department of Art Archaeology & Newsletter fall   1 1 Dear Friends and Colleagues: Inside Welcome back! This year’s depart- will add another important dimension to Prince- ton’s efforts to provide an education in art history ment newsletter is being published within a globalized world. Made possible through  Faculty News later than in previous years: it made generous grants by department alumni and the Program in Hellenic Studies, this program is sched- sense to us to include activities, uled to add more destinations across the continents 9 research, and travel projects that over the coming years. Graduate Student News For the first time in almost a century, the students and faculty undertook department is in a position to offer a University- during the summer months in this wide subsidy program for scholarly publications on 14 art-related topics from the Barr Ferree Fund. Sub- Undergraduate News issue and to start with a fresh news stantial amounts from the fund were disbursed last cycle at the beginning of the new year to support publications by our colleagues in the departments of German, architecture, history, 19 academic year. music, and English, as well as by former gradu- Lectures, Conferences, Symposiums That is not to say that there are ate students from our own department. not enough important news items to In addition to our year-long lec- report from the last academic year— ture series, organized in conjunction 20 quite the contrary. I am delighted to with the Institute for Advanced Study, Seminar Study Trips announce that Rachael DeLue, our the department hosted the graduate specialist in American art, has been student conference “Drawing a Blank: 22 granted tenure with the rank of Past and Present,” and an undergrad- Tang Center associate professor, and I would like uate conference in which many of to congratulate her sincerely, on our seniors presented their thesis behalf of the whole department. research to their peers and to our 24 colleagues. Gerhard Wolf of Rachael’s fabulous rapport with our Marquand Library undergraduate students will be put the Max Planck Institute in to good use, since she will serve as Florence gave this year’s our new department representative Weitzmann Lecture, and Pat 26 beginning this fall. Rachael takes over Brown’s former students Visual Resources Collection this position from Anne McCauley, who organized a major confer- provided departmental seniors of the ence on Venetian art and 28 classes of 2008–11 with principled and architecture in the time of Index of Christian Art thoughtful guidance through the thicket of Giorgione in her honor. junior paper and senior thesis regulations Much work, but also and course selections. Many thanks to her exciting prospects, lie ahead of us: The 30 for her excellent work during those years. department will conduct searches for Excavations Over the last few semesters, the two positions this year—one in Byz- department has embarked on establishing antine and the other in modern art a limited number of undergraduate seminars that history. We will also invite our former graduate 33 include a travel component. These courses, which students to return to their alma mater for a sympo- News from Alumni in recent years have taken students and their sium on teaching and curating modern art. instructors to places as diverse as Rome and Doha, Thomas Leisten, chair Qatar, to experience art objects and sites firsthand, Faculty News

Bridget Alsdorf was a 2010–11 Chester Dale DeLue returns to teaching in the fall as a Fellow at the Metropolitan Museum of Art in New tenured associate professor and begins a two-year York, where she conducted research for a new book appointment as a Behrman Faculty Fellow in the on fin-de-siècle French art, focusing on the repre- Humanities. She will also serve as the department sentation of theatrical audiences and urban crowds. representative, advising undergraduate majors. This Her research also took her to Paris, Amsterdam, and fall, her teaching will include the methodology Geneva. She presented her work on Félix Vallotton seminar for junior majors, as well as an undergrad- at the Met’s fellowship colloquia in the spring. uate seminar on intersections between art-making Other talks included a presentation at the Yale and the science of natural history. She has been Center for British Art for a conference on 19th- named reviews editor for The Art Bulletin and will century images of artistic display; a paper on the art serve as editor-designate until 2012 and as the The Getty Research Journal historian Alois Riegl for a panel on “Theories and editor until 2015. This summer, DeLue partici- features Bridget Alsdorf’s article Methods” at the Nineteenth-Century French Studies pated in the Freshman Scholars Institute at “Fantin’s Failed Toast to Truth” Conference at Yale University; and a talk on Henri Princeton, a program for incoming freshmen, and Fantin-Latour for the Rutgers University Depart- was a featured presenter at a professional develop- ment of Art History Distinguished Speaker Series. ment workshop for New Jersey school teachers, Alsdorf devoted much of the year to completing her sponsored by the New Jersey Council for the book on the fraught dynamic between individual Humanities, on the topic of race in American and group in 19th-century French painting (forth- history and culture. coming from Princeton University Press). She also Hal Foster was inducted into the American published three articles: “Interior Landscapes: Academy of Arts and Sciences in the fall of 2010. Metaphor and Meaning in Cézanne’s Late Still He also received the 2010 Clark Prize for Excellence Lifes” in Word & Image (October–December 2010); in Arts Writing, which honors individuals whose “La fraternité des individus: les portraits de groupe critical or art-historical writing has had a significant de Degas” in 48/14: La revue du Musée d’Orsay impact on public understanding and appreciation (autumn 2010); and “Fantin’s Failed Toast to Truth” of the visual arts. During the spring 2011 semester, in the Getty Research Journal (January 2011). At he was Siemens Fellow at the American Academy Princeton, she was awarded the Arthur H. Scribner in Berlin. His 2002 book Design and Crime was Bicentennial Preceptorship for 2011–14, and this reissued by Verso Press in spring 2011, and The fall she joins the Department of French and Italian Art-Architecture Complex, a volume on the rapport as associated faculty. between art and architecture over the last 50 years, Rachael Z. DeLue spent the final year of her will be released by Verso Press this September. The Rachael Z. DeLue et al., Arthur H. Scribner Bicentennial Preceptorship First Pop Age: Painting and Subjectivity in the Art of Idol Anxiety completing the manuscript of her book Arthur Dove Hamilton, Lichtenstein, Warhol, Richter, and Ruscha, and the Art of Translation, which will be published a book that reveals how these five artists reflect on by the University of Chicago Press. A preview of her the profound changes in image and personhood analysis of Dove and the sonic appeared in the jour- that occur with pop culture, will be published by nal History and Technology in March, and her essay Princeton University Press in December. “Dreadful Beauty and the Undoing of Adulation Thomas DaCosta Kaufmann was awarded the in the Work of Kara Walker and Michael Ray degree of Doctor Philosophiae Honoris Causa by the Charles” was published in Idol Anxiety, edited by Technische Universität, Dresden. The diploma pre- Josh Ellenbogen and Aaron Tugendhaft (Stanford sented to him at a ceremony held in Dresden in University Press, 2011). She presented portions of May 2011 cited his scholarship, especially on her research at Tulane University, the University of Central Europe, its contribution to the establish- North Carolina–Chapel Hill, and the Center for ment of a more global history of art, and his services Advanced Study in the Visual Arts at the National to international collaboration and understanding. Gallery of Art in Washington, D.C. Other lectures At the ceremony, Kaufmann lectured on natural included a talk at the Philadelphia Museum of Art history and art in Dresden. on the Italy-themed landscapes of George Inness During the summer of 2010, he gave lectures and a presentation on landscape and history at Har- on the possibilities of world art history at the vard’s Graduate School of Design. Her other works “Visual Culture and National Identity” symposium in progress include a book-length primer on the at the Van Gogh Museum in Amsterdam, at the Hal Foster, The Art-Architecture concept of visuality, as well as a study of representa- symposium “Sur le terrain: Geographies of Art” at Complex tions of the prehistoric and ancient past in the Terran Foundation in Paris, and at the Univer- American art and visual culture. sity of Coimbra, Portugal. He also spoke on the

2 fall   1 1 geography of art at the University of San Marino. During the 2010–11 academic year, he co-organized and chaired the session “Voices from around the

