Medusa at and to view the Black Mountain College papers in in Rome and Florence. His research thus far has Black Mountain College Raleigh, North Carolina. In the fall she will con- focused on reconstructing the details of Filarete’s tinue her dissertation research, supported by the
18 origins and early career as a sculptor. Starting in September 2004, a three-year Mellon Fellow- ship from the Center for Advanced Study in the Visual Arts will provide support for two more White M. Bruce years of work in Rome and Europe and a fi nal year in residence at CASVA in Washington, D.C. [[email protected]] Kyriaki Karoglou isis ccompletingompleting hherer ddissertation,issertation, “The Devout Image: A Study on the Iconography and Function of Attic Votive Plaques,” under the direction of Professor William Childs. Her thesis investigates the votive painted plaques (pinakespinakes) dedicated in Attic sanctuaries during the Archaic period, with an emphasis on plaques with narra- tive content that conveys information about their religious and social use. The project combines a study of depictions of ritual scenes in vase painting with an analysis of the actual objects dedicated in sanctuaries. One of Karoglou’s primary goals is to focus attention on the ways in which votive images present and reinforce civic identities and cultural stereotypes. Her approach is analytical and quanti- tative, drawing on current developments in a vari- Charlotte Perriand, Shelving Unit, ety of fi elds such as art history, social history, and exhibition “The Centaur’s Smile: The Human Ani- 1952, private collection, one of the history of religion. Karoglou conducted most mal in Early Greek Art.” This year she is a visiting the objects shown in the exhibi- of her dissertation research in Athens as Homer scholar in the Department of Classics at the Uni- tion curated by Jennie King Thompson Fellow at the American School of Clas- versity of Illinois at Urbana-Champaign and was sical Studies at Athens in 2000–2002. Last sum- recently awarded a graduate internship at the Getty mer she was an intern at the Princeton University Research Institute for the upcoming academic year. Art Museum, where she recorded a collection of She is currently co-organizing a colloquium enti- Roman inscriptions from Antioch in both Greek tled “Offerings in Clay: Votive Plaques in Ancient and Latin, and wrote didactic material for the Greek Religion.” [[email protected]] Jennie King curatedcurated tthehe eexhibitionxhibition ““UsefulUseful Forms:Forms: Furniture by Charlotte Perriand” at the Princeton University Art Museum. The show opened in April and will be on view until July 11. She also wrote the essay for the accompanying brochure. A third- year graduate student working with Professor Hal Foster, King is writing her dissertation on the art of conceptual artist Michael Asher. This year she was a critical studies fellow in the Whitney Inde- pendent Study Program, and in May she presented the paper “Sculpture in Three Acts: Michael Asher in Münster, 1977/1987/1997” at the Whitney Museum of American Art. [[email protected]] Kristoffer Neville hhasas sspentpent mmostost ooff tthehe yyearear iinn Germany on a DAAD (Deutscher Akademischer Austauschdienst) fellowship, with four months in Stockholm supported by a grant from the Ameri- can-Scandinavian Foundation. During the year he lectured at the University of Greifswald on the cultural relationship of northern Germany and Scandinavia, and gave a conference paper in Breslau/Wrocław on self-identifi cation with the A late-sixth-century B.C. votive plaque showing Athe- ancient Gothic tribe as an international phenome- na in the assembly of the gods, one of the numerous non in early modern Europe, which will appear in dedications being studied by Kyriaki Karoglou
19 Fellowships for print in the acts of the conference. He also found 2003–2004 time to write four articles for the Atlas of World Art (edited by John Onians), two reviews, and a bro- Nikolas Bakirtzis: Whiting Honor- chure for the exhibition of imperial portraiture in ifi c Fellowship the Princeton University Art Museum, as well as Nicola Camerlenghi: Swiss Insti- work on his dissertation, supervised by Professor tute in Rome Fellowship Thomas DaCosta Kaufmann, on the architect Nicodemus Tessin the elder and the international Milette Gaifman: Hyde Academic Year Research Fellowship artistic presence at the Stockholm court in the sev- enteenth century. [[email protected]] Robert Glass: Samuel H. Kress Travel Fellowship Joshua Waterman is currently on a leave of absence to complete a curatorial internship at Kristoff er Neville: DAAD and American-Scandinavian Founda- The Metropolitan Museum of Art. Research for tion Fellowships the scholarly catalogue of the Met’s early Ger- man paintings occupies most of his time, but Christina Stacy: Charlotte Elizabeth he has also assisted with the current exhibition, Procter Fellowship “Byzantium: Faith and Power.” In connection with Marta Weiss: Hyde Academic Year the internship, in September 2003 he attended Research Fellowship conferences in Bruges and Wittenberg and under- took archival research in Innsbruck. In September Fellowships for 2004 he will re-enroll to complete his dissertation, 2004–2005 “The Visual Arts and Poetry in Seventeenth-Cen- tury Silesia.” [[email protected]] Nicola Camerlenghi: Kress Foun- Marta Weiss spent this year in London, research- dation Fellowship in the History of ing and writing her dissertation, “British Staged Art at Foreign Institutions/Fellow- Photography and the Victorian Album 1858– ship at the Bibliotheca Hertziana 1875,” supported by a Donald and Mary Hyde Robert Glass: Paul Mellon Fellow- Academic Year Research Fellowship. In Novem- ship, CASVA ber she presented a paper, “Lewis Carroll’s Holi- Kyriaki Karoglou: Getty Research day Snaps: Reading the Henry Holiday Album,” The symposium was organized into three Institute Internship at the Association of Art Historians “New Voices” thematically defi ned sessions: images of Venice, Yumna Masarwa: Kress Founda- Conference at Cambridge University. In Septem- France in the 1860s, and painting circa 1960. Two tion Travel Fellowship ber she will move to New York to begin a Chester Princeton graduate students presented papers at the Dale Art History Fellowship at The Metropolitan Christina Stacy: Jane and Morgan symposium: Scott Allan gave a paper entitled Whitney Fellowship, Metropolitan Museum of Art, where she will continue work on “Facing the Sphinx of Tradition: Gustave Moreau’s Museum of Art her dissertation within the Department of Photo- ‘Oedipus’ in 1864,” and Christina Stacy presented graphs. [[email protected]] Marta Weiss: Chester Dale Fellow- the paper “Venice Preserv’d: Painting and Collect- ship, Metropolitan Museum of Art Graduate Student ing at the End of the Republic.” Professors Patricia Fortini Brown and Alastair Wright of the Depart- Symposium ment of Art and Archaeology, along with Brigid Art history as a discipline has been Doherty from the Department of Germanic Lan- built upon the biographies of innova- guages and Literatures, acted as respondents to the tors, its narrative dominated by the sessions. The symposium concluded with a keynote emergence of new and revolutionary talk by Tom Crow, director of the Getty Research moments. But can we learn from the Institute, entitled “The Unknown Conversation: ends of traditions? What happens The Last Works of Mark Rothko and Eva Hesse,” when empires collapse, innovation is with Professor Hal Foster acting as respondent. assimilated, and technology renders The graduate student symposium was gener- the new obsolete? These questions— ously sponsored by the Department of Art and aimed at the past, but infl ected with Archaeology, the Princeton Graduate School, the the doubt of the present—contributed to Department of History, the Department of Eng- the theme of the fourth annual graduate lish, the School of Architecture, the Program in symposium of art, “The Ends of Traditions,” co- American Studies, and the Department of Ger- Tom Crow chaired by graduate students Christina Stacy and manic Languages and Literatures. Noam Elcott.
20 Tang Center
fter its debut in the 2002–2003 academic year,year, thethe P.P. Y.Y. andand KinmayKinmay W.W. TangTang CenterCenter continued to advanceadvance the appreciationappreciation of A White M. Bruce East Asian art and culture through a broad range of activities. The Center is led by Director Jerome Silbergeld, P. Y. and Kinmay W. Tang Professor of Chinese Art, and Associate Director Dora C. Y. Ching. Inaugural Lecture Series One of this year’s highlights was the inaugural lecture series on East Asian art on February 10–16, which featured three lectures by Professor Emeritus Wen C. Fong, who taught Chinese art history in the department from 1954 to 1999 while concur- rently serving for thirty years as consultative chair of the Asian art department at The Metropolitan Museum of Art. He was also instrumental in professor emeritus at Yale University, delivered the Unsigned handscroll fragment by Hon’ami Kōetsu (1558–1637), establishing the Program of Chinese and Japanese keynote speech and discussant’s remarks. Graduate Poems from the “New Collection Art and Archaeology, which requires students to students from Boston University, Berkeley, Chi- of Japanese Poems from Ancient train in both the Department of Art and Archae- cago, Columbia, Northwestern, the University of and Modern Times” (Shinkokin ology and the Department of East Asian Studies. Pennsylvania, the University of Pittsburgh, wakashū) with Printed Designs of In celebration of his legacy, the Tang Center Princeton, and Yale presented papers on topics Plants and Animals, before 1615. joined with the Department of Art and Archaeol- ranging from Chinese archaeology and Buddhism Princeton University Art Museum ogy, the Department of East Asian Studies, and to contemporary art. Two departmental graduate 2003-94. Museum purchase, the Princeton University Art Museum, with students, Ingrid Furniss and Kim Wishart, were Fowler McCormick, Class of 1921, support from the Freeman Foundation, to the organizers of the symposium. The Tang Cen- Fund; with funds from the Execu- cosponsor this inaugural lecture series. ter and the graduate students in East Asian art tive Committee of “The Embodied In his three lectures—titled “Chinese Art as plan to hold this symposium on a biennial basis. Image: Chinese Calligraphy from the John B. Elliott Collection” Cultural History,” “Calligraphy and Painting as exhibition in Japan; and the P. Y. One,” and “Eastern Art with a Western Face”— Tang Center Programs and Kinmay W. Tang Center for Fong presented his current work on a new book The lecture program this academic year East Asian Art on Chinese art history for general readers. He brought to campus scholars from as far away as analyzed the visual language developed by Chi- Australia and Hong Kong, as well as two younger nese artists and offered interpretations of its scholars of Chinese art: Heping Liu, from Welles- distinctive language within the Chinese cultural ley, presented an intriguing paper on the relation- context. Although Chinese painting and calligra- ship between Chinese landscape painting in the Tang Center Events phy have often been considered as the cultural Song dynasty and ecological deforestation; and Films “other” from a Western perspective, or have been Eugene Wang, from Harvard, discussed medieval viewed as less valuable than written texts from a Chinese visual culture at the Buddhist caves of October 12, 2003 Sinological perspective, Fong demonstrated Dunhuang. Other topics included Japanese archi- In the Heat of the Sun (Yangguang canlan de rizi) instead how the study of Chinese painting and tectural models from the Meiji period as cultural Directed by Jiang Wen calligraphy can provide deep insight into both diplomacy (William Coaldrake, University of Chinese and world culture. Melbourne), the aesthetics and signifi cance of the November 16, 2003 The Day the Sun Turned Cold music of the Chinese qin (zither) (Bell Yung, (Tianguo nizi) Graduate Student Symposium University of Pittsburgh), and Pure Land Buddhist Directed by Ho Yim in East Asian Art wall painting at Dunhuang (Puay-peng Ho, January 11, 2004 On Saturday, May 1, 2004, department Chinese University of Hong Kong). Yi Yi (One, One) graduate students in East Asian art hosted a sym- This year’s Tang Center fi lm series explored Directed by Yang Dechang (Edward Yang) posium entitled “Connections: Boundaries and the subjects of narration, truth, and deception in Border Crossings in East Asian Art,” sponsored three recent Chinese fi lms, one each from the Peo- by the Tang Center. Richard M. Barnhart *67, ple’s Republic of China, Hong Kong, and Taiwan.