World” for the National Committee of the History John Blazejewski of Art and the International Committee of the College Art Association at CAA’s annual meeting; he was also invited by CAA to chair an extraordi- nary centennial session on globalization. The Historians of Netherlandish Art invited him to co-chair and organize a session on the global aspects of Netherlandish art at the annual meeting of the Renaissance Society of America in Montreal. He gave the summary lecture at a symposium in Prague related to the exhibition devoted to Hans von Aachen that he helped organize. Kaufmann served on the fellowship committee of the European Research Council and as a reader for the Fellowship Committee of the Radcliffe Institute at Harvard University, and worked on Department faculty 2010–11. Front row, left to revising the structure of the National Committee right: Thomas Leisten, Michael Koortbojian, Anne of the History of Art, of which he is vice president. McCauley, James Steward; second row, left to right: He wrote the basic script and advised on a prize- Nino Zchomelidse, Brigid Doherty, Andrew Watsky, winning film on Arcimboldo made by the National Jelena Trkulja; third row, left to right: John Pinto, Gallery of Art in Washington, D.C., to accompany Jerome Silbergeld, Nathan Arrington, Christina Halperin; back row, left to right: Christopher Heuer, their exhibition on the artist. Thomas DaCosta Kaufmann, Esther da Costa Meyer, Kaufmann published “Interpreting Cultural Jeremy Melius, Colin Lang (not pictured: Bridget Transfer and the Consequences of Markets and Alsdorf, Robert Bagley, Rachael DeLue, Hal Foster, Fumi-e, Exchange: Reconsidering ” and, with Hugo Meyer, Chika Okeke-Agulu) Michael North, the introduction, both in Artistic and Cultural Exchanges between Europe and Asia, 1400–1900: Rethinking Markets, Workshops, and University Seminar in Classics titled “Shrines, Collections, edited by Michael North (Ashgate, Statues, Status: Some Augustan Problems.” 2010). He also contributed the essay “The Draw- Anne McCauley’s article “Fawning over Marbles: ings” and 15 entries on drawings, prints, and Robert and Gerardine Macpherson’s Vatican Sculp- Thomas DaCosta Kaufmann et al., Hans von Aachen, 1552–1615: Court paintings to tures and the Role of Photographs in the Reception Hans von Aachen, 1552–1615: Artist in Europe , edited by Thomas Fusenig, the of the Antique” appeared in Art and the Early Court Artist in Europe catalogue of an exhibition that was shown in Photographic Album, edited by Stephen Bann (Yale Aachen, Prague, and Vienna (Deutscher Kunstver- University Press, 2011). Her active schedule of lag, 2010). His article “Addenda to Christoph lectures included “Concerning the Spiritual in Studia Rudolphina Gertner” appeared in for 2010, Photography: Coburn, Pound, and the Vortographs,” Art and and his interventions were published in at the Colloque de Cerisy “Carrefour Stieglitz/The Globalization , edited by James Elkins, Zhivka Sign of Stieglitz” in Cerisy-la-Salle, as well as a Valiavicharska, and Alice Kim (Penn State Univer- longer version at George Washington University; sity Press, 2010). His review of Gary Cohen and “Witch-Work, Art-Work, and the Meanings of Embodying Power Franz A. J. Szabo, (Berghahn Abstraction: Coburn, Pound, and the Vortographs,” Austrian History Year- Books, 2008), appeared in at “Vorticism: New Perspectives,” organized in con- book for 2010. junction with the exhibition The Vorticists: Radical Michael Koortbojian published “Crossing the Artists in London and New York, 1914–1918 at the Pomerium: The Armed Ruler at Rome” inThe Nasher Museum of Art, Duke University; “The Emperor and Rome: Space, Representation, and Art Historian as Ethnographer: Ananda Coomara- Ritual, edited by Björn C. Ewald and Carlos F. swamy’s Photographic Archives,” at the conference Noreña (Cambridge University Press, 2010). “Photo Archives and the Photographic Memory of He presented a paper titled “The Mythology of Art History Part III,” at the Institute of Fine Arts in Everyday Life” at an international conference on New York; and “The Labor of Love: Amateurism’s Michael Koortbojian et al., mythological sarcophagi in Perpignan, France, and Changing Status in the History of Photography,” at The Emperor and Rome: Space, gave a talk on “The Advent of the Divi and the the 37th annual conference of the Association of Representation, and Ritual Fate of Their Imagery” at the London Roman Art Art Historians at the University of Warwick in Seminar at Royal Holloway College, University of England. McCauley’s activities as undergraduate London. In February 2011, he gave a Columbia representative included organizing the Senior Thesis Symposium (see page 32), a field trip to the Barnes fall   1 1 3 Foundation, and a “Major Choices” event, with Seventh Annual Career Enhancement Fellowship Professor John Pinto speaking on the Giuseppe Vasi Fall Retreat organized by the Woodrow Wilson exhibition at the Princeton University Art Museum. National Fellowship Foundation, spoke on “The Art Her articles in press include “Ananda Coomaraswamy Society and Postcolonial Modernism in Nigeria” at and the Myth of Indian in Early Twentieth-Century the Global Indigenous Modernisms workshop at America” (Isabella Stewart Gardner Museum and the Robert Sterling Clark Institute, was a panelist at Penn State Press); “Rethinking Woman in the Age the roundtable “Environment and Object: Recent of Psychoanalysis: Alfred Stieglitz’s Photographs of African Art” at the Tang Museum at Skidmore the Female Nude” in an anthology of essays on College, and participated in the “Workshop on Dia- photography (University of Zurich); a long text sporic African Arts and Black Aesthetics” at Duke for a book on Stieglitz’s The Steerage (University of University. His keynote lectures included “Postcolo- California Press); “Sneak Previews: Nude Photo- nial Dilemmas: African Independence and the graphs by Pierre Bonnard and George Breitner” in Politics of Cultural Autonomy,” at the Roundtable Anne McCauley et al., Art and the the catalogue of the exhibition Snapshot: Painters on 50 Years of African Independence organized by Early Photographic Album and Photography from Bonnard to Vuillard at the Van the Smithsonian National Museum for African Art Gogh Museum, the Phillips Collection, and the and George Washington University; “Changing Indianapolis Museum of Art (Yale University Press); Contexts and Ideas of Contemporary African Art,” and “Secret Seraglios: Tracking the Female Nude in at the seminar “The Arts and Global Dialogue” the History of Nineteenth-Century Photography” at the National Academy of the Arts in Oslo, in Histoire de l’art du XIXe siècle (1848–1914), Norway; and “New Thoughts on the Mbari-Mbayo bilans et perspectives (École du Louvre and Musée Workshops, Osogbo, in the 1960s,” at “Critical d’Orsay). She is currently writing an essay on Encounters: A Graduate Student Symposium in Stieglitz and the Armory Show, for an exhibition Honor of Sidney Littlefield Kasfir” at Emory Uni- organized by the New-York Historical Society cele- versity. With El Anatsui, he co-presented the annual brating the centennial of the Armory Show, and Ruth Morris Bakwin Lecture at Wellesley College. continuing work on a book on American modernist His other invited lectures included “Cosmology, photography and World War I. This fall, she will Power, and Masking in West Africa,” at the Univer- teach the graduate seminar “The Nude in Photo- sity of Albany Art Museum, and “El Anatsui and graphy,” which will include a class trip to Paris Contemporary African Art,” at the Royal Ontario during fall break. Museum in Toronto. Okeke-Agulu also served as Chika Okeke-Agulu, with Udo Kittelmann and curatorial consultant for the exhibition Environment Britta Schmitz, co-edited Who Knows Tomorrow, a and Object in Recent African Art at Skidmore Col- volume accompanying the exhibition held at the lege’s Tang Museum. During the 2010–11 academic year, he was on leave as a Woodrow Wilson Fellow. Who Knows Tomorrow, co-edited Nationalgalerie in Berlin (König, 2010); he also This spring he was appointed Charles G. Osgood and with contribution by Chika contributed the essay “No Condition Is Permanent: Okeke-Agulu The Art and Politics of Euro-African Encounter.” University Preceptor for a three-year term. With Phyllis Galembo, he coauthored Maske (Chris In the fall, John Pinto presented the keynote lec- Boot, 2010). He published the articles “Who ture “‘The Most Glorious Place in the Universal Knows Tomorrow” and “Conversation with Zarina World’: Architecture and Urbanism in the Rome Bhimji,” in Art Journal (winter 2011), and “The Art of Giuseppe Vasi” at an international conference Society and the Making of Postcolonial Modernism on the 18th-century printmaker at the University in Nigeria,” in South Atlantic Quarterly (summer of Oregon. In the spring, he consulted with Laura 2010). As moderator, he published “Nka Roundta- Giles, curator of prints and drawings, and other staff ble II: Contemporary African Art History and the members at the Princeton University Art Museum Scholarship,” in Nka: Journal of Contemporary on the museum’s exhibition Lasting Impressions of the African Art (spring 2010), and his catalogue essay Grand Tour: Giuseppe Vasi’s Rome. “Critical Humour and Expressive Formalism in the Jerome Silbergeld, director of the Tang Center for Paintings of dele jegede” appeared in Peregrinations: East Asian Art at Princeton, published the A Solo Exhibition of Drawings and Paintings by dele proceedings of a symposium held the previous year jegede (Nike Art Gallery, Lagos, 2011). His book at Princeton, ARTiculations: Undefining Chinese chapters and essays published in 2010–11 include: Contemporary Art, co-edited with Dora Ching “Mark-Making and El Anatsui’s Reinvention of (Princeton University Press, 2010), as well as a Sculpture,” in El Anatsui: When I Last Wrote to You number of articles, including “All Receding Jerome Silbergeld et al., about Africa, edited by Lisa Binder (Museum for Together, One Hundred Slanting Lines: Replication, Masterpieces of Ancient Chinese African Art, 2010); and “Modern och nutida Paintings from the Tang to Variation, and Some Fundamental Problems in the afrikansk konst,” in Kultur i afrika, edited by Mai Study of Chinese Paintings of Architecture,” in Yuan Dynasty in Japanese and Palmberg and Carita Backstrom (Tranan Publishing Chinese Collections Masterpieces of Ancient Chinese Paintings from the House, 2010). In fall 2010, Okeke-Agulu presented Tang to Yuan Dynasty in Japanese and Chinese Collec- the paper “Postcolonial Modernism: Art and Decol- tions (Shanghai Museum of Art, 2010), and “From onization in 20th-Century Nigerian Art” at the