21 Tang Center Events site storage for several years, was also moved back to McCormick Hall, and this invaluable resource Lectures is now available for use by all art history students. The Tang Center also assisted graduate edu- October 14, 2003 cation through programs that enabled faculty in William H. Coaldrake University of Melbourne East Asian art to invite visitors to participate in Meiji Architectural Models and their graduate seminars and to take graduate semi- the Rebirth of the Taitokuin nars to museums for fi rst-hand experience with art Mausoleum objects. This year, Heping Liu of Wellesley made November 13, 2003 a presentation on Chinese landscape painting in A scene from The Day the Sun Turned Cold (Tianguo Bell Yung Professor Silbergeld’s seminar, and Xu Shaohua, an nizi), directed by Ho Yim, one of the fi lms screened University of Pittsburgh archaeologist from China, visited Professor Rob- Hearing with the Mind and by the Tang Center this year Touch: The Private Music of the ert Bagley’s seminar. Graduate students also made study trips to the Freer Gallery in Washington, Chinese Qin The series began with a rare screening of In the D.C., for close inspection of bronzes in storage February 10–16, 2004 Heat of the Sun (Yangguang canlan de rizi), which and to the Nelson-Atkins Museum in Kansas City Wen Fong is not available for purchase or rental in the U.S. Princeton University, emeritus to view Song and Yuan paintings. Chinese Art as Cultural History, Directed by Jiang Wen of the People’s Republic Calligraphy and Painting as One, of China, it was the winner of fi ve Golden Horse and Eastern Art with a Western Awards (Taiwan). Set in Beijing during the Cul- Future Events Face tural Revolution, it tells a story of children of the The Tang Center is organizing an interna- Cosponsored by the Tang Center, elite whose parents and elder siblings have been the Department of Art and Archae- tional symposium on “The Family Model in ology, the Princeton University Art sent out of the city to engage in propaganda war- Chinese Art and Culture,” which is scheduled Museum with support from the fare, abandoning them to an ironic coming-of- for November 6–7, 2004. The symposium is Freeman Foundation, and the East age. The second fi lm, the award-winningThe Day intended to provide an interdisciplinary explora- Asian Studies Program the Sun Turned Cold (Tianguo nizi), directed by tion of the important ways in which family and February 24, 2004 Ho Yim of Hong Kong, portrays the confl icted the arts intersect in Chinese cultural history. The Heping Liu emotions of a son who accused his mother of hav- family model has been central to patterns of social Wellesley College ing murdered his father ten years earlier. The fi nal Old Trees and Wintry Forests: organization and cultural articulation throughout Searching for an Ecological fi lm of the series,Yi Yi (One, One), directed by Chinese history, and Chinese art has been infl u- Landscape in Eleventh-Century Yang Dechang (Edward Yang) of Taiwan and win- enced by this fact. The symposium is structured to Song China ner of numerous awards at Cannes, examines cover four major areas: the “real” family in China; Cosponsored by the Tang Center family relationships at a time of crisis. Next year, real and ideal: the family in ancient times; present- and the Department of Art and the Tang Center will show one major theatrical Archaeology ing the family in art; and the family as site and release fi lm and a series of popular Chinese fi lms. symbol of artistic production March 30, 2004 Every year, in collaboration with the Princeton Eugene Wang With the Princeton University Art Museum, Harvard University University Art Museum, the Tang Center provides the Tang Center will co-organize a two-day sym- Grotto, Mirror Hall, and Phan- funds for the acquisition of art work. This year posium next year to accompany the museum’s tasm—A Dunhuang Cave and the Tang Center contributed to the purchase of a exhibition “Recarving China’s Past: The Art, Medieval Chinese Visual Culture scroll of Japanese calligraphy by the artist Hon’ami Archaeology, and Architecture of the ‘Wu Family Cosponsored by the Tang Center K etsu (1558–1637) entitled Poems from the and the East Asian Studies Program ō Shrines.’” The art museum’s international research “New Collection of Japanese Poems from Ancient project explores the architecture, artistic illustra- April 12, 2004 and Modern Times” (Shinkokin wakashū) wwithith Puay-Peng Ho tion, and material culture of the Han dynasty of Chinese University of Hong Kong Printed Designs of Plants and Animals andand ddatedated ttoo China, 206 B.C.–A.D. 220, focusing on the picto- Constructing the Pure Land: before 1615. Kōetsu’s calligraphy is arranged rial relief carvings of the mid-second-century Wu Architecture in Dunhuang Wall visually over the printed designs and colored family cemetery in Shandong province. Both the Paintings papers in a “scattered writing” (chirashi-gaki) exhibition and the symposium will examine signif- Cosponsored by the Tang Center manner and displays strong contrasts of thick and and the Buddhist Studies Work- icant questions about the traditional identifi cation shop, Center for the Study of thin brushstrokes. of the structures as Han dynasty shrines of the Wu Religion With the reopening of the Marquand Library family. The symposium will take place on April May 1, 2004 in McCormick Hall last fall, all seminars in East 23–24, 2005. Graduate Student Symposium Asian art are now held in the P. Y. and Kinmay For more information about the symposium, Connections: Boundaries and W. Tang Seminar Room. Standard references in as well as other Tang Center events, please visit Border Crossings in East Asian Art Chinese and Japanese are located in an adjacent the Web site web.princeton.edu/sites/TangCenter. room, the P. Y. and Kinmay W. Tang Reading Room. The photo archive, which had been in off-
22 Visual Resources Collection
irector Trudy Jacoby hashas ppresidedresided overover a number of signifi cant enhancements to the Visual Resources Collection this D Connelly David year. The most visible transformation is the com- plete renovation of the collection’s facilities on the second fl oor of McCormick, which was com- pleted last summer. The new space is both more functional and more attractive. Visitors to the col- lection are now greeted by a large semicircular reception desk, where they can consult staff mem- bers or check out slides. Immediately behind it is a series of new workstations for the VRC’s staff, each one confi gured to provide comfortable per- sonal work space and enough room for staff mem- bers to work side-by-side with patrons, viewing images or ordering visual materials for teaching. Light tables are now placed in various loca- tions around the room—some more public, others The newly renovated Visual Resources Collection more secluded and private—so that patrons can choose the most comfortable work situation to by subject. Almagest will continue to be the pri- review images. There is also an abundance of mary image-viewing software on campus, and its computer connections, enabling laptops to be searching tools were also enhanced this year. used at almost every seat, as well as wireless con- The next stage of the project will involve nections throughout the building. A workstation importing all of the East Asian digital images and equipped with a slide scanner will soon be in data, as well as using the database to catalogue the operation. Printed reference material has been collections of Research Photographs. This merging moved to a more easily accessible area. of collections into a single database will facilitate The old wooden slide cabinets, which before the searching of separate collections simultane- the renovations held approximately 275,000 ously—for example, French impressionist works slides—about half of the entire slide collection— and the Japanese prints that inspired them—and have been replaced with new Neumade metal will be more fl exible as the curriculum changes. fi les. The new cabinets, which are arranged in While certain aspects are still being refi ned, fourteen-drawer units with pull-out shelves, are development of the database is nearly complete, easier to use and provide a more stable environ- and initial experience has shown that Pictor is ment for long-term preservation of the slides. quite fast for a database of its size and complexity. One of the most visible improvements is the overall layout of the facility, which was designed ARTstor Beta Test to open up sight lines throughout the area and to make the best use of natural light. Princeton University was one of fourteen institutions selected for the fi rst phase of the ART- New Database Inaugurated stor beta test. ARTstor, a non-profi t organization, began as an initiative of the Mellon Foundation The Visual Resources Collection’s new data- (www.mellon.org) and has grown into a substan- base, appropriately named Pictor, was imple- tial digital library of art images, associated infor- mented on July 1, 2003. A joint project of the mation, and software tools that are designed to visual resource collections at Princeton and enhance teaching, learning, and scholarship. At Cornell, the database conforms to national image the moment, ARTstor contains approximately cataloging standards. This high level of cata- 170,000 images but will expand to 300,000 images loging will not only provide users at Princeton by the fall of 2004. ARTstor’s content includes art, with a powerful tool for fi nding images and rel- architecture, and archaeology from a wide range evant data, it will also allow the sharing of data of cultures and time periods, with initial strengths with other institutions. A highly relational Access in European, American, and Asian cultures. The database with over thirty linked tables, Pictor entire ARTstor archive is scheduled to go online has added fi elds that allow images to be searched this summer. 23 collection were made by James and Lucy Lo in the 1940s. Traveling partly on horseback, they arrived at Dunhuang in 1943 and began a photographic campaign that continued for eighteen months. Since no electricity was available, James Lo devised a system of mirrors and cloth screens that bounced light along the corridors of the caves to illuminate the paintings and sculptures. The addition of this invaluable archive of photographs to the Visual Resources Collection ensures that it will be easily accessible to students and researchers. Lucy Lo has also collaborated with ARTstor to make the Lo photographs of the Dunhuang caves available in digital format through ARTstor’s Web site. Visual Resources has also recently purchased about 4,500 high-quality commercial digital images to supplement and upgrade the digi- tal materials that are available for on-campus use through the Almagest database. This new acqui- sition, part of an ongoing project to upgrade the quality of VRC’s digital image collection, will Eighth-century Bodhisattvas in cave 328 at Dun- bring the total number of digital images supplied huang, part of the Lo Archive in the Visual Resources to Almagest by Visual Resources to nearly 40,000. Collection Visual Resources is the largest contributor of con- tent to Almagest, which now includes the digital New Collections images for about forty-fi ve courses. The growing importance of these digital resources was high- A copy of the Lo Archive of about 2,500 lighted by Kodak’s recent announcement that it black-and-white historic photographs of the Bud- will cease manufacturing Carousel slide projec- The Great Pyramid of Cheops at dhist cave temples in Dunhuang, China, has been tors this June. Visual Resources will continue to Giza, an albumen print made by transferred to the Visual Resources Collection. maintain its slide collections while ensuring that Maison Bonfi ls of Beirut between Dunhuang, an oasis town on the edge of the Gobi 1867 and 1899 and now in the Princeton has all of the resources needed for the desert in western China, was known as the “gate- department’s collection of digital classroom. way” to the Silk Road, the route of caravans that research photographs traveled westward across Asia to Research Photographs the eastern Roman Empire. The nearly 500 caves at Dunhuang As part of the general renovation of the Visual preserve about 2,000 sculptures Resources Collection, Research Photographs and 45,000 square meters of underwent a much-needed reorganization of its wall paintings that range in date space and materials. During this restructuring, from the fourth to the thir- curator Shari Kenfi eld organized the nineteenth- century photographs, a resource of great value teenth century A.D. The caves’ paintings, stucco sculpture, and and interest, as an independent collection. These scrolls represent every stage of photographs, which are mostly albumen prints Buddhism, both doctrinally and made from wet-plate collodion negatives, will artistically, during this long time receive special handling to facilitate easy access period. The paintings at Dun- and ensure long-term preservation. huang are im-portant not only This archive includes photographs of ancient because they chronicle the monuments and scenes of contemporary life taken development of Buddhism and by well-known photographers as well as by anony- Buddhist art along the Silk mous travelers and scholars. The vast majority of Road, but also because they pro- these images were made with large-format cameras vide archaeological evidence for by photographers working in the major tourist the development of Chinese centers of Egypt and the Levant. Some of the painting as a whole. better-known artists represented are the Italian The photographs of the photographers Antonio Beato and Giacomo Brogi, Dunhuang caves in Princeton’s who were active from the 1860s through the 1890s,