4 fall   1 1 Tragedy to Farce: Things Forgotten and Remem- medieval Easter liturgy in southern Italy in the bered in Contemporary Chinese Art,” in China and 10th–12th centuries, focusing on Exultet rolls, a Revolution: History, Parody, and Memory in Contem- unique manuscript type. Her article “The Aura of porary Art (University of Sydney, Australia, 2010). the Numinous and Its Reproduction: Medieval On the lecture circuit, he gave a talk on “What Is Paintings of the Savior in Rome and Latium” the ‘Chinese Motion’ in Chinese Motion Pictures” appeared in the Memoirs of the American Academy in at the University of British Columbia–Vancouver Rome for 2010. Another essay, “The Lateran Savior (available on YouTube); a panel lecture on Manchu- and Its Medieval Replicas: Considerations on the period imperial gardens as seen by the Chinese for Appropriation of a Byzantine Image Type in the the Peabody Essex Museum in Salem, Massachu- West” (in German), is forthcoming in Byzanz in setts; a talk at the Museum of Modern Art in New Europa: Europas östliches Erbe, edited by Michael York; and the Rudelson Annual Lecture at Dart- Altripp (Brepols, 2011). She also completed the mouth College. The highlight of the year was manuscript of a book titled The Word in Action: Art, a trip to study the 5th- through 14th-century Ritual, and Civic Identity in Medieval South Italy, Buddhist cave paintings at Dunhuang in north- which has been accepted for publication by Penn western China, for a forthcoming publication on State University Press. Zchomelidse lectured at the the Lo photographic archive of Dunhuang by the University of Zurich and at the Medieval Table at Utagawa Kunisada, Iwai Tang Center. the Institute for Advanced Study. This year she will Kumesaburo III as Princess Wakana Raising a Large Spider Andrew Watsky, director of graduate studies, teach a new lecture course on medieval art and through Incantation, an 1861 taught a spring 2011 undergraduate seminar, “The architecture of the Holy Land, and, with Jelena Trkulja, a new upper-level undergraduate seminar, color woodblock print from the Japanese Print,” in which his students researched, series Contest of Magic Scenes by debated, and purchased (with funding from the “‘The Two Romes’: Rome and Constantinople in the Middle Ages.” Toyokuni, selected by students department’s Laura P. Hall Memorial Fund) two in Andrew M. Watsky’s class for significant 19th-century prints for the collections of acquisition by the Princeton the Princeton University Art Museum. He is work- Visiting Faculty University Art Museum. Museum ing on a book centered on a 16th-century chanoyu purchase, Laura P. Hall Memorial Michael Golec, associate professor of the history of (tea ceremony) treatise, the Yamanoue no Sōjiki Fund, 2011-57 (The Records of Yamanoue Sōji), focusing on Japa- design at the School of the Art Institute of Chicago, nese attitudes toward the function, aesthetics, and was a visiting associate professor and the Anschutz meaning of chanoyu utensils, and especially the Distinguished Fellow in American Studies in spring practice of bestowing personal names on inanimate 2011, teaching the course “Pictographic Modernity objects. Watsky lectured on various aspects of this in the United States.” project this past year at many venues, including the Christina Halperin, a Program in Latin American Art Institute of Chicago, the Asian Art Museum in Studies/Cotsen Fellow in the Society of Fellows, who San Francisco, the Walters Art Museum, Harvard holds a Ph.D. from the University of California– University, Johns Hopkins University, and the Riverside, taught courses on Mesoamerican material annual meeting of the Association for Asian Stud- culture and “Gender and Latin American States.” ies. He is also involved in a long-term project of She is currently excavating at Tayasal, Peten, Guate- research, presentations, publication, and exhibition mala, one of the last strongholds of Maya autonomy of a recent major acquisition by the Freer Gallery of during the early colonial period. Art and Arthur M. Sackler Gallery in Washington, Colin Lang, whose 2010 Yale dissertation focuses D.C.—a large ceramic jar named Chigusa, a cha- on the work of four artists who studied under noyu object famed in Japan since the 16th century Joseph Beuys at the Staatliche Kunstakademie in that appears in the Yamanoue no Sōjiki; it is the only Düsseldorf, taught a variety of courses in 20th- Meaning in Motion: The Semantics of Movement in Medieval Art, co- such object in a collection outside Japan. Watsky century and contemporary art, including a seminar edited and with contribution by completed a study of a portrait of Hosokawa Yusai on postwar German art and an undergraduate Nino Zchomelidse in which the powerful warrior is cast in the role of seminar, “Process and Performance.” archetypal poet; it will be published next year in a festschrift in honor of Professor Emeritus Yoshiaki Jeremy Melius, a postdoctoral research associate Shimizu, which Watsky is co-editing. who earned his Ph.D. at the University of California–Berkeley, taught “Neoclassicism through Nino Zchomelidse published Meaning in Motion: Impressionism” and “Rethinking Aestheticism,” a The Semantics of Movement in Medieval Art 400-level seminar in 19th-century European art. (Princeton University Press, 2011), which she co-edited with Giovanni Freni. The collection of Irina Oryshkevich, whose Columbia University essays takes a new approach to medieval art, reveal- dissertation examines the history of the catacombs ing the importance of movement in the physical, in the Middle Ages and Renaissance, taught “Italian emotional, and intellectual experience of art and Renaissance Painting and Sculpture” in fall 2010. architecture in the Middle Ages. Her contribution Jelena Trkulja, a Byzantinist who received her to the volume examines the interaction of move- Ph.D. from the department in 2004, returned ment, images, and the viewer’s reception in the fall   1 1 5 to Princeton as a lecturer, teaching courses on the museum during his tenure as curator, as well as medieval art and on the art and architecture associ- objects that he used in teaching and in his annual ated with pilgrimage. fall exhibition, What Photographs Look Like. The exhibition continues through October 23. Emeritus Faculty Slobodan Ćurčić moved to Thessaloniki, Greece, after retiring last June and since then he has been Patricia Fortini Brown gave the 2010 department active on the lecture circuit. In October, he gave a reunions lecture, “Princeton in the Mediterranean,” paper titled “The Katholikon of Hilandar Monas- which focused on courses that she had taught or tery and Its Exonarthex: The Dynamics of co-taught that were sponsored by the Program in Architectural Production under the Palaeologoi” at Hellenic Studies. Since then she has found that the symposium “Architecture of Mount Athos, in retirement does not mean relaxation. After a Memory of Paulos Mylonas” in Thessaloniki. In Jan- research trip to Istanbul and Venice during the uary, he gave the keynote lecture “The Place of summer of 2010, she gave lectures for Save Venice Serdica in the 6th-Century Development of Domed and the Greenwich Antiques Society and was the Patricia Fortini Brown et al., Architecture in the Balkans” at the conference “Ser- The Classical Tradition Stephen E. Ostrow Distinguished Visitor in the dica–Sredec–Sofia: Urban Re-Inventions through Visual Arts at Reed College, where she gave a lecture Three Millennia” in Vienna. He gave two lectures at and two workshops. Around that time, her short Oxford University in February: “Columns, Towers, essay, “Venice,” appeared in The Classical Tradition, and Holy Men: Physical and Spiritual Aspects of edited by Anthony Grafton, Glenn Most, and Height in Late Antiquity and Byzantium” and “The Salvatore Settis (Harvard University Press, 2010). Roots of the ‘Balkanization’ of the Historiography of In December, the department and the Council of Medieval Architecture in the Balkans.” Ćurčić is also the Humanities sponsored a symposium, “Giorgione serving as curatorial consultant for the exhibition and His Times: Confronting Alternate Realities,” in Transition: Art of the Ancient World from the 3rd to honor of her retirement (see page 19). Brown’s the 7th Century, which is being organized by the schedule remained full in 2011. After presenting a Onassis Foundation (USA) and will open this paper, “Pietro Bembo and the Art of Diplomacy,” at December. the symposium “Pietro Bembo e le arti,” sponsored by the Centro Internazionale di Studi di Architet- James Marrow was named a fellow of the American tura Andrea Palladio in Padua in February, she gave Academy of Arts and Sciences. Founded in 1780, a lecture on “Empire of Fragments: Venice beyond the academy is an independent policy research the Lagoon” at Lafayette College, in early March. center, and its members include more than 250 Peter Bunnell (front) and art Later that month, at the Renaissance Society of Nobel laureates and 60 Pulitzer Prize winners. With museum director James Steward America’s annual meeting in Montreal, she partici- Richard A. Linenthal and William Noel, Marrow at the reception where the pated in six sessions on “Geographies of Empire: co-edited The Medieval Book: Glosses from Friends Peter C. Bunnell Curatorship The Venetian Stato di Mar and Stato di Terra & Colleagues of Christopher De Hamel (Hes & De was announced Reconsidered” as chair, presenter of a paper, and Graaf, 2010) and contributed the essay “A Dutch (?) participant in a roundtable. In May and June she Miniaturist Active at the Turn of the 16th Century.” returned to Venice and Istria to continue her Yoshiaki Shimizu gave papers on Itō Jakuchū research for two books on the art and culture of the (1716–1800) at the Freie Universität, Berlin, and greater Venetian empire. Brown was elected Socio Heidelberg University, addressing the issues of artis- Straniero (Corresponding Fellow) by the Ateneo tic creativity and natural disasters, such as the fire of Veneto di Scienze, Lettere ed Arti, Venice, in 2010, 1788 that destroyed Kyoto, including the artist’s and will be awarded the Serena Medal for Italian house and workplace. In spring 2011, he taught a Studies by the British Academy in a ceremony to be general course on the arts of Japan and a seminar on held in London in October 2011. Jakuchū at the Freie Universität. This fall, he is on Peter Bunnell was honored by the establishment of the faculty of the Sino-Japanese Graduate Education an endowed curatorship in photography named for Consortium (Josai International University in Tokyo him at the Princeton University Art Museum. The and Chiba, Japan, and Dalian University in Dalian, formal announcement of the new curatorship took China), giving classes in Japanese art history to place on May 6 at a reception for the museum’s Chinese graduate students. advisory council attended by some of the lead John Wilmerding maintained his schedule of the donors. The newly appointed Peter C. Bunnell last few years, teaching the seminar “Art and Culture Flyer for The Medieval Book: Curator of Photography is Joel Smith *01, a former of the 1960s” in the Program in American Studies Glosses from Friends & Colleagues student of Bunnell’s who has been curator of pho- this spring. During the past year, he gave a number of Christopher De Hamel, tography at the museum since 2005. The museum co-edited and with contribution of lectures around the country, including at the Uni- is celebrating Bunnell’s legacy with the exhibition by James Marrow versity of Georgia, the Fort Lauderdale Museum of The Bunnell Decades, showcasing photographs that Art, the Center for the Study of the Visual Arts at represent some of his scholarly interests and the the National Gallery, and the Art Seminar Group in principal exhibitions of photography mounted at Baltimore. In November he was invited to deliver a

6 fall   1 1 memorial tribute to Andrew Wyeth at the American Academy of Arts and Letters. Wilmerding is active on several boards including Crystal Bridges

Museum of American Art in Bentonville, Arkansas, John Blazejewski which will open on November 11, 2011. His cur- rent research is ongoing for several substantial exhibition projects: Frederic Church in Maine for Olana, Houston, and the Portland, Maine, Museum of Art, opening in summer 2012; a retro- spective of Robert Indiana’s paintings and sculpture at the Grand Palais, Paris, opening in November 2012; and a retrospective of Indiana’s prints for the Indianapolis Museum of Art in April 2013. Discus- sions are also underway with a New York gallery for a pop still life exhibition. Students and professor dressed in “period Museum acquisition honors costumes” for the final meeting of Professor John emeritus faculty Wilmerding’s undergraduate seminar on pop art and culture of the 1960s To mark the recent retirement of professors William A. P. Childs, Hugo Meyer, and T. Leslie Shear, Jr., the department partnered with the California–Berkeley (M.A. and Ph.D. in classical Princeton University Art Museum to purchase in archaeology). His dissertation, “Between Victory and Defeat: Framing the Fallen Warrior in Fifth- Century Athenian Art,” examined the place of the war dead in the Athenian physical, artistic, and cognitive landscapes, and analyzed communal Bruce Bruce M. White responses to death and defeat. He is currently revising and expanding his dissertation into a book that focuses on the interaction between objects and both collective and individual memo- ries. His research has been supported by fellowships from the Gates Cambridge Trust and the Fulbright Nathan Arrington Foundation. Arrington’s article on the Athenian public cemetery, “Topographic Semantics: The Location of the Athenian Public Cemetery and Its Signifi- cance for the Nascent Democracy,” appeared in the journal Hesperia (October–December 2010); a second article, “Inscribing Defeat: The Commem- orative Dynamics of the Athenian Casualty Lists,” is forthcoming in Classical Antiquity. He is their honor an ancient Greek vase, an acquisition currently completing an article that re-dates and made possible in part by a gift from Sol and Col- re-contextualizes an Athenian war monument, leen Rabin. This lidded ceramic container, orpyxis , which he studied at the Epigraphical Museum in which was first documented in the collection of Athens this summer. Arrington has also begun a Franz Trau (d. Vienna, 1931), was made in Boeotia project on the Archaic Heroön at the Panhellenic in the early 6th century B.C.E. Its lid features a Sanctuary of Zeus at Nemea, investigating the rela- knob in the form of a woman’s head with white- tionship among natural, political, and religious painted skin, a necklace, bobbed hair, a pointed landscapes. nose, and an alert expression that relates it to con- Last year he delivered talks at the annual meet- The temple of Zeus at the ancient temporary sculpture in other media. This rare and ing of the Archaeological Institute of America, site of Nemea in Greece, where remarkable work of Archaic Greek art is a fitting Bryn Mawr College, and Cornell University. He Nathan Arrington is field director tribute to three rare and remarkable scholars. was honored to give the opening lecture for the department’s graduate student conference, “Draw- New Faculty ing a Blank: Past and Present.” Next year, he is Nathan Arrington joined the department last slated to speak at Brown University, and again at fall as assistant professor of classical archaeology. the annual meeting of the Archaeological Institute He received his A.B. with highest honors from of America. Princeton, interned at the Princeton University Art Arrington has excavated at sites dating from the Museum, then studied at the University of Cam- Bronze Age to the medieval period in Russia, Israel, bridge (M.Phil. in classics) and the University of and Cyprus, and in mainland Greece at Mycenae, fall   1 1 7 Corinth, and Nemea. He is particularly interested Crafts Movement in America, 1876–1916 opened at in archaeological methodology and theory, and in the Princeton University Art Museum in fall 1972, increasing the dialogue between archaeologists and and traveled to the Art Institute of Chicago and the art historians. This summer, he took a group of Smithsonian’s Renwick Gallery. The catalogue has Princeton undergraduates to participate in the remained in print ever since, and continues to serve excavations at Nemea, where he is field director. as the sourcebook for scholarship in the field. Last year, Arrington taught the first segment Among Clark’s many writings were chapters of the introduction to the history of art and the in the major Olbrich publication to date, Joseph 400-level archaeology seminar required for concen- M. Olbrich, 1867–1908 (1983); a foray into later trators. He also offered two new courses: a aesthetic theory in Design in America: The Cran- 400-level seminar on war and Greek art and a brook Vision, 1925–1950 (1983); “The Art that graduate seminar on architectural sculpture and Is Life”: The Arts & Crafts Movement in America, sacred space. He looks forward to teaching two 1875–1920, the successor to his Princeton exhibi- more new classes this year: an undergraduate class tion (1987); and an essay on Mullgardt in Toward on Classical Greek art and a graduate seminar, a Simpler Way of Life: The Arts & Crafts Architects of “The Divine Image in Ancient Greece.” California (1997). Robert Judson Clark et al., At Princeton, Clark regularly taught undergrad- Joseph M. Olbrich, 1867–1908 In Memoriam: uate courses on modern architecture and American art, as well as graduate seminars on the Vienna Robert Judson Clark Secession, Olbrich, Arts & Crafts, and the archi- Robert Judson