24 and J. Pascal Sébah, a Turkish photographer of the include the addition of online exhibitions profi l- same period. The collection also includes prints ing noteworthy collections within the Research from the Italian fi rm Fratelli Alinari, the Turkish Photographs archives. studio Abdullah Frères (active in the 1870s), and Research Photographs also loaned original G. Lékégian & Cie, a French-Armenian studio drawings of the excavations of the ancient city that was active in Egypt from about 1865 to 1895. of Sardis for the exhibition “The City of Sardis: Many striking images in Princeton’s collec- Approaches in Graphic Recording,” which was tion come from the studios of the Maison Bon- organized by the Sardis Expedition and shown fi ls, established in Beirut in 1867 by Félix Bonfi ls at the Harvard University Art Museums. The and his wife Marie Lydie Cabanis. Among the Research Photograph Collections preserve an fi rst resident photographers in the Middle East, extensive archive of photographs, negatives, and they captured images of townscapes, ancient drawings of the excavations conducted at Sardis ruins, and local inhabitants before a time of radi- in the years 1910 to 1914. A number of drawings cal social change. loaned to the Harvard exhibition were published Access to all of the photograph collections in the accompanying catalogue, edited by Craw- was greatly improved by recent revisions to the ford H. Greenewalt Jr., and published by the Research Photographs Web site, www.princeton. Harvard University Art Museums. edu/~visres/rp. Future plans for the Web site
Index of Christian Art
he Index of Christian Art isis ccurrentlyurrently was funded by the Andrew W. Mellon Foundation, carrying out a number of remarkably and has enabled the Index to publicize Princeton’s Tambitious and productive projects that manuscript treasures. Nearly three-quarters of the are adding substantially to the holdings of this library’s holdings are already available on the Coptic textile roundel, sixth or unique archive. The largest initiative currently Index’s Web site, and when the project is com- seventh century A.D., in the collec- underway in the Index is the photographing, pleted later this year a total of 2,500 images in 100 tion of the Newark Museum, gift digitizing, and iconographical analysis of all of the Firestone manuscripts will have been catalogued of Lucien Viola, 1978 images in the medieval Western manuscripts held and posted. by the Morgan Library in New York. Director Thanks to the generosity of the Dayton Colum Hourihane reports that Index staff have Art Institute, the Index is now the offi cial now reached the halfway point of this enormous repository of more than 13,000 color undertaking, and as the work proceeds, all of the transparencies of western European images—along with detailed descriptions, catalog- stained glass taken by Robert M. Met- ing data, and bibliographies—are being posted on calf and his wife Gertrude. The Met- the Index’s Web site, http://ica.princeton.edu. The calfs’ photographs are particularly records will also be made available on the Morgan valuable because they were taken just Library’s own Web site. before World War II, when much This project has already resulted in signifi - stained glass in Europe was damaged or John Blazejewski cant additions to the holdings in one of the core destroyed. The collection includes exten- areas of the Index. The Morgan’s collection of sive coverage of stained glass ensembles over 200 Books of Hours, for example, is one of in France, Germany, and Switzerland, the most extensive in the world, and nearly half with nearly 950 photographs of Chartres of these have now been photographed and cata- alone. Since the transparencies have faded logued. Cataloging this rich collection has added over the years, Index staff are scanning and a number of new subjects to the Index’s records, color calibrating them digitally to restore their including illustrations of the Dance of Death and original hues. This uniquely valuable collection of many medieval texts, including Confessio will be made available without charge on the amantis, the late-fourteenth-centurylate-fourteenth-century poem bbyy Index’s Web site, and director Hourihane hopes John Gower, and the Roman de la Rose. that the electronic publication of this unparalleled Paralleling the Morgan manuscript project is archive will inspire other scholars of stained glass another ongoing endeavor that is much closer to to contribute images to the Index. home—the cataloging of all of the images in The Index also worked with renewed vigor Western medieval manuscripts owned by Firestone this year in another area of the medieval world— Library. This project, now nearing completion, Egypt and the Near East. The staff have now 25 completed cataloging the archive of images con- The Index was once again an active sponsor tributed to the Index by the Paul van Moorsel of lectures and conferences this year. In conjunc- Centre for Christian Art and Culture at the Uni- tion with the substantial addition of Coptic mate- versity of Leiden in Holland. To celebrate both rial to its archives, the Index sponsored two the contributions of Paul van Moorsel and the lectures on Coptic subjects—one by Susan Auth Index of Christian Art’s renewed activities in the of the Newark Museum, and the other by Ger- fi eld of Coptic art, the journalVisual Resources trud van Loon of the University of Leiden. Doro- published a special issue, Paul van Moorsel and thy Kelly of University College Dublin, who was the Documentation of the Ancient Near East, in a visiting scholar in the Index for several months 2003. A number of van Moorsel’s former stu- this year, gave a public lecture on the Book of dents contributed scholarly essays to this publica- Kells. Last fall the Index organized a two-day tion, which highlighted the Coptic material that conference titled “Saint-Denis Revisited: Suger, has recently been the focus of so much work at Art, and Architecture,” which brought together the Index of Christian Art. an international group of scholars to discuss their The Index’s holdings in the area of Coptic art recent work on a subject that was famously stud- San Miniato al Monte in Florence, were further strengthened this year by the photo- ied in Princeton by Erwin Panofsky in the early one of the images from the Allan graphing and digitizing of the entire Coptic 1940s. Providing new interpretations and reevalu- Kohl collection recently added to collection of the Newark Museum. Consisting of ating some old ones—as well as presenting new the Index’s database over 200 objects dating from the fi fth through the material on the sculpture, glass, metalwork, and thirteenth century, the museum’s holdings of architecture of Saint-Denis—the colloquium Coptic art constitute one of the fi nest collections highlighted exciting recent work on what is recog- in North America. Largely the result of the enter- nized as the fi rst Gothic building. In March, the prising collecting policy of Susan Auth, curator of Index, the Princeton University Art Museum, and the classical collection, the museum’s collection is the department cosponsored the conference notable both for its size and its breadth. In addi- “Between the Picture and the Word: The Book of tion to signifi cant holdings of Coptic textiles, it Kings (Morgan 638) in Focus.” The colloquium, includes notable examples of Coptic metalwork, held in honor of Professor Emeritus John Plum- sculpture, pottery, leatherwork, and wooden panel mer, focused on the Morgan Picture Bible, the painting. The cataloging of this collection and its greatest illuminated French manuscript of the addition to the Index’s database, the work of Index thirteenth century, if not the entire Middle Ages, scholar Lois Drewer, has made the museum’s fi ne which was then on display in the art museum. collection available to a much wider audience. This year also brought very gratifying recogni- The Index’s holdings of images of Christian art tion from the Library of Congress, which offi cially of the Near East were also extended last year, when recognized the Index as a national and interna- it took delivery of the fi rst consignment of the slide tional standard for cataloging. While the Index is collection of Professor Erica Cruikshank Dodd, well known as a center of scholarly research, this whose scholarly interests and career have focused recognition acknowledges the meticulous method- on the arts of Islam. She recently gave the Index ology that has been used to develop its guidelines permission to digitize her collection of images, part and standards. of which focuses on relatively unknown Christian With the departure of Janet Makuchowski to material in the Near East. Many of the sites are in Florida, her position in the Index was taken by countries where photography and conservation is Barbara Shearn, who joined us from Princeton not currently possible, such as Iraq and Iran, and Theological Seminary. Some of you may have this archive of images hence takes on even more already been welcomed by importance. The Index is particularly grateful to Barbara’s infectious Professor Dodd for her generosity in making this smile and pleasant unique collection available. demeanor. She During the year the Index also fi nished incor- brings a wealth of porating the images of medieval architecture and knowledge and sculpture from the Art Images Teaching Collection experience to her (AITC) assembled by Professor Allan Kohl at the new position, and John Blazejewski Minneapolis Institute of Art and Design. With we are pleased to several hundred images from this collection welcome her to already available on the Index’s Web site, this new the Index. component provides an unparalleled archive of Barbara Shearn monuments stretching from the Early Christian period to the end of the fi fteenth century, and geographically from Ireland to Turkey. 26 News from Alumni
Undergraduate Alumni stage a work by former New York City Ballet principal Jean-Pierre Joel Babb ’69 studied with George Segal and Bonnefoux. The work, entitled George Ortman and spent a year in Rome and “Ice Moves,” was originally cho- Munich after his graduation from Princeton. reographed for John Curry’s Skat- Returning to the States, he earned an M.F.A. at the ing Company in 1980. The new Boston Museum School and Tufts, where his style version received its premiere in changed from abstraction to contemporary real- New York City at Chelsea Piers last ism. In 1984 he began a series of aerial cityscapes November and was subsequently of Boston based on photographs taken from a performed during Ice Theatre’s helicopter, often using experimental perspectives appearance at the Eisenhower Hall such as multiple vanishing points. He is also well Theater at the West Point Mili- known for his street-level cityscapes and is some- tary Academy. It was performed times referred to as “the Canaletto of Boston.” again in March at Rockefeller Cen- In 1996, commissioned by the Harvard Medical ter in Manhattan. Katherine con- School, he completed a historically accurate paint- tinues to perform as a solo guest ing of the fi rst successful kidney transplant opera- artist in professional fi gure skat- tion. Joel’s work has appeared in shows at Naga in ing shows and to choreograph and coach competitive fi gure skaters in Boston, Sherry French, Gerold Wunderlich, and Joel Babb ’69 and one of his re- the New York area. [[email protected]] the National Academy in New York, as well as at cent paintings of the Maine coast many other galleries and museums. His paintings Will Cardell ’74 and his students at Oak Knoll are in the permanent collections of the Fogg Art School continue to explore the world of computer Museum, the Bates College Museum of Art, the graphics. His AP Studio Art seniors are required DeCordova Museum, and dozens of corporate and to use the computer to generate images that serve institutional collections. Joel has recently returned as inspirations for their portfolio pieces. The art- to painting the forests, rivers, and coastal islands ists start with their own photographs. After scan- of Maine, where he now lives. His new land- ning these on the computer, they manipulate their scapes have earned him appreciative feature arti- pictures using the Painter 6.0 software program, cles in Down East (May(May 22002)002) aandnd American Artist producing expressive versions of the original pho- (March 2004). [[email protected]] tos. Colors, shapes, textures, and