Clark, historian of modern and tecture of Princeton. The last gave him a deep American architecture, died of cancer on January 4, understanding of the entire history of the campus, 2011, at his home in Lafayette, California. He and his records of it are deposited in the Mudd was 73. Library on campus. His dedication to teaching was Born in Hawaii in 1937, Clark moved with legendary, and he guided countless undergraduates his family to California after the Japanese attack on through their senior theses with infinite patience. Pearl Harbor. He immediately fell in love with the While I was preparing my dissertation, on a build- landscape and culture of his new home; the study ing by Frank Lloyd Wright, he was often hesitant to of its architecture was to drive his work for the rest critique my assertions but was not shy about attack- of his life. ing the way I explained them, resulting in revisions Clark received his B.A. from the University of of many hundreds of pages. He was, in short, a California–Berkeley in 1960. Before studying master craftsman of the English language. architectural history, he enrolled in painting classes Following his retirement in 1996, Clark returned to California with his family and devoted Robert Judson Clark and worked in the studio of Elaine Badgley Arnoux. His admiration of and loyalty to this early the next 15 years to his life’s scholarly work: the mentor led him to prepare a retrospective of her architecture of California. He curated the exhibition work at the San Luis Obispo Museum of Art in Roma/Pacifica: The Phoebe Hearst International 2004. In 1964, he received his M.A. from Stanford Architectural Competition and the Berkeley Campus, University, writing a thesis on the Bay-area archi- 1896–1930 at the Berkeley Art Museum in 2000. tect Louis Christian Mullgardt. Two years later, he A frequent lecturer, he also became immersed in the mounted a major exhibition on Mullgardt at San preservation and restoration of many important Francisco’s de Young Museum. landmarks, particularly Bernard Maybeck’s Christian He then began graduate studies at Princeton, Science Church and Greene & Greene’s Thorsen writing a dissertation on a subject that had drawn House, both in Berkeley. his attention during several years abroad: “Joseph On a personal note, I cherish the memory of Maria Olbrich and Vienna.” Written under the his wonderful presence that made traveling with direction of Donald Drew Egbert, his thesis was him to the buildings he loved so memorable. Once, during a stop in Chicago, after a night on my Catalogue of the completed in 1974. By this time, Clark had been parents’ redwood-paneled porch, he arose bright groundbreaking exhibition teaching in the Department of Art and Archaeol- The Arts and Crafts Movement in ogy for half a dozen years. and cheery, explaining, “I always sleep better in America, 1876–1916, organized Clark’s extraordinary sense of form, color, redwood.” It is my fondest hope that he has found by Robert Judson Clark and style served him well in his research into the rest among the beloved redwood rooms of the Aesthetic, Arts & Crafts, and Art Nouveau move- “ultimate bungalows” of his dreams. ments, and the beginnings of 20th-century modern Robert Judson Clark is survived by his wife, architecture. His interest in the seemingly disparate Nancy, and his children Charlotte and Logan and subjects of fine arts, Mullgardt, and Olbrich led their families. him to the initiative for which he will be most Paul Kruty *89 remembered: the first major study of the national Professor of Architectural History, expression of the international Arts & Crafts move- University of Illinois ment. His groundbreaking exhibition The Arts and

8 fall   1 1 Graduate Student News

Alex Bacon is working on a dissertation, tentatively Institute of Chicago, where she will teach a 20th- titled “Opaque Surfaces and Lived Illusions: Min- century survey course and a seminar on German imalism and the Status of Painting in the 1960s,” modernism. [[email protected]] which examines the debates and controversies that Dazhi Cao’s dissertation focuses on ancient trade raged around painting in the Minimalist circles of and the many elaborate Shang bronzes found on 1960s New York. He has recently published essays the Loess Plateau in northwestern China, seek- on contemporary artists Francis Alÿs (Yale Univer- ing an explanation for the presence of such valuable sity Press, 2010) and Gilbert & George (ARTicle imported items in an impoverished region. His Press, 2007). With Professor Hal Foster, he pre- preliminary study suggests that an ancient trade net- pared a collection of essays on the British Pop work connected the Shang civilization and the Loess artist Richard Hamilton (MIT Press, 2009). He Plateau, not only importing luxury goods but also has also curated two exhibitions at the Princeton introducing the horse and the chariot into China. University Art Museum: Early Warhol in Context Richard Hamilton, edited by Since the region is an archaeological void, he stud- Hal Foster with Alex Bacon and Cross-Cultural Exchange between Latin Ameri- ied an old collection of potsherds from thousands can and European Art in the 20th Century. In 2008, of sites, looking for examples from the period. Cao he worked as an intern and research assistant on has identified 120 different sites in the sherd collec- the Bauhaus exhibition at the Museum of Modern tion and has located 20 of them on the ground. His Art in New York. Bacon is interested in a range field survey has also identified at least three pairs of of issues pertaining to modern and contemporary ferry sites of the late second millennium B.C.E. on art, including Abstract Expressionism, Minimal- the banks of the Yellow River. Cao also traveled to ism, Post-Minimalism, Land Art, California Light various sites to examine nearly 200 bronzes and to and Space Art, Conceptual Art, Pop Art, the status collect more than 100 samples of bronze corrosion of painting since 1960, and the historiography of for lead isotope analysis, and animal bone samples Modernism. [[email protected]] for strontium isotope analysis, both for provenance Patricia Blessing, a fifth-year graduate student in study. [[email protected]] Islamic art and archaeology, is currently working on her dissertation on Seljuk monuments, “Redefining the Lands of Rūm: Architecture and Style in East- ern Anatolia, 1240–1320,” focusing on the transformation of Islamic architecture in medieval Anatolia within the framework of cross-cultural Patricia Blessing in Kayseri, exchange between Byzantium, Armenia, the Turkey, where she did research broader Islamic world, and the Mongol Empire. for her dissertation on Seljuk During the 2010–11 academic year, she completed monuments her dissertation research in Rome, Berlin, and throughout Turkey with the support of a Samuel H. Kress Foundation Travel Fellowship. In summer 2010, she presented a paper, titled “Re-evaluating ‘Seljuk’ Style in Late Thirteenth-century Anatolia,” Nika Elder at Cape Coast Castle in Ghana at “Linking Islamic and Christian Art: Transfer and Comparison,” a forum for young researchers at the Nika Elder is a sixth-year Ph.D. candidate special- Freie Universität in Berlin. Her contribution will be izing in American art. Her dissertation analyzes the published in the Medieval History Journal for fall still lifes of the late-19th-century painter William 2012. A second essay, “Allegiance, Property, and Harnett through the lens of his cultural context. Praise: Monumental Inscriptions in 13th-Century In January, under the auspices of an Alisa Mellon Anatolia,” is forthcoming in The Writing on the Bruce Pre-Doctoral Fellowship for Historians of Wall: Calligraphy in Islamic Architecture, edited by American Art to Travel Abroad, from the Center for Mohammad Gharipour and Irvin Cemil Schick. Advanced Study in the Visual Arts, Elder traveled [[email protected]] to Ghana, The Gambia, and Senegal. She studied Annie Bourneuf defended her dissertation, “The the material culture of the transatlantic slave trade Visible and the Legible: Paul Klee, 1916–1923,” and how the slave trade is represented in West Afri- Shang dynasty bronze from can museums, topics on which she hopes to offer in December. This fall, she begins teaching as an the Loess Plateau, a focus of assistant professor in the Department of Art His- courses in the future. Elder also completed an arti- Dazhi Cao’s research tory, Theory, and Criticism at the School of the Art cle about the contemporary artist Lorna Simpson fall   1 1 9 and has submitted it for review. In the spring, she techniques and ideas between media. Ho then led a delivered talks based on her dissertation at the Frick hands-on workshop on painting with enamel on Symposium on the History of Art in New York and porcelain, and the day ended with a dynamic round- the graduate symposium held in conjunction with table discussion. Hatch recently published two the exhibition Anatomy/Academy at the Pennsyl- reviews—in Orientations for April 2011 and LEAP vania Academy of the Fine Arts. Throughout the for February 2011—of Fresh Ink, an exhibition at year, she was thrilled to work with the department’s the Museum of Fine Arts, Boston. He passed his seniors as the leader of the Senior Thesis Writing general exams in April and is currently gathering Group. [[email protected]] material on several early-19th-century Chinese Victoria Sears Goldman is currently working on painters for a dissertation proposal this fall. her dissertation, “‘The most beautiful Punchinelli in [[email protected]] the world’: A Comprehensive Study of the Punchi- Marius Bratsberg Hauknes spent most of the year nello Drawings of Giovanni Battista Tiepolo,” a working on his dissertation, currently titled “Imago, thorough exploration of the approximately 35 Figura, Scientia: The Image of the World in 13th- Megan Goldman-Petri at drawings depicting Punchinello, a character from century Rome,” a study of three late medieval fresco Alba Fucens, an ancient Roman town in the Abruzzi the commedia dell’arte. Goldman held two prov- cycles in Rome. In September, he presented part of enance research internships in summer 2010. For his research in “Welt, Wissen, Macht: Enzyklopä- the Commission for Looted Art in Europe, she con- dische Bildprogramme vom Ducento bis zum ducted provenance research on four paintings that Quattrocento,” a workshop organized by the Kunst- were looted during World War II and are missing. historisches Institut in Florenz. Hauknes has been At the International Foundation for Art Research awarded a 24-month Chester Dale Fellowship by (IFAR) she worked on establishing the provenances the Center for Advanced Study in the Visual Arts of several paintings in an American collection (CASVA) at the National Gallery of Art in Washing- and also conducted research for art authentica- ton, D.C. During the 2011–12 academic year he tion projects. This summer, she attended an art will undertake dissertation research in Rome as a crime investigation seminar run by the former spe- fellow of the Bibliotheca Hertziana (Max-Planck cial agent in charge of the FBI’s Art Theft Program. Institut für Kunstgeschichte) and will spend the fol- [[email protected]] lowing year as a fellow in residence at CASVA. Megan Goldman-Petri completed her second year [[email protected]] of graduate study in classical art and archaeology Johanna Heinrichs, a fifth-year student in Renais- and passed her general exams in January. With sance architecture, continued to research and write Jaqueline Sturm, she co-organized this year’s annual her dissertation, “Between City and Country: graduate student conference, “Drawing a Blank: Francesco Pisani, Palladio, and Sixteenth-Century Past and Present.” She is currently working with Architecture in the Veneto.” With the support of a Professor Michael Koortbojian on a dissertation Gladys Krieble Delmas Foundation grant, she spent project that examines the phenomenon of the part of the year in Padua and Venice, working in The Loggia Cornaro in Padua, one building of monumental altars without temples public and private libraries and archives. Her of the monuments being studied during the Roman Principate. In June, Goldman- research on Francesco Pisani, the patron of the Palla- by Johanna Heinrichs Petri excavated at Sant’Omobono in the Forum dian villa at Montagnana and a smaller villa in Boarium in Rome, a project directed by Professor Monselice, took her to a private collection housed in Nicola Terrenato of the University of Michigan, a medieval tower that stands in an 18th-century villa whose aim is to better understand the stratigraphic garden near Padua. In April, Heinrichs presented a sequence of one of Rome’s oldest and most sacred paper titled “Francesco Pisani’s Triumphal Architec- areas. In July and August, she was at the Goethe- ture” at the Society of Architectural Historians’ Institute in Berlin, where she had a DAAD annual meeting in New Orleans. She discussed summer language fellowship. Palladio’s treatise illustration of Villa Pisani, arguing [[email protected]] that its unbuilt wings were in fact part of the origi- Michael Hatch, with Professor Susan Naquin of nal project for the patron, Francesco Pisani. the East Asian studies department, co-organized the [[email protected]] graduate workshop “Intermateriality: Porcelain and Megan Heuer is a fifth-year student whose research Painting” as part of the Princeton Institue for Inter- encompasses modern and contemporary art. Her Jun Hu photographing at national and Regional Affairs and East Asian Studies dissertation, “A New Realism: Fernand Léger 1918– the cave site of Dunhuang in workshop series “East Asia and the Modern World: 1931,” argues for Léger’s multimedia practice as a northwestern China Fresh Perspectives on Intellectual and Cultural response to transformations of painting and other History, 1550–1800: Artisans and Artifacts.” Partic- kinds of images emerging from the social and ipants included professors Robert Bagley, Ellen aesthetic shifts wrought by Cubism, cinema, and Huang of the University of California–Berkeley, World War I. A Donald and Mary Hyde Fellowship and Sin-ying Ho, a ceramicist who teaches at supported her research in collections and archives CUNY Queens, who spoke about the transfer of in Paris, London, Otterlo, Stockholm, and Munich

10 fall   1 1 in 2010–11. In February, Heuer presented her originally studied in 2007 in the Howard Comfort recent research on Léger’s 1921 painting Le Grand Summer Program in Roman Pottery at the Ameri- Déjeuner in a paper titled “At War with Abstrac- can Academy in Rome. [[email protected]] tion: Léger’s Cubism in the 1920s” in the session Jessica Maxwell, a fourth-year modernist, is writing “The Afterlife of Cubism” at the 2011 annual a dissertation on the sculptor Martin Puryear, who meeting of the College Art Association. She also rose to prominence in the late 1970s alongside the published articles and reviews of contemporary art post-Minimalist generation. Working constructively exhibitions in New York, Amsterdam, and Paris on and employing unconventional materials such as www.artforum.com . [[email protected]] rawhide and wire mesh coated with tar, Puryear Jun Hu precepted for Art 100 in the fall semester, created a body of unwieldy abstractions that draw working with Professor Nathan Arrington. During on a heterogeneous array of imagery, skills, and the fall break, he was part of a research trip, trades acquired in his nomadic travels. Maxwell’s organized by the Tang Center, to Dunhuang, a dissertation, “Heterogeneous Objects: The Sculpture Buddhist cave site between an oasis town and the of Martin Puryear,” examines Puryear’s sustained ever-shifting sand dunes in northwestern China engagement with nomadism—a migratory pattern that preserves a thousand years of history and art, of displacement and adaptation—as a viable model Leigh Lieberman with a Roman from the 5th through the 14th century. For his of interpretation for his sculptures and the subjects transport amphora unearthed at dissertation research, he explored the cave interiors, that they depict. Her essay on William Pope.L will the Porta Stabia in Pompeii as well as a recently excavated site nearby. In the appear in an upcoming issue of Nka magazine. spring, he presented a paper on the nature of paint- [[email protected]] ing criticism in 11th-century China at the annual Jessica Paga spent the year as the Gorham P. Stevens conference of the Association of the Asian Studies Advanced Fellow at the American School of Classi- in Honolulu and participated in a Dunhuang work- cal Studies at Athens, where she continued work on shop organized by the Tang Center on campus. her dissertation, “Architectural Agency and the Con- During the summer he continued work on his struction of Athenian Democracy.” Paga’s article, dissertation, “Embracing the Circle: Domes in “Deme Theaters in Attica and the Trittys System,” Early East Asian Architecture, ca. 200–750.” appeared in the fall 2010 issue of the journal [[email protected]] Hesperia, and she has two more articles in prepara- Leigh Lieberman, a fourth-year graduate student tion. At the annual meeting of the Archaeological in classical archaeology, completed her exams in Institute of America, she presented her current January, then worked on her dissertation prospec- work, co-authored with Margaret Miles *80, on the tus concerning cult and material culture in Sicily Archaic Temple of Poseidon at Sounion, and she and southern Italy. This summer, she returned to spoke on the Athenian Treasury at Delphi at the the Pompeii Archaeological Research Project: Porta annual conference of the Classical Association at Stabia for her fourth season in the dirt. As the proj- Durham University in England. Paga served as a Martin Puryear, C.F.A.O., 2006– ect’s site and finds registrar, Lieberman serves as a tour guide for the United States embassy and a 2007, painted and unpainted pine liaison between the trench supervisors, the finds trench supervisor at the excavations in Ancient and found wheelbarrow, one of specialists, and the project’s comprehensive data- Corinth. She also traveled in western Turkey and to the works being studied by Jessica Maxwell (courtesy Donald Young base. Next year she will be a regular member at the the islands of Andros, Mykonos, Delos, Melos, Gallery, Chicago) American School of Classical Studies at Athens. Thasos, Aegina, and Crete. This summer she [[email protected]] returned to the excavations at Argilos, Greece, where Emma Ljung, a doctoral candidate in classical she has worked since 2008, as an area supervisor and archaeology, spent the year teaching as an adjunct field school lecturer. [[email protected]] professor at Rider