compositional Jordan Bastien (née Gutcher) ’98 married Pierre arrangements can all be altered. Hard copies are Bastien ’98 last June in Charles City, Virginia. then printed, and these visuals serve as inspirational They are happily living in Manhattan, where Jor- guides for the artists’ fi nal hand-made works. dan recently took a new position as director of the [[email protected]] Andrea Rosen Gallery in Chelsea. Jamie Crapanzano ’00 lives in New York City, Amelia Brown ’99 has completed her third year of where she works as a fi xed-income portfolio analyst work toward a Ph.D. in ancient history and Medi- for BlackRock Financial Management. terranean archaeology at the University of Califor- [[email protected]] nia, Berkeley. She spent this academic year at the Doug Dworsky ’81’81 iiss aann aarchitectrchitect whowho practicespractices American School of Classical Studies in Athens, in Los Angeles. Most of his design work has Greece. As the city gears up for the Olympics, she focused on institutional projects for government is visiting the main cultural and historical sites agencies, universities, and transportation. Several Will Cardell ’74, from Thessaloniki to Crete with a group of archae- years ago, he and his wife Eva began to search for a Apples and Florentine Vase ology and art history students, as well as pursuing house, never imagining that they would end up her own research in ancient sculpture, Byzantine building a new house from scratch. After searching history, and the transition from the pagan to for two years, they found an irresistible opportu- Christian world. Meanwhile, she and Graham nity to buy a “tear-down” house in the Westwood Elliott ’01 have recently celebrated their fi fth year neighborhood of Los Angeles, an area that contains together. She looks forward to attending her fi fth predominantly traditional, pre-World War II reunion this spring. [[email protected]] homes. Doug began designing the house the day Katherine Healy Burrows ’90 was commissioned they entered escrow. The process of designing and by Ice Theatre of New York to reconstruct and building the house was great fun for Doug, giving
27 Donald Goddard ’56 has written a number of reviews over the past year for newyorkartworld .com, including articles on Jean Fautrier, Melissa McGill, Bernhard Martin, Newton and Helen Harrison, Jane Wilson, Helen Torr, Matisse, Picasso, Harvey Quaytman, David Korty, Doug Martin, Jay DeFeo, Chris Burden, Marc Quinn in New York City, and Edouard Vuillard and Ernst Ludwig Kirchner in Washington, D.C. [[email protected]] Cleve Gray ’40’40 wwasas tthehe ssubjectubject ooff aann eexhibitionxhibition this January and February at the Berry-Hill Galler- The Los Angeles house designed and owned by ies in New York. The show, titled “Cleve Gray: The Doug Dworsky ’81 Energies of Art,” featured seventeen of Gray’s new paintings, mostly in mixed media. him the opportunity to work on a small-scale proj- ect where he and his wife were the only decision Gregory A. Harlan ’95, who received his M.D. makers. They agreed on a basic design goal which from the University of Southern California School became a guiding philosophy throughout the of Medicine, has moved to Salt Lake City, Utah, design process: “modern but cozy.” The design of where his wife Susan has begun her residency in this urban home was based on several goals, urology. Harlan is currently a teaching fellow at including maximizing the spacious and open qual- the Children’s Hospital and is pursuing a master’s ity of a house on a limited site, accommodating an degree in public health. He invites all department informal lifestyle that includes entertaining friends, alums to visit and enjoy skiing, biking, and golfi ng. and achieving a modern design with simple, cost- [[email protected]] effective materials and building systems. Doug’s Alexander Heilner ’93’93 hhasas jjoinedoined tthehe ffacultyaculty ooff recently completed house was published in the the Maryland Institute College of Art as associate September 2003 issue of Architectural Digest, aann professor of photography and digital imaging. He issue dedicated to “Designer’s Own Homes.” continues to live in Brooklyn, commuting to Balti- [[email protected]] more each week. He is thrilled to be working with Henry Gardiner ’38 is now retired from a long students who are amazingly talented and motivated, career designing exhibits for the American Museum and at a school that has clearly arrived as one of the of Natural History in New York. After graduating nation’s top programs for studio artists. Alex also from Princeton and serving in the armed forces continues to create his own work. In February he during World War II, he studied visual design at and partner Amy Baxt (Hampshire ’93) created a the New Bauhaus in Chicago on the G.I. Bill of large-scale public installation to commemorate the Rights. He lives at Meadow Lakes in Hightstown, 100th anniversary of Baltimore’s Great Fire of 1904. The work involved relighting an entire Nassau Hall, a recentrecent wwatercoloratercolor conveniently close to Princeton, and continues to by Henry Gardiner ’38 enjoy drawing and painting. building and projecting historic photographs and text through its glass walls. [[email protected]] William I. Homer ’51,’51, tthehe HH.. RRodneyodney SSharpharp PPro-ro- fessor Emeritus at the University of Delaware, has been busier than ever this year. He continues to advise art history dissertations carried over from the year 2000, when he retired, and he is often called upon to write letters of recommendation for his former students. As an expert on American artists including Albert Pinkham Ryder and Thomas Eak- ins, he is in demand as a consultant by museums, galleries, and private collectors, and he actively serves on various boards, most notably that of the American Art Program of the Henry Luce Founda- tion. Despite recent health challenges, which have now been resolved, he continues to work on a com- plete edition of Eakins’s letters, and he manages the Ryder archive assembled by Lloyd Goodrich and given to the University of Delaware Library. Much
28 of his spare time has been devoted to organizing Manual of Mental Disorders fforor a pparticulararticular ssyn-yn- his vast collection of research materials relating to drome exhibited by incest survivors. She is currently early American Modernism—letters, documents, working on a book on that subject, tentatively photographs, notes on interviews, and the like. titled “Out of Madness.” She continues to work As an avocation he continues to make black-and- artistically in mixed media as she completes pre-med white photographs of landscapes in the Brandy- courses at Utah Valley State College in Provo, Utah. wine Valley. [[email protected]] [[email protected]] Frederick Ilchman ’90, assistant curator of paint- Jacob Lauinger ’99’99 iiss wworkingorking onon hishis Ph.D.Ph.D. inin ings at the Museum of Fine Arts, Boston, was the Assyriology in the University of Chicago’s Depart- coordinating curator for Boston for the exhibition ment of Near Eastern Languages and Civilizations. “Thomas Gainsborough, 1727–1788,” organized In addition to writing his dissertation and teaching with Tate Britain and the National Gallery of Art, classes, he is the epigrapher for the Oriental Insti- Washington. The Boston version of the show ran tute’s expedition to Tell ‘Atchana (ancient Alalakh) from June through September 2003 and attracted in the Hatay, Turkey, not far from the old Princeton 75,000 visitors. The installation included period excavations of Antioch and Daphne. He has spent furniture, musical instruments, and costume to the past two summers both running a trench at the place Gainsborough’s paintings and drawings in a excavation and studying the cuneiform tablets that rich visual context. Frederick also found himself Sir Leonard Woolley discovered during his excava- well suited to work on Gainsborough, even don- tions at the site in the 1930s and 1940s. Jacob’s ning eighteenth-century garb at exhibition openings fi rst publication, “A New Fragment of the Epic of and for lectures (see the accompanying photograph). Anzu in the Antakya Museum,” forthcoming in Related to the exhibition, he was interviewed on the Zeitschrift für Assyriologie, isis a ttranscriptionranscription aandnd National Public Radio’s “The Connection,” dis- edition of a fragment of a literary text that he dis- cussing copies and fakes. His other current projects covered in a forgotten drawer of the museum, include a reinstallation of the European galleries of where it had apparently lain unnoticed and undis- Romanesque through Renaissance art; teaching a turbed for forty years. [[email protected]] seminar on the connoisseurship of Italian painting David Maisel ’84 is the subject of a recently pub- for students from Boston University, Brandeis, lished monograph, the fi rst book on his work. Tufts, and Wellesley; and preparing a paper for the The oversized book, titled The Lake Project, iiss ccom-om- Graphic design by Margaret Mayo Renaissance Studies Association conference. prised of aerial views of Owens Lake, which was McGlynn ’86 [fi [email protected]] drained to bring water to Los Angeles and in the Will Johnson ’68 has published his fi fth book, process became an environmental disaster. The Lake The Sailfi sh and the Sacred Mountain, which Project, published by Nazraeli Press, contains 100 appeared this spring from Inner Traditions. The photographs and an introductory essay by Robert book tells the story of the rite-of-passage journey Sobieszek, curator of photography at the Los Ange- that he took with his then thirteen-year-old son to les County Museum of Art. David’s large-scale Mount Kailas, the very sacred mountain in south- prints from The Lake Project havehave beenbeen exhibitedexhibited inin Frederick Ilchman ’90 in period western Tibet after which his son was named. Will solo exhibits in the past year at the Von Lintel Gal- costume at the Gainsborough has now returned to work on the manuscript for lery in New York, the James Nicholson Gallery in exhibition he curated another book, an account of how physical balance San Francisco, the Miller Block Gallery in Boston, in the body propels the evolution of consciousness the Schneider Gallery in Chicago, and the Paul in our species. [[email protected]] Kopeikin Gallery in Los Angeles. His work has also Katherine Lynn Kerr ’’9191 eenteredntered thethe M.F.A.M.F.A. pro-pro- been featured in solo exhibits at FotoFest in Hous- gram at Brigham Young University after graduating ton and will be shown in a solo exhibition this from Princeton, studying with Wulf Barsch, Hagen June at the Blue Sky Gallery in Portland, Oregon. Haltern, and Von Allen. Finding that the heavily David’s aerial images were also published in feature didactic program emphasized the divisions articles in the fall 2003 issue of Aperture mmagazineagazine between artistic mediums, she earned her freedom and in the April/May 2003 issue of Camera Arts. by doing a combined exhibition of ceramics and His work is the subject of a feature article in Audu- drawings. She also served as a model for drawing bon magazine for May 2004. More information classes. Her interest in art is now focused on art as and images can be seen at www.davidmaisel.com. a window to the soul and psyche, and how the [[email protected]] mental health profession can help those in need. Margaret Mayo McGlynn ’86 has worked in Katherine has worked with Dr. John C. Furman of recent years as a graphic designer and Web designer, San Francisco to lobby for a change in the classifi - designing Web sites for an independent fi lm, an cation system in the Diagnostic and Statistical actor, and a jewelry designer, among others. She