University, introducing students Elizabeth J. Petcu, the 2010–11 McCrindle Intern from a variety of backgrounds to the study of art in European Painting and Sculpture at the history. In the spring, she gave the paper “Going Princeton University Art Museum, assisted in the Where the Money Is? Economic Motives for the recasting of the Renaissance and Baroque galleries Migration of Aitolian Mercenaries in the 3rd and co-organized a talk titled “Preparing a Draft, Century BCE” at a University of Pennsylvania Presenting a Design: Central European Drawing, conference held at Penn’s Museum of Archaeology 1550–1750.” In March, she traveled to England to and Anthropology. While writing her dissertation, participate in the Oxford-Münster-Princeton which examines the economic responses to antiqui- Working Group on Visual Culture, presenting a ty’s version of a recession in late Hellenistic Aitolia, paper on German Renaissance Christological sculp- Ljung has benefitted greatly from the “dissertation tures with mutable properties. She gave another boot camps” sponsored by the University’s Writing paper, “Civic Patronage in Vienna Gloriosa: Johann Center. This summer she taught a course on the Bernhard Fischer von Erlach’s Ephemeral Arch of intersections of art and literature at Rider. She also the City Council,” at the annual meeting of the The journal Hesperia features worked on the final publication of material from a Renaissance Society of America in Montreal. Her Jessica Paga’s article on theaters closed imperial context at Ostia, which she ongoing collaboration with graduate student Sarah in Attica fall   1 1 11 Lynch resulted in a trip to Prague for an interna- of San Giorgio Maggiore, where she is a resident tional conference on the Czech Baroque painter scholar at the Vittore Branca Center. In the spring, Karel Škréta, where they presented new additions Spratt will travel to Bulgaria, where she will hold a to the artist’s oeuvre. Petcu received her M.A. in fellowship at the American Research Center in January and proposed her dissertation, provision- Sofia. [[email protected]] ally titled “Orders of Elaboration: Wendel Nebojša Stanković gave an on-site lecture in June Dietterlin and the Architectura of 1593–98.” She 2010 at the monastery of Hagios Ioannis Prodro- spent the summer at the Herzog August Bibliothek mos in Greece, for the Mount Menoikeion Seminar in Wolfenbüttel, Germany, researching early organized by Princeton’s Program in Hellenic Stud- modern Central European architectural tracts and ies. He spoke on the narthexes and other subsidiary their place within broader contemporary debates spaces of the monastery’s main church, built in the about architectural theory, ornament, and design. 13th and 14th centuries. He then traveled to [[email protected]] Mount Athos, where he studied the chronology Haneen Rabie studies the history of the decorative and planning of the narthex of Hilandar Monastery. Etching of an entablature by arts, design, urbanism, and the built environment He presented the results of his study in the paper Wendel Dietterlin, whose work is in the modern period. Her current research focuses “A Shift in Athonite Monastic Service and Archi- the subject of Elizabeth Petcu’s on early design reform efforts during the Second tecture: The Narthex of Hilandar’s Katholikon” at dissertation research Empire in France. Her article “The 1876 Philadel- the 36th Annual Byzantine Studies Conference in phia Centennial and the Material Culture of Philadelphia. He also helped organize the sympo- Popular Horticulture” appeared in the January sium “On the Tree of the Cross: The Patristic 2011 issue of the journal Nineteenth Century. Doctrine of Atonement,” held in Princeton in Feb- [[email protected]] ruary 2011, and he prepared a small exhibition of Gregory Seiffert spent the year in Nanjing, China, archival material in conjunction with it. Stanković where he pursued dissertation research with the has been awarded the Junior Fellowship in Byzan- support of a Fulbright-IIE fellowship. His disserta- tine Studies by Dumbarton Oaks in Washington, tion considers how three painters active in D.C., where he will spend the year writing his 17th-century Nanjing—Hu Yukun, Fan Qi, and dissertation, “Transformed Architecture for a Ye Xin—re-envisioned local topography, and Reformed Monastic Ritual: Late Byzantine through their landscape images shaped emerging Narthexes (Litai) on Mount Athos.” [nstankov@ conceptions of regional painting style. During his princeton.edu] year abroad, Seiffert visited many sites around the Jaqueline P. Sturm, a second-year student advised city, including mountains, temples, and waterways by Professor Nino Zchomelidse, is completing her Gregory Seiffert atop Mount Qixia that these painters depicted in their works. He also coursework and preparing for her general exams. In on the outskirts of Nanjing examined 17th-century texts in Nanjing’s libraries 2010–11, she participated in the interdisciplinary and viewed paintings in museums and private Princeton-Oxford colloquium “Sacred Specialists in collections throughout China. In April 2011, he the Ancient World,” which took her on a field trip presented a portion of his research in a paper titled to Israel in November and to Oxford in January, “The Album Format in 17th-Century Nanjing where she presented a paper titled “Callixtus I of Painting” at the Association of Asian Studies annual Rome: Slave, Freedman, Bishop of Rome.” In the conference in Honolulu. [[email protected]] spring, she participated in a workshop on “Urban Emily L. Spratt is a Ph.D. candidate working on Contexts,” a collaboration of the Universities of the cultural and artistic legacy of Byzantium in the Vienna, Oxford, and Princeton, delivering a paper Venetian, Ottoman, and Slavic territories. Her spe- titled “Center and Periphery: Constantinian cialization in Venice and the Mediterranean Church Foundations in Rome.” She was also the combines perspectives gained from her previous co-organizer of the department’s 2011 graduate study and degrees in the Renaissance and Byzantine student conference, “Drawing a Blank: Past and fields and her work experience at the Byzantine and Present.” This summer, Sturm conducted pre- Christian Museum of Athens, the Benaki Museum, dissertation research in Rome and the Veneto and the Hellenic Ministry of Culture. This summer, region, with additional stops in Athens and Thessa- Spratt conducted research on icons, wall paintings, loniki, and she participated in Princeton’s Mount and prints that betray East-West cultural transmis- Menoikeion Seminar at the Monastery of Hagios sions as the O’Donovan Fellow at the Cyprus Ioannis Prodromos. [[email protected]] Emily Spratt at the Byzantine and American Archaeological Research Institute in Stephanie H. Tung is a first-year graduate student Christian Museum in Athens Nicosia, at Princeton’s Mount Menoikeion Seminar, studying with Professor Jerome Silbergeld. After and in Russia, traveling from Moscow to St. Peters- working in Beijing for the past several years, she burg. This fall, she is doing research on the Greek spent her first year at Princeton adjusting to aca- community in Venice with the support of a Gladys demic life and establishing a foundation in Chinese Krieble Delmas grant and is residing on the island art history. Outside of the classroom, she published

12 fall   1 1 a short essay and interviews with the artist Ai Dissertations Recently Defended Weiwei in the book Ai Weiwei: New York Photo- graphs 1983–1993 (Beijing: Three Shadows Maria Andrioti, “Cutting out the Middleman: Cypriot Itinerant Sculptors in the Early 6th Century B.C.” Photography Art Centre and Chambers Fine Art, (William Childs) 2010). Her translations of interviews with Chinese Annie Bourneuf, “The Visible and the Legible: Paul artists of the 1980s were also published as part of Klee, 1916–1923” (Brigid Doherty) the Materials of the Future project on the Art Asia Dora Ching, “Icons of Rulership: Imperial Portraiture Archive website (aaa.org.hk). This summer, she during the Ming Dynasty (1368–1644)” (Wen Fong) studied Japanese in an intensive immersion pro- Robert Glass, “Filarete at the Papal Court: Sculpture, gram in Hokkaido, Japan. [[email protected]] Ceremony, and the Antique in Early Renaissance Kristen D. Windmuller is a first-year student Rome” (Patricia Fortini Brown) studying African art history. As a graduate research Anna Swartwood House, “‘Singular Skill and Beauty’: assistant at the Neuberger Museum of Art at Antonello da Messina between North and South” SUNY Purchase, she wrote and designed a bro- (Patricia Fortini Brown) chure on Kotoko bronze equestrian figures and Alex Kitnick, “Eduardo Paolozzi and Others, 1947– The katholikon of Hilandar worked on the exhibition Art in Cameroon: Sculp- 1958” (Hal Foster) monastery on Mount Athos, tural Dialogues. In March she presented a paper, Chen Liu, “Between Perception and Expression: where Nebojša Stanković did “Ethiopian Catholic Churches from the Jesuit The Codex Coner and the Genre of Architectural research for his dissertation Interlude (1557–1632): Discovering an Interna- Sketchbooks” (John Pinto) tional Style,” at the 19th annual graduate student Marina Mihaljević, “Constantinopolitan Architecture conference in African studies at Boston University. of the Komnenian Era (1080–1180) and Its Impact in [[email protected]] the