29 also designed the cover for the Princeton Club of Rudolf M. Riefstahl ’50 contributed to the cata- Southern California’s new Princeton in Hollywood logue of the exhibition “William Bradford: Sailing directory, and she designed a Princeton Triangle Ships and Arctic Seas” mounted last year by the Club concept logo for a postcard the club recently New Bedford Whaling Museum. This show was sent to promote an upcoming Triangle show on the fi rst major retrospective exhibition of the the West Coast. In July of last year she had the acclaimed nineteenth-century marine and Arctic opportunity to travel to Rome and Florence for painter. Rudy’s essay presented a detailed study of the fi rst time. The Vatican Museum, and in partic- Bradford’s painting materials and methods, and ular Raphael’s School of Athens, bbroughtrought tearstears ttoo hherer was the result of more than four years of fi rst-hand eyes, and Rome made her fall in love with art his- study of thirty of Bradford’s paintings. The cata- tory again. In December she became the member- logue was published by the New Bedford Whaling ship chair of the Princeton Club of Southern Museum and the University of Washington Press. California. [[email protected]] Claire de Dobay Rifelj ’02 will receive her master’s Mary Miller ’75 is the guest curator of the exhibi- degree from the Williams College graduate program tion “Courtly Art of the Ancient Maya,” which in the history of art this June. She recently opened in April at the National Gallery of Art in defended her master’s thesis, which focused on Catalogue of the exhibition Washington, D.C., where it will be on display Hanne Darboven’s Kulturgeschichte 1880–1983, an curated by Mary Miller ’75 until July 25. It will then travel to the Fine Arts installation of collages and screenprints in the col- Museums of San Francisco, where it will debut lection at Dia:Beacon. Last summer she worked at this September. With Simon Martin, she is the co- the Museum of Modern Art in Queens in the author of the exhibition catalogue, published by Department of Prints and Illustrated Books. The the Fine Arts Museums of San Francisco and previous April she delivered a paper on Picasso’s Thames and Hudson. The fi rst exhibition devoted collages, which was based on a chapter of her to this subject in the United States, “Courtly Art Princeton senior thesis, at an annual interdisciplinary of the Ancient Maya” demonstrates the magnifi - conference at Harvard University. Claire has cence of ancient Maya art by displaying more than accepted a position in the department of modern 175 masterworks drawn from thirty public and and contemporary art at the Dallas Museum of private lenders in Mexico, Honduras, Guatemala, Art. She plans to apply to doctoral programs in the Chile, the United States, Switzerland, England, history of art. [[email protected]] and Australia. The exhibition presents stone sculp- Willis M. Rivinus ’50 has been a fund-raising tures, ceramics, masks, and other precious works consultant connected with Princeton for the past commissioned by ancient twenty years. During that time he has produced Maya kings and queens in photo histories of three eating clubs—Colonial the period A.D. 650–800, Club, Tower Club, and Tiger Inn—with signifi cant when Maya kings and help from John Blazejewski, photographer in the nobles living in the tropical department’s Index of Christian Art. Most recently, rain forests of southern Will published Rowing at Princeton, 1872–2000, a Mexico and adjacent Gua- 600-page book with 900 illustrations. A resident of temala, Honduras, and New Hope, Pennsylvania, he has also written three Belize transformed Maya studies of Bucks County: Old Stonework in Bucks art. A special focus of the County, withwith pphotographshotographs bbyy MichaelMichael AA.. SSmith;mith; exhibition is the city of New Hope, Pennsylvania, a pphotohoto sstudytudy ooff tthehe ppop-op- Palenque, the richest Willis M. Rivinus ’50‘s recent book ular tourist town; and Guide to the Delaware and known example of an ancient Maya court. The on Princeton rowing Lehigh National Heritage Corridor, ofof wwhichhich hhee wwasas exhibition includes important new archaeological the fi rst federal commission chair. discoveries from Palenque never before seen in the [[email protected]] United States. Miller is the Vincent J. Scully Pro- fessor of the History of Art at Yale, and this is the Kristin Roper ’03’03 wworksorks inin thethe legallegal personnelpersonnel third exhibition of Maya art that she has curated department at Paul, Weiss, Rifkind, Wharton & or co-curated. The fi rst was her senior thesis proj- Garrison LLP in New York. She spent several ect, the exhibition “Jaina Figurines” that took months helping Partner Neale Albert ’58 catalogue place in the Princeton University Art Museum in the fi rm’s extensive art collection, which includes 1975. [[email protected]] photographs by Eugene Atget, Edward Weston, Robert Frank, Lee Friedlander, Irving Penn, Joel Douglas O. Pedersen ’52 *59 has news in the Sternfeld, Emmet Gowin, Annie Liebowitz, and graduate alumni section. others. [[email protected]]
30 Michael Schwartz ’64 spent several years after his the subject of an article, “The Spy Who graduation working in the fi eld of art history, earn- Loved Ming,” in Art+Auction magazine.magazine. ing his M.A. in 1970. He was awarded a Fulbright [[email protected]] Scholarship for study in Italy and made some Teri Noel Towe ’70’70 rreturnedeturned toto campuscampus inin notable contributions to the fi eld of seventeenth- March to present an illustrated lecture on century painting and drawing. He has since moved the mysterious Volbach portrait of Johann on to other professions but continues to work on Sebastian Bach. His presentation focused various sixteenth- and seventeenth-century art-his- on the most controversial portrait of Bach, torical topics. He is also a published poet, and acquired a century ago by the German con- many of his poems center on the subjects of art ductor, pianist, and musicologist Fritz Vol- and archaeology. Michael invites anyone interested bach from an antique dealer in Mainz. in collaborating on research projects in sixteenth- Using the famous 1748 E. G. Haussmann and seventeenth-century art to contact him at portrait of Bach in the collection of William 77-12 35th Avenue, Apt. A36, Jackson Heights, H. Scheide ’36 as the comparative stan- NY 11372. dard, Teri offered his solution to the conun- Allan Shearer ’88’88 hhasas rreceivedeceived a Ph.D.Ph.D. inin land-land- drum of the Volbach portrait. He has also scape architecture from Harvard University. His created the Web site “The Face of Bach” dissertation examined several issues relating to how (www.npj.com/thefaceofbach) to docu- Mark Sheinkman ’85, 2.5.2004, people envision scenarios of changing landscapes. ment his research on Bach portraits, which began alkyd and graphite on paper While more a topic of regional planning than of before he entered Princeton as a freshman and has art history, his dissertation poses questions that resulted, among other discoveries, in his identi- stem from his Princeton senior thesis, written with fi cation of the long-lost Kittel portrait of Bach. the late Professor David Coffi n, on the designs by [[email protected]] the eighteenth-century English landscape gardener Since graduating from Humphry Repton. [[email protected]] Princeton, Rokhaya Waring Mark Sheinkman ’85 had a solo exhibition of ’88 has been a full-time paintings and drawings this March and April at painter and has exhibited in von Lintel Gallery in New York. A group exhibi- solo and group shows in tion, “Moving Outlines,” is on view now at the Boston, New York, Paris, Contemporary Museum in Baltimore. A solo Amsterdam, and Provence. museum show of his paintings and drawings will Her work has been included open in January 2005 at the Kemper Museum of in a number of juried Contemporary Art in Kansas City. During 2003, shows, including the Salon Mark’s work also appeared in a solo exhibition at d’Automne and the Salon Gallery Sora in Naha, Japan, as well as in group des Artistes Français in Paris. Rokhaya works Rokhaya Waring ’88, Hayrolls and exhibitions at The Metropolitan Museum of Art in mainly in oils and paints on site, but bases her Sycamores, oil on canvas New York, Houldsworth in London, Gallery Joe in compositions on her sketches and watercolors. She Philadelphia, Post in Los Angeles, and the Hosfelt is a member of the Copley Society of Art in Boston Gallery in San Francisco. To receive announce- and the New Hampshire Art Association, and cur- ments of upcoming exhibitions, e-mail rently has work at several galleries, including the [email protected]. Blue Heron Gallery in Wellfl eet, Massachusetts, Diana Silverman ’87 is a doctoral candidate in and Style 1900 Gallery in Amsterdam. She lives in Italian at Columbia University, where she is writing New Hampshire but spends most summers paint- a dissertation on women in Dante’s Italy, working ing in Provence. Her work can be seen on the Web with advisor Teodolinda Barolini. Diana is the co- at www.rokhaya.com. [[email protected]] editor, with Sharon Wood, of a forthcoming book Richard Wright ’87’87 hhadad a mmajorajor eexhibitionxhibition ooff a of essays on Grazia Deledda, winner of the 1926 recent photographic series entitled “New Land- Nobel Prize for Literature. [[email protected]] scapes” at Silicon Gallery in Philadelphia. The Martha Sutherland ’’7777 iiss tthehe oownerwner ooff MM.. SSuther-uther- Philadelphia Inquirer gavegave thethe showshow anan enthusiasticenthusiastic land Fine Arts, Ltd., a gallery that represents con- review, referring to the work as “painterly.” Richard temporary artists from China and Taiwan. The also received a Juror’s Prize from Joyce Tenneson gallery is on the second fl oor of a brownstone on at the New York Camera Club’s Annual Interna- East 80th Street, less than two blocks from the tional Competition. He recently began teaching an online digital photography class for beginners, Metropolitan Museum of Art. Last spring Martha Richard Wright ’87, Estes Étude was an exhibitor at the International Asian Art Fair and his ongoing Photo of the Week project is now in New York City, and in September 2003 she was in its fourth year. All of the works can be seen on
31 his Web site www.wrightartstudio.com. To join the numerous articles on Rembrandt, Jan Steen, art Photo of the Week list, e-mail rick@wrightartstudio. theory and biography, and the artistic impact of com. [[email protected]] the Dutch Revolt. She was co-curator of the exhi- bition “Jan Steen: Painter and Storyteller” at the Graduate Alumni National Gallery of Art in Washington and the Rijksmuseum in Amsterdam in 1996–97. She lives Anthony Barbieri-Low *99*99 iiss aassistantssistant pprofes-rofes- in Garrett Park, Maryland, in suburban Washing- sor of early Chinese history at the University of ton, D.C. [[email protected]] Pittsburgh. He is currently working with Cary Dora C. Y. Ching *93*93 ((M.A.)M.A.) ttraveledraveled withwith TheThe Liu of the Princeton University Art Museum on Metropolitan Museum of Art as lecturer on a tour an upcoming exhibition of Chinese art which to China last September. She presented lectures on will open in March of 2005. Barbieri-Low was “Cities, Temples, and Palaces,” “Writing and Paint- also recently awarded a one-year fellowship by the ing in Chinese Art,” and “Chinese Gardens,” National Endowment for the Humanities to work among other topics. The tour introduced travelers on the manuscript of his forthcoming book, “Arti- to large cities such as Beijing and Shanghai, remote sans in Early Imperial China.” [[email protected]] areas in Sichuan province such as Dazu—the site of Catalogue of the exhibition curat- Andrea Bayer *90,*90, aassociatessociate ccuratorurator iinn tthehe centuries of Buddhist rock carvings—and the land- ed by Laura Coyle *92 (M.A.) and Department of European Paintings at The Metro- scape along the Yangzi River. Dora is currently Jacqueline Musacchio *95 politan Museum of Art, has organized an exhibi- organizing an off-the-beaten-path trip to China tion titled “Painters of Reality: The Legacy of featuring sites in Shandong province, in addition to Leonardo and Caravaggio in Lombardy” that favorite Chinese cities, for the fall of 2005. This opened at the Museo Civico in Cremona and then tour is inspired by the Princeton University Art moved to the Met, where it will be on display Museum’s exhibition, “Recarving China’s Past: from May 25th until August 15th. The show The Art, Archaeology, and Architecture of the ‘Wu explores the theme of naturalism in Lombard Family Shrines,’” which will open in the spring of painting, beginning with the arrival of Leonardo in 2005 and is cosponsored by the museum and the Milan in 1482 and continuing through the genre P. Y. and Kinmay W. Tang Center. paintings of Giacomo Ceruti in the 1720s. The [[email protected]] core of the exhibition is a study of painting in Gregory Clark *88’s*88’s latestlatest book,book, The Spitz Master: Brescia and Bergamo in the fi rst half of the six- A Parisian Book of Hours, was published by the teenth century—roughly the subject of Andrea’s Getty Trust last July. After twenty years of writing dissertation written under John Shearman’s super- and publishing on late medieval French illumina- vision—and Milan and Cremona during the latter tion everywhere but in France, he has fi nally pub- half of the sixteenth century. lished an article in France, and in French. “Le [[email protected]] Maître des Heures Spitz, un artiste du cercle des Virginia Bower *77*77 ((M.A.)M.A.) ccontinuesontinues ttoo tteacheach Limbourg” appeared in L’art de l’enluminure forfor survey courses on Chinese and Japanese art at the March–April 2004. The article examines in depth University of the Arts in Philadelphia. In the sum- the earliest of the Spitz Master’s three manuscripts, mer of 2003 she taught at Rutgers University and a book of hours now in the Musée Condé in Chan- will teach there again this summer. She recently tilly (Ms. 66). [[email protected]] contributed the article, “In Pursuit of ‘the Divine Laura Coyle *92 (M.A.), curator of European art Bead,’” on polo in Tang Dynasty China, to the at the Corcoran Gallery of Art in Washington, children’s magazine Calliope: Exploring World His- D.C., is currently organizing two exhibitions. The tory—The Tang Dynasty (November(November 2003).2003). fi rst, “Marvels of Maiolica: Italian Renaissance [[email protected]] Ceramics from the Corcoran Gallery of Art Collec- H. Perry Chapman *83 has received fellowships tion,” which she co-curated with Jacqueline from both the Guggenheim Foundation and the Musacchio *95, opened at the Frances Lehman Center for Advanced Study in the Visual Arts at Loeb Art Center at Vassar College in April and will the National Gallery of Art. She will use the fel- travel to several other venues around the country. lowships to continue work on a book, “The Paint- Jacki Musacchio also wrote the accompanying pub- er’s Place in the Dutch Republic, 1604–1718.” lication, which is available at the Corcoran or Perry, who teaches at the University of Delaware, through Bunker Hill Publishing, Inc. (www.bunker has just completed four years as editor-in-chief of hillpublishing.com). The traveling exhibition is the Art Bulletin. She is the author of Rembrandt’s underwritten by the Scott Opler Foundation, Self-Portraits: A Study in Seventeenth-Century Iden- which was founded by Scott Opler ’78 to support tity (Princeton(Princeton UniversityUniversity Press,Press, 1990)1990) andand ofof the study and preservation of Renaissance art, the
32 conservation and preservation of wildlife habitats, for the December 2003 BBC History Magazine onon and AIDS-related services and education. Scott the New World turkey in Renaissance Italy. In her was a Ph.D. candidate in art history at Harvard new book Presenting the Turkey: The Fabulous Story when he died of AIDS in 1993. Laura’s second of a Flamboyant and Flavourful Bird, fforthcom-orthcom- exhibition is “The Image of Joan of Arc: Boutet de ing from Centro Di of Florence, she reveals the Monvel’s Jeanne d’Arc in Context,” which she is full story of the turkey’s impact on the gastronomy, organizing with Nora Heimann of Catholic Uni- art, language, and literature of the Old World. versity. The show focuses on the artistic, social, Sabine invites everyone to visit her new Web site at and political context of six large, highly decorative www.members.shaw.ca/seiche. paintings at the Corcoran on the life of Joan of [[email protected]] Arc by the French artist Louis-Maurice Boutet de Jesús Escobar *96*96 hhasas jjustust ppublishedublished The Plaza Monvel. The show will open at the Corcoran Gal- Mayor and the Shaping of Baroque Madrid (Cam- lery of Art in October of 2005. bridge University Press, 2004), a revised version of [[email protected]] his Princeton dissertation. In February the book Laurie Dahlberg *99*99 hhasas bbeeneen ppromotedromoted toto asso-asso- received the Eleanor Tufts Book Award from the ciate professor and chair of the Program in Art American Society for Hispanic Art Historical Stud- History at Bard College in Annandale, New York. ies, an affi liated society of the College Art Asso- Her fi rst book,Victor Regnault and the Advance ciation. In addition to giving papers at several of Photography: The Art of Avoiding Errors, willwill conferences, Jesús recently moderated two pan- be published by Princeton University Press later els—one, at Hunter College, on the contribu- this year. She is currently working on a book of tion of Puerto Rican architects to New York City collected essays entitled “Photography and the architecture, and another, at the annual meeting Abject” based on a session she chaired at the Col- of the Renaissance Society of America, on artistic lege Art Association’s annual conference in 2004. exchange between Italy and Spain. He has recently [[email protected]] been awarded a Fulbright Senior Scholar grant, Malcolm Daniel *91*91 hhasas bbeeneen aappointedppointed ccuratorurator which will take him to Madrid next fall to begin in charge in the Department of Photographs at The work on a new book project with the working title Metropolitan Museum of Art. A specialist in nine- “Architecture and Politics in the Madrid of Philip teenth-century French and British photography, IV.” Jesús is associate professor of art at Fairfi eld Malcolm joined the curatorial staff of the Met in University. [[email protected] eld.edu] 1990 and now heads a department of twelve, with Marcy B. Freedman *81 (M.A.) continues to an active collections, exhibitions, and publications teach both art and art history at Marymount Col- program. [[email protected]] lege of Fordham University. She is the curator of Sabine Eiche *83*83 hhasas mmadeade ffurtherurther ssignifiignifi c acantnt d idis-s- an exhibition titled “Stay Tuned: Hypnotic Videos coveries in Italian archives. She has identifi ed a by Contemporary Artists” that will be on view in small illustrated manuscript that recently came May and June of this year at The Studio, an alter- to light in a private Italian archive as the architect native space in Armonk, New York. For this proj- Mutio Oddi’s long-lost gheribizzi about embel- ect she reviewed more than 150 videos and selected lishing and enlarging the city of Urbino, which non-narrative works by eighteen artists from he composed while in prison in 1608 to 1609. around the country. She is scheduled to give vari- She is preparing a facsimile edition of the manu- ous public presentations about the history of video script, which will be published later this year by art and a lecture entitled “Twentieth-Century Art: the Accademia Raffaello of Urbino. Sabine’s guide Pros and Cons.” Her own art in various media will to the Villa Imperiale of Pesaro, which she “tried be exhibited this year at several different venues, out” last July on a couple of Princetonians, will be including Mexico City, Santa Barbara, and New ready for the tourists this summer in both Eng- York City. [[email protected]] lish and Italian editions. Her most recent book, Henry Graham *75 has been named teacher of Il barco di Casteldurante all’epoca dell’ultimo duca the year in the Lakeport Unifi ed School District di Urbino, an account of the duke of Urbino’s in northern California, where he teaches middle barco (hunting(hunting ppark)ark) atat Casteldurante,Casteldurante, wwasas ppub-ub- school. After seventeen years of university teaching, lished by the Biblioteca Comunale of Urbania in six years of cruising the Atlantic and Mediterra- Marcy B. Freedman *81 (M.A.), untitled collage, 2003 2003. Sabine is also now serving as a consultant nean, and fi fteen years of teaching sixth grade and for a children’s educational book on the Renais- the gifted and talented program, he is fi nally retir- sance. A puzzling reference in a letter of 1531 to ing. In recent years his wife Claudia has become an Indian peacocks lured Sabine off the straight and artist of some note. After many years of art-histori- narrow academic track to write a feature article cal trekking abroad with his wife, Henry now fi nds
33 New Department himself surrounded by her glorious oils and sculp- to raise funding for the Peter C. Bunnell Curator- Staff Member tures. [[email protected]] ship in Photography at the Princeton University Andrew Hershberger *01*01 hhasas ccompletedompleted hhisis Art Museum. Other than that, he remains an This March the department third year as assistant professor of contemporary investment strategist at Brown Brothers Harriman welcomed Karen Nanni to the art history at Bowling Green State University, Ohio. in New York and continues to enjoy the fruits of offi ce staff . A 2003 graduate of He was recently awarded a 2004 Ansel Adams his wife’s accomplishments in the world of pastry. The College of New Jersey, where Research Fellowship at the Center for Creative [[email protected]] she earned a B.S. in business administration, Nanni has already Photography at the University of Arizona, where Marina Belović HHodgeodge *96*96 rrecentlyecently taughttaught a compiled an impressive résumé. he will work on an article and/or exhibition proj- course on late medieval and Renaissance art and Two years ago she worked in the ect called “The Dark Side of Photography: A culture at Marymount University in Washington, University’s Travel Accounting Short History of the Negative Print.” This spring D.C., and will continue to be associated with Offi ce, where she participated in Andrew presented a lecture on Minor White’s Marymount. She has also taken a full-time special- the processing of over $19 million concept of the “spring-tight line” at the annual ist’s position at the Library of Congress. Her article of annual travel and moving conference of the International Society for on the name of Ravanica Monastery was published expenses. In her next Phenomenology, Aesthetics, and Fine in volume 61 of the journal Byzantinoslavica, aandnd position, as customer Arts held at Harvard University. The she continues to work on her second book, tenta- service representa- paper will be published in the series tively titled Ravanica Monastery: History, Spiritual- tive at the local offi ce Analecta Husserliana: The Yearbook of ity, Painting. of a regional bank, she acted as liaison Phenomenological Research (Kluwer(Kluwer R. Ross Holloway *60*60 rrecentlyecently publishedpublished Constan- between customers Academic Press). He also did research tine and Rome (Yale(Yale UniversityUniversity Press,Press, 2004),2004), whichwhich and upper manage- on photographer Jay Dusard’s collabora- examines Constantine’s remarkable building pro- ment, working with a wide tion with the Border Art Workshop/Taller gram in Rome. The book focuses on the structure, range of fi nancial tools. She then de Arte Fronterizo, and he lectured on that sub- style, and signifi cance of the most important Con- moved from the world of fi nance ject at the Society for Photographic Education’s stantinian monuments and advances a new inter- to sports, working as a market- (SPE) National Conference, the SPE Mid-Atlantic pretation of the Tomb of St. Peter located beneath ing intern for the Trenton Titans Regional Conference, and the Midwest Art His- hockey team. In her most recent the high altar of St. Peter’s Basilica. With Susan S. tory Society Annual Conference. During the aca- Lukesh, he is currently conducting research on var- position as allotments coordina- demic year Andrew gave invited lectures on digital tor for a circulation company, she ious aspects of the ancient Italian town of Paes- technology at the AMICO Library’s annual meet- worked with account executives, tum, under the auspices of the Soprintendenza wholesalers, and publishers to ing, at ARTstor in New York, at a workshop spon- Archeologica per le Provincie di Salerno, Avel- ensure the timely delivery of print sored by the University of Toledo’s Humanities lino e Benevento. Holloway is the Elisha Benja- allotments of many magazines, Institute and the Toledo Museum of Art, and at min Andrews Professor of Central Mediterranean both popular and international. Ohio State University. Andrew was also inter- Archaeology at Brown University. Her future plans include working viewed and quoted in an article on the AMICO [[email protected]] on an M.B.A. degree. Nanni brings Library and ARTstor that appeared in the New an impressive range of computer York Times (May(May 222,2, 22003).003). IInn JuneJune ofof 20032003 hehe Vojtech Jirat-Wasiutyński *75, professor of art skills to her new position, along gave the keynote address “Teaching Art History history at Queen’s University in Kingston, Ontario, with a cheerful energy that has al- with Digital Technology” at the Minneapolis Insti- has published an article, “Authentic Gauguins: ready been much appreciated. We tute of Arts and Walker Art Center’s ArtsCon- Authenticity and Originality in the Works of the welcome her to the department. nectEd conference. Andrew has now received four Pont-Aven Group,” in the Van Gogh Museum Jour- consecutive Technology Education Consulting nal forfor 22003.003. HHee hashas completedcompleted editingediting a vvolumeolume Specialists grants from BGSU’s Instructional on modern art and the Mediterranean, to which Media Services to continue working with his col- he contributed the essay “Inventing the Mediter- leagues on an online digital slide library. Links to ranean in Modern Art.” The manuscript is now more information are available on Andrew’s Web under review at the University of Toronto Press. site personal.bgsu.edu/~aehersh. The manuscript of his book “Region and Moder- [[email protected]] nity in France: Visual Representation of Provence in the Nineteenth Century” is nearing completion. Ron Hill *84 (M.A.) reports that he remains a [[email protected]] “refugee” from the world of art history but tries to get involved where he can act as a catalyst for Martin Oskar Kramer *02*02 llivesives inin Berlin,Berlin, Ger-Ger- interesting art-related projects. He played a small many, where he has recently begun working in a part in getting an artist-in-residence invitation for gallery for contemporary art. He is also pursuing Emmet Gowin to visit Nihon University in Tokyo, his own art and photography, and invites visits to Japan, this spring. He and Gregory Clark *88 con- his Web site www.martinoskar.de. He welcomes tinue their attempts to get John Plummer’s com- visits from old friends and acquaintances from puter programs on “use” onto a more standard Princeton. [[email protected]] platform. He is also involved with a group trying Laetitia La Follette *86, associate professor of
34 art history at the University of Massachusetts at East. This year his travels will take him to Poland, Department Amherst, recently founded the Art Historians the Czech Republic, Belgium, and England. Lecture Series Interested in Pedagogy and Technology (AHPT), a Douglas R. Nickel *95 is the new director of the continued from page 15 society affi liated with the College Art Association Center for Creative Photography at the Univer- that shares information and best practices for the sity of Arizona, where he took up his new position February 24, 2004 use of technology in the teaching of art history. last August. In addition to his selection as director, Heping Liu Wellesley College [[email protected]] Doug has been appointed to a tenured position as Old Trees and Wintry Forests: Margaret Laird *02*02 hhasas aacceptedccepted a ttenure-trackenure-track associate professor of art history in the Department Searching for an Ecological position in the Department of Art History at the of Fine Arts at the university. Since 1997 he had Landscape in Eleventh-Century University of Washington, Seattle. She will take up served as curator of photography at the San Fran- Song China her new post next year and will teach Roman art cisco Museum of Modern Art (SFMOMA), where Cosponsored by the Tang Center for East Asian Art and archaeology. This year she gave a paper titled he joined the curatorial staff in 1993. While cura- “Augustales, Seviri Augustales, and the Imperial tor at SFMOMA, he taught both undergradu- February 25, 2004 Cult at Ostia” at the annual meeting of the Amer- ate and graduate classes at Stanford University and Samuel Gruber Arise and Build: The Art and Ar- ican Institute of Archaeology in San Francisco, the University of California, Berkeley. Doug was chitecture of American Synagogues and spoke on “Tesori d’arte ed oggetti di vita: instrumental in the development of the photog- Cosponsored by the Program in Archaeology Meets Aesthetics in the Antiquarium raphy collection at SFMOMA and was active in Judaic Studies and the School of Ostiense” at the College Art Association meeting. organizing original exhibitions and supervising the Architecture [[email protected]] installation of traveling exhibitions. His exhibitions March 2, 2004 Alain Thote Claudia Lazzaro *75 is coeditor with Roger include “Dreaming in Pictures: The Photography of Lewis Carroll” (2002), which was accompanied Harvard University Crum of Donatello among the Blackshirts: History Art, Artists, and Craftsmen during and Modernity in the Visual Culture of Fascist Italy, by a substantial exhibition catalogue. Some of his the Eastern Zhou period (8th–3rd published by Cornell University Press and forth- other exhibitions are “Stranger Passing: Collected Century B.C.) coming in the fall of 2004. Of her two essays in Portraits by Joel Sternfeld” (2001); “Carleton Wat- March 9, 2004 this volume, one evolved from her work on Ital- kins: The Art of Perception” (1999), the fi rst major Vinzenz Brinkmann ian Renaissance gardens, while the other examines exhibition of the work of the nineteenth-century Glyptothek, Munich Colorful Customers: New Research more broadly strategies of appropriating the past American landscape photographer; and “Snap- shots: The Photography of Everyday Life” (1998). on Polychromy in Classical Greek and constructing identity through visual images. Sculpture These issues also surface in another book that she Since 1997 he has also organized two large-scale exhibitions of photography that traveled to Seoul, March 26, 2004 is writing on visual representations of collective Department of Art and Archaeolo- identity in sixteenth-century Florence, on which Korea, the fi rst such surveys to be presented in that gy Graduate Student Symposium she presented talks at the College Art Association country. His book Francis Frith in Egypt and Pal- The Ends of Tradition and Renaissance Society of America meetings this estine: A Victorian Photographer Abroad waswas ppub-ub- April 8, 2004 year. [[email protected]] lished last year by Princeton University Press. Mary McLeod Doug’s essay “Roland Barthes and the Snapshot” Columbia University Julia Einspruch Lewis *95 (M.A.) lives in New recently appeared in the journal History of Photog- Charlotte Perriand’s Art de vivre York with her husband Ramsay and nine-month- raphy, and he contributed a chapter titled “Photog- April 20, 2004 old daughter Amelia. Last year she left her posi- raphy and Invisibility” to the exhibition catalogue Hermann Kienast German Archaeological Institute, tion as senior editor at House & Garden magazinemagazine The Artist and the Camera: Degas to Picasso. He has but continues to write freelance articles about art, Athens also published on William Henry Fox Talbot, Clar- The Tower of the Winds in Athens architecture, and design for various publications. ence White, Walker Evans, and the painters Win- [[email protected]] April 22, 2004 slow Homer and William Harnett, among others. Elizabeth Barber Thomas J. McCormick *71*71 iiss nnowow rretiredetired fromfrom Amy Ogata *96*96 iiss aassociatessociate pprofessorrofessor aatt tthehe BBardard Occidental College, Los Angeles Wheaton College and is living in Brookline, Mas- Penelope and the Origins of Greek Graduate Center for Studies in the Decorative Art sachusetts. He continues to work as a volunteer Arts, Design, and Culture in New York City. She in the Textile Conservation Department of the spent this year on a sabbatical with support from Isabella Stewart Gardner Museum, where he has the American Association of University Women. given several gallery talks to the Wheaton Friends This summer she will be in residence at the Cana- of Art. In the spring of 2003 he presided at a ses- dian Centre for Architecture in Montreal con- sion of a symposium on Thomas Jefferson and the tinuing research for a project on creativity, design, Virginia capitol sponsored by Colonial Williams- and the material culture of childhood in postwar burg and the Library of Virginia. He also writes America. She has also been working as a consul- around a dozen book reviews every year for Choice tant on an exhibition organized by the Los Ange- and has just completed an article for a festschrift les County Museum of Art on the Arts and Crafts for a Croatian colleague. Each spring he travels movement in Europe and America that will open in Europe for about two months and has recently at the end of this year. [[email protected]] spent time in Spain, France, Italy, the Hebrides, Shetland, and Orkney Islands, as well as the Near 35 Amy Papalexandrou *98*98 iiss ccurrentlyurrently a researchresearch which immersed him even more deeply in the art assistant and editor at the Institute of Classical world, was followed by several years of his own Archaeology at the University of Texas at Austin. “grand tour” of museums in Europe and the U.S. Her work there focuses on publishing the University He spent a decade in Santa Fe, where he supported of Texas excavations at Chersonesos (Crimea) as his maturing art habit in the best “Orwellian” tra- well as on a pilot journal devoted to the archaeology dition by working in some of the city’s fi nest kitch- of the Ukraine. She continues her involvement ens. After a dozen years in Taos, he moved to with the Princeton archaeological expedition to Colorado and now lives in Sagauche, where he is Polis Chrysochous, Cyprus, and plans to publish still making art. In the last fi ve years Doug has the medieval materials from that site. Last spring shown his art in Würzburg, Germany, and Los she was in Princeton, where she gave a paper on Angeles. “The Byzantine House Reconsidered” for the Pro- Véronique Plesch *94 continues to serve as chair gram in Hellenic Studies colloquium “The Byzan- of the Art Department at Colby College, although tine Habitat.” She has recently published articles she looks forward to her sabbatical next academic in History of Photography, Word & Image, Journal of year, when she plans to pursue her research on Modern Greek Studies, andand Report of the Depart- graffi ti on wall paintings. In 2003 she published ment of Antiquities of Cyprus. SShehe alsoalso contributedcontributed “Visual Intertextuality and Visual Metatextuality,” to Archaeologies of Memory, edited by Ruth Van in Sémiotique du beau /Groupe EIDOS, Paris I, Paris Dyke and Susan Alcock (Blackwell, 2003), and is VIII, edited by Michel Costantini (L’Harmattan, Catalogue of the exhibition currently preparing an essay for Art and Text in co-curated by Paul W. Richelson *74 2003); and, with Alexandra Libby, “Luca Giorda- Byzantine Culture, forthcomingforthcoming ffromrom CCambridgeambridge no’s Baroque Hercules” in On Some Works in the University Press. [[email protected]] Colby College Museum of Art, a special issue of Nassos Papalexandrou *98 completed a year of Colby Quarterly (no.(no. 39,39, 2004),2004), editededited byby MichaelMichael post-doctoral research at the Center for Hellenic Marlais and David Simon. Several other articles are Studies in Washington, D.C., then moved to the forthcoming, including one in the proceedings of University of Texas at Austin, where he is now the Claremont and Hamburg conferences of the assistant professor of Greek art and archaeology in International Association of Word and Image Stud- the Department of Art and Art History. His book ies. This fall she also completed the manuscript of a The Visual Poetics of Power: Warriors, Youths, and book on pictorial Passion cycles in the Franco-Ital- Tripods in Early Greece isis fforthcomingorthcoming llaterater tthishis yyearear ian Alps; it will be published later this year by the from Rowman & Littlefi eld in the series Greek Société Savoisienne d’Histoire et d’Archéologie. In Studies: Interdisciplinary Approaches. Nassos’s lat- May Véronique organized a symposium at Colby est publication, on the art-historical implications College on the subject of “Visual Literacy.” She of the newly discovered third-century B.C. papyrus continues to serve as a board member of the Inter- containing 112 poems of the Hellenistic poet Posi- national Association of Word and Image Studies, dippus of Pella, has just appeared in Labored in and has been part of the editorial committee of the Papyrus Leaves: Perspectives on an Epigram Collec- Hamburg proceedings. [[email protected]] tion Attributed to Posidippus (P.Mil.Vogl. VIII 309), Sheryl E. Reiss *92, senior research associate in the edited by Benjamin Acosta-Hughes, Elizabeth Offi ce of the Vice-Provost for Research at Cornell Kosmetatou, and Manuel Baumbach (Washington, University, spent the academic year 2002–2003 as D.C., Center for Hellenic Studies, 2004). For the an Ailsa Mellon Bruce Senior Fellow at the Center last few years Nassos has been engaged in the exca- Painting by Douglas O. for Advanced Study in the Visual Arts (CASVA) at vation and study of the newly discovered “palace” Pedersen ’52 *59 the National Gallery of Art in Washington, D.C. at Polis Chrysochous, Cyprus, under the auspices She worked there on a book project entitled The of the Princeton Cyprus Expedition. He presented Making of a Medici Maecenas: Giulio de’ Medici a paper on this building at the 2004 annual meet- (Pope Clement VII) as Patron of Art. She has co- ing of the American Institute of Archaeology in edited, with Kenneth Gouwens of the University of San Francisco. Daughter Christina, now seven, Connecticut, a collection of essays entitled The keeps both Nassos and his wife Amy *98 busy Pontifi cate of Clement VII: History, Politics, Culture, with soccer games and swimming in the wonder- which will be published late in 2004 or early in ful but chilly spring waters of Austin and the Hill 2005 by Ashgate. Her contribution to this collec- Country. [[email protected]] tion is entitled “Adrian VI, Clement VII, and Art.” Douglas O. Pedersen ’52 *59 had his second She has also completed an article on Raphael’s museum show in Princeton forty years ago and was patrons for the forthcoming Cambridge Companion then invited to set up the department of education to Raphael, edited by Marcia B. Hall. Sheryl has at the Whitney Museum of Art. That experience, organized several sessions dedicated to the memory
36 of John Shearman for the meeting of the Sixteenth lamas, and masters of Century Studies Conference in Toronto in Octo- various Sufi schools. ber 2004. [[email protected]] Last fall he and his stu- Paul W. Richelson *74, who is the assistant direc- dents mounted an exhi- tor and chief curator of the Mobile Museum of bition at CSUS titled Art, contributed to the museum’s celebration of “Mandala/Mirror Refl ec- the fi rst full year in its new building with the exhi- tions: Works from the bition “Coming Home: American Painting 1930– Private Collection of Kurt 1950 from the Schoen Collection,” which opened von Meier.” Kurt is now in October of 2003. Paul co-curated the exhibition supervising a group of with Georgia Museum of Art Director William U. current and former stu- Eiland and wrote several of the entries for the cata- dents who are working on logue. The 128 paintings are currently on a two- a project to build a “Mir- year tour of six other southern museums. rored Room” inspired by [[email protected]] Marcel Duchamp’s notes. Deborah Walberg *04*04 ssuccessfullyuccessfully ddefendedefended hherer Kurt von Meier *66 at the exhibi- Peter Rohowsky *75 (M.A.), after eighteen years tion “Mandala/Mirror Refl ections: associated with various photo archives, including dissertation, “The Marian Miracle Paintings of Alessandro Varotari (il Padovanino, 1588–1649): Works from the Private Collection Bettmann, Corbis, and Christies, has left Getty of Kurt von Meier” Images, where he was manager of photo research, Popular Piety and Painted Proselytizing in Sev- and has joined D. Sole & Son, his wife’s fi rm, enteenth-Century Venice.” A revised chapter of dealing in American and European paintings, her thesis will be published in Studi veneziani thisthis drawings, and sculpture. In addition, after living in December as a full-length article: “Una perfettis- New York for twenty-fi ve years, he has now moved sima galleria: The Church of Santa Maria Mag- to Far Hills, New Jersey. [[email protected]] giore in Venice.” Deborah has received her second major grant from the Gladys Krieble Delmas Ulrike Meyer Stump *96 (M.A.) continues to Foundation to begin a research project on the artist work on her dissertation, “Karl Blossfeldt: New in seventeenth-century Venetian society, which she Objectivity and Classicism in Weimar Germany,” will initiate this summer. She is currently a visiting while teaching at the University of Zurich as well instructor in the art department at the University as at the University of Art and Design in Zurich. of Tennessee. [[email protected]] She was recently appointed as one of the fi ve members of the new Swiss National Commission Andrew Watsky *94,*94, aassociatessociate pprofessorrofessor ofof aartrt of Photography (Kommission für die fi nanzielle history at Vassar College, has just published Unterstützung von Fotoprojekten von gesamt- Chikubushima: Deploying the Sacred Arts in schweizerischer Bedeutung), and she also serves on Momoyama Japan (University(University ofof WashingtonWashington Press,Press, the board of the Association of Private Lecturers of 2004). The book examines the art and architecture the University of Zurich (Vereinigung der Privat- of a sacred island north of the ancient capital of dozenten und -Dozentinnen der Universität Kyoto, including a lavishly decorated building Zürich). [[email protected]] dedicated to the worship of Benzaiten. At this year’s College Art Association meeting Andy gave a Kurt von Meier *66 has recently transferred to paper which developed from his work on the book: emeritus status at California State University, “The Politics of Construction and Reconstruction: Sacramento, where he was professor and chair of From Benzaiten Hall to Tsukubusuma Shrine the Art Department for a number of years. He Main Hall,” which was part of the panel “Hidden taught a wide range classes at CSUS and devel- Agendas: Political Symbolism in Japanese Art.” He oped a four-semester series of courses titled “Art also spoke at the University of Kansas on Japanese and Mythology.” His classes were also frequently ceramics, a topic related to his next long-term proj- enhanced by guest speakers, including John Lilly, ect on a sixteenth-century text and objects— Joseph Campbell, Andy Warhol, Lou Reed, and ceramics, paintings, and calligraphy—associated Frank Zappa. Kurt’s articles have appeared in Art- with chanoyu, the tea ceremony. Every summer he forum, Art International, and Vogue, and he has travels to Japan, where his research has been spon- curated exhibitions ranging from the art of the sored by a variety of grants. He and his wife have Huichols and Ikat weaving from Indonesia to fi ve-year-old twins. [[email protected]] shows featuring radical contemporary work. In addition to lecturing extensively in the U.S., Aus- tralia, and New Zealand, Kurt has studied with T’ai Chi masters, traditional Hopis, Tibetan
37 Art Museum News
Music from the Land The Book of Kings: Art, War, of the Jaguar and the Morgan Library’s
April 17–September 5, 2004 Medieval Picture Bible Late Classic (A.D. 600–900) “Music from the Land of the Jaguar,” an exhi- March 6–June 6, 2004 Mayan effi gy of a dwarf bition of musical instruments from the major “The Book of Kings: Art, War, and the Mor- in state of transformation cultures of the ancient Americas that fl ourished and in dance pose, hold- gan Library’s Medieval Picture Bible” presents from 1000 B.C. to the beginning of the Span- ing a conch shell trumpet. twenty-six pages of one of the greatest treasures ish conquest in A.D. 1519, opened in the muse- Museum purchase, partial of medieval manuscript illumination, on loan gift of Leonard H. Bern- um’s pre-Columbian galleries on April 17. while the volume is unbound for conservation heim Jr., Class of 1959 Drawn primarily from the permanent collec- and study and while the Morgan Library under- [1996-58] tion, the exhibition unites musical instruments goes an extensive expansion project. Organized of extraordinary rarity with their depictions in by the Walters Art Museum, Baltimore, with the different mediums, and explores the connec- cooperation of the Morgan Library, New York, tions between musical and ritual iconog- “The Book of Kings” takes advantage of this raphy in ancient Mesoamerican art. exceptional opportunity to view so many sheets Archaeological fi nds attest to of the manuscript in one exhibition. The exhibi- the great variety of instruments and tion explores the ways in which Christian, Mus- forms of musical expression and lim, and Jewish cultures used narrative to defi ne dance in the Maya world, the Aztec themselves and their values, and found common territories, and the extensive Andean empire of ground in this retelling of Old Testament stories the Inca. Sixteenth-century Spanish chroniclers entirely in images. in Mexico and Peru have left texts that vividly The Picture Bible was produced in France in describe the musical instruments, singing, the thirteenth century and is thought to have been and dancing of the Aztec and Inca. It is clear commissioned by Louis IX of France (Saint Bruce M. White from historical evidence that music and dance Louis), who built the Sainte-Chapelle in Paris to in the ancient cultures of the Americas were house the Crown of Thorns and other relics, often closely linked to ritual and ceremony. before leaving for the fi rst of his two Crusades in “Music from the Land of the Jaguar” is the fi rst exhibition to explore these con- nections in depth and present so extensive a collection of musical instruments and imagery from Mexico and Central and South America.
Among the objects on view are elegant polychro- 2001 Joseph Zehavi matic vessels from the Late Classic Maya period (A.D. 600–900) that depict musical activity in association with historical and supernatural events, as well as numerous sculptures of musi- cians and musical instruments, including the ceramic fi gure of a Maya dwarf, considered an auspicious and perhaps supernatural being, illus- trated above. The exhibition was developed by Gillett G. Griffi n, faculty curator of pre-Columbian and Native American art, and John Burkhalter, musi- cian and independent scholar. A Web site for the exhibition, featuring audio recordings of various instruments in the exhibition, can be explored at Noah and the Ark, detail of Morgan Library Ms. M. www.princetonartmuseum.org. 638, folio 2v © The Morgan Library, New York
38 1248. A later owner of the manuscript was the sphinxes, sirens, and Gorgons, as well as individual Cardinal of Cracow, who offered it as a diplo- gods and demons such as Pan, Acheloos, Triton, matic gift to the great Persian Muslim Shah Typhon, and the bull-headed Minotaur. ‘Abbas in the early seventeenth century. It eventu- Human animals—beings with mixed human ally came into the hands of Jewish owners, proba- and animal characteristics—played a central role bly in the eighteenth century. These movements in Greek myth and are ubiquitous in Greek litera- are documented by marginal inscriptions left by ture and art. Diverse in form, origin, and charac- the successive owners in Latin, Persian, and ter, some of these fantastic creatures fi rst appeared Judeo-Persian, showing the appropriation of the in Greece during the Bronze Age, only to vanish narrative contents and the assimilation of the during the subsequent cultural hiatus of the Greek sumptuous volume into these diverse cultures. Dark Age (ca. 1100–950 B.C.). Their reappearance On view with the manuscript are other in the sculpture and ceramics of the Protogeomet- objects from the Gothic period—arms and ric and Geometric periods (950–700 B.C.) her- armor, religious artifacts, and everyday domestic alded an era of renewed contact between Greece items—that allow the viewer to compare actual and the cultures of Egypt and the Near East. objects with the images in the manuscript. The The central fi gure of the exhibition was the medieval artists set tales such as Samson and Del- centaur, the beast who stands with his hooves in ilah, David and Goliath, and Noah’s ark in their two worlds, straddling the rough freedom of own times, and the objects on view give view- Nature and the reasoned ascent of human culture. ers a more accurate understanding of those Although their unbridled desires often resulted in shown in the manuscript and insight into the era thoughtless violence, centaurs were also seen as when they were produced. The works exhibited brave and loyal to their comrades—worthy oppo- are drawn from the collections of the Morgan nents for Greek heroes like Theseus and Herakles. Library and the Walters Art Museum. At the other end of the mythological scale, the In addition, the Princeton exhibition presents good centaurs Cheiron and Pholos were renowned three objects lent by The Metropolitan Museum of for their wisdom and hospitality to humankind. Art: a coat of chain mail, a war hat, and a sword. The exhibition also examined the roles and signifi - The chain mail coat and war hat date from the cance of other equally fascinating members of the fi fteenth century, as virtually no examples from Greek mythological menagerie—sirens, sphinxes, the thirteenth century survive, but they are similar and others. to objects that would have been familiar to the The exhibition grew out of Damon Mezza- early viewers of the manuscript. cappa’s gift to the art museum of a spectacular The exhibition curators are William Noel, bronze statuette of a centaur, dated to about 530 curator of manuscripts and rare books at the B.C. This acquisition stimulated a course taught Walters Art Museum, an expert on illuminated by Professor William Childs and Michael Padgett, medieval manuscripts of Northern Europe, and curator of ancient art at the museum, on compos- Daniel Weiss, dean of the faculty of the Zanvyl ite creatures in Greek art. Childs and Padgett— Krieger School of Arts and Sciences at Johns together with Despoina Tsiafakis of the Cultural Hopkins University, and the leading authority on and Educational Technology Institute in Xanthi, the Morgan Picture Bible. Greece—contributed essays to the lavish 426- page exhibition catalogue, edited by Padgett. The The Centaur’s Smile: cloth edition of the catalogue is available from The Human Animal in Yale University Press (www.yale.edu/yup) and the paperback edition from the Princeton University Early Greek Art Art Museum (www.princetonartmuseum.org). October 11, 2003–January 18, 2004 Publication of the catalogue was supported by a Last fall the museum was visited by a host of generous subsidy from the department’s Publica- monsters in various forms, all thousands of years tions Committee. old. “The Centaur’s Smile: The Human Animal in After its showing in Princeton, the exhibition Early Greek Art” presented more than a hundred traveled to the Museum of Fine Arts in Houston, objects documenting the phenomenon of compos- where it was on display from February 22 ite creatures in early Greek art: centaurs, satyrs, through May 16.
39 The Department of Art and Archae- Comments and news or information ology Newsletter is pro duced by the from our readers on recent activities are Publications Offi ce of the Depart- ment of Art and Archaeology and always welcome, as are inquires re gard ing the Offi ce of Com mu ni ca tions, the program. Please submit news items for Princeton Uni ver si ty. the next issue to News let ter, Department Editor: Christopher Moss Design: Megan Peterson of Art and Ar chae ol o gy, McCormick Hall, Photography: Denise Applewhite, Princeton University, Princeton, NJ - John Blazejewski, Elisabeth Childs, or e-mail [email protected]. William Childs, David Connelly, Andrea Kane, Thomas Leisten, Ruth Stevens, Bruce M. White, Joseph Zehavi Illustrations: JoAnn Boscarino CHECK HERE IF NEW ADDRESS Cover illustration: detail of a mosaic pavement, ca. A.D. 526–540, NAME from the House of the Bird Rinceau at Antioch-on-the-Orontes, Turkey, ADDRESS excavated by Princeton archaeolo- gists in 1934. The Princeton University Art Museum y1965-227. Department of Art and Ar chae - ol o gy newsletters are available in PDF format on the Web at TELEPHONE E-MAIL www.princeton.edu/~artarch/ newsletter.
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