Balkans” (Slobodan Ćurčić) Kate Nesin, “Cy Twombly’s Things: Sculptures 1946 to the Present” (Hal Foster) New Dissertation Topics Xiaojin Wu, “Metamorphosis of Form and Meaning: Alex Bacon, “Opaque Surfaces and Lived Illusions: Ink Bird-and-Flower Screens in Muromachi Japan” Minimalism and the Status of Painting in the 1960s” (Yoshiaki Shimizu) (Hal Foster) Miri Kim, “‘Right Matter in the Right Place’: The Graduate Student Paintings of Albert Pinkham Ryder” (Rachael Z. DeLue) Jaqueline Sturm in Jerusalem, Abra Levenson, “Figures and Things: Charles Fellowships for 2010–11 where she participated in a Princeton-Oxford colloquium Demuth, 1914–1935” (Rachael Z. DeLue) Patricia Blessing, Samuel H. Kress Foundation Travel Jessica Maxwell, “Heterogeneous Objects: The Fellowship Sculptures of Martin Puryear” (Rachael Z. DeLue) Dazhi Cao, Henry Luce Foundation/ACLS Grant in Jennifer Morris, “Art, Astrology, and the Apocalypse: East and Southeast Asian Archaeology and Early Visualizing the Occult in Post-Reformation Germany” History (Thomas DaCosta Kaufmann) Giada Damen, Porter Ogden Jacobus Fellowship Tessa Paneth-Pollak, “Modernism’s Cut-Outs: 1863– Nika Elder, Alisa Mellon Bruce Pre-Doctoral Travel 1947” (Hal Foster) Fellowship, Center for Advanced Study in the Christina Papadimitriou, “The MARS Group: Going Visual Arts Modern in Britain, 1933–1957” (Esther da Costa Caroline Fowler, Donald and Mary Hyde Academic Meyer) Year Research Fellowship Elizabeth Petcu, “Orders of Elaboration: Wendel Johanna Heinrichs, Gladys Krieble Delmas Dietterlin and the Architectura of 1593–98” (Thomas Foundation Fellowship DaCosta Kaufmann) Megan Heuer, Donald and Mary Hyde Academic Year Emily Spratt, “Byzantium Not Forgotten: Construct- Research Fellowship ing the Artistic and Cultural Legacy of an Empire Anna Katz, Henry Luce Foundation/ACLS Dissertation between East and West in the Early Modern Period” Fellowship in American Art (Patricia Fortini Brown) Chen Liu, Princeton Institute for International and Adedoyin Teriba, “An Afro-Brazilian Colonization: Regional Studies Fellowship Memory, Aesthetics, and Identity in Modern Matthew Milliner, Harold W. Dodds Honorific Architecture in the Bight of Benin and Its Hinterland Fellowship Ai Weiwei, Williamsburg, (1880–1960)” (Esther da Costa Meyer) Kate Nesin, Chester Dale Fellowship, Center for Brooklyn, 1983, from the new Advanced Study in the Visual Arts book featuring an interview Jessica Paga, Gorham P. Stevens Advanced and essay by Stephanie H. Tung Fellowship, American School of Classical Studies (courtesy of Three Shadows at Athens Photography Art Centre) Gregory Seiffert, Fulbright Travel Grant D. Alexander Walthall, Olivia James Travel Fellowship, Archaeological Institute of America fall   1 1 13 Undergraduate News

Eunjeong (E. J.) Chi ’11, under the guidance of co-chairing the Annual Giving Committee as a Professor Jerome Silbergeld, examined the trans- senior liaison. After graduation, she will work in the formation and transmission of an 11th-century television and entertainment industry. Chinese landscape painting theme to the present [[email protected]] day in her senior thesis, focusing on Korean rein- Madeleine Douglas ’11 is a visual arts (Program terpretations and their influence on later Japanese 2) major who concentrated in installation and also versions. With generous funding from the depart- earned a certificate in material science. Her senior ment and other campus sources, she traveled to thesis show, Court, was an investigation of public Korea, Taiwan, China, the Netherlands, France, architecture that encouraged moments of private Greece, Rhodes, Qatar, Boston, and Washington, fantasy while acting as a catalytic social stage. The Eunjeong (E. J.) Chi ’11 at the Lion D.C., for research and on class trips. On campus, 700 square feet of ramps, raised floor, and inset Forest Garden in Suzhou, China Chi was elected social chair of the Class of 2011 for pools reflected her study of the architectural lan- four years and served as Ivy Club’s community ser- guage of opulence and ritual in historic English and vice co-chair. She spent two summers interning at Zen garden design. Her advisers included Martha the Metropolitan Museum of Art and Christie’s in Friedman and Joe Scanlan of the Program in Visual New York, and in 2010–11 worked with the cura- Art, and the department’s Professor Esther da Costa tors of Asian art at the Princeton University Art Meyer. Douglas also received her first official artist’s Museum on various Korean and Chinese art proj- commission this year, as costume designer for “Prin- ects. After completing her internship this summer, cyclopedia 2011” at the Cotsen Children’s Library, she moved to Hangzhou, China, where she is teach- and as a result holds the rather amusing distinction ing university-level English as a Princeton-in-Asia of being one of the world’s few experts in construct- fellow. She plans to continue her studies in gradu- ing soft felt “rocks.” This year, she will complete her ate school next year and hopes to pursue a career in remaining course requirement to become nation- museum or gallery work. [[email protected]] ally certified as a chemist and will put together Kathleen Connor ’11 worked with Professor Anne her portfolio. She plans to apply to industrial McCauley on a senior thesis that examined the design graduate programs for the following year. changing role of the artist’s studio in New York City [[email protected]] at the end of the 19th century. She focused partic- Lizzy Drumm ’11 worked under the guidance of ularly on the interior decoration and functional use Professor Thomas Leisten on a senior thesis that of the studios of Frederic Edwin Church, William investigated the concept of the state mosque and the Merritt Chase, and Louis Comfort Tiffany. Con- nor’s junior independent work, on Charles Rennie Mackintosh’s Glasgow School of Art and Charles In the Studio by William Merritt Chase, one of the works studied and Ray Eames’s furniture designs, was also guided by Kathleen Connor ’11 (Reynolda by McCauley, along with Professor Esther da Costa House Museum of American Art, Meyer. Connor interned in the Word & Image Winston-Salem, North Carolina) Department at the Victoria and Albert Museum in London during the summer of 2010 and at two U.S. architectural firms in previous summers. She plans to pursue her interests in the decorative arts, interior design, and architecture by entering a grad- uate program in interior design in the fall of 2012. In the year between graduation and returning to academia, she will be a Project 55 fellow at Bethel New Life, a community development group in Chicago. [[email protected]] Jessie Dicovitsky ’11’s senior project was an unti- tled television pilot set in a maximum security state prison and aimed at network television audiences. She worked with Keith Sanborn, lecturer in visual art, and Christina Lazaridi, lecturer in creative writ- ing, in the Lewis Center for the Arts. Outside of Partial view of Court, the senior school work, Dicovitsky spent the year interning The Sheikh Zayed Mosque in Abu Dhabi, one of the thesis installation by in the development department at CBS and state mosques studied by Lizzy Drumm ’11 Madeleine Douglas ’11

14 fall   1 1 expression of national identity in the Arab states degree in art history at the University of Cambridge through monumental architecture. She examined under the direction of Professor Deborah Howard. the state mosque competitions in Iraq, Kuwait, and [[email protected]] Abu Dhabi, comparing the political, economic, and May Geolot ’11 worked with Professor Jerome social agendas behind the construction of such Silbergeld on a senior thesis that explored late Geor- monumental architecture in each of those states. gian English country homes and their reflection of Outside the classroom, Drumm was a member and burgeoning English identity. Her thesis focused on two-time captain of the women’s varsity lacrosse the expression of nature in these country homes, team, the 2011 Ivy League champions and NCAA with a particular focus on their tapestry rooms, quarterfinalists. She was also president of the Varsity which were known as the “tentures de Boucher,” Student Athlete Advisory Committee and a or Boucher’s tapestries. Geolot spent the fall 2010 member of the Steering Committee on Women’s semester studying at the Courtauld Institute of Ashley Dunning ’11 in the Museum Leadership. She is currently working in sales and Art in London and doing on-site research for her Boerhaave in Leiden, where she studied the reconstruction of trading at J. P. Morgan in New York City. thesis. She also earned a certificate in European Leiden’s anatomical theater [[email protected]] cultural studies and interned at the Corcoran Gal- Ashley Dunning ’11 drew on her interests in art, lery in Washington, D.C., the Princeton University science, and medicine, writing a senior thesis on Art Museum, and Christie’s auction house in New early modern European anatomical theaters, under York. Geolot is currently the Annenberg Fellow at the guidance of Professor Christopher Heuer. Built Eton College in England, where she coaches soccer, between roughly 1600 and 1800, the theaters were teaches English and art history, and mentors stu- permanent structures for public anatomical dissec- dents. She hopes to return to the art world after her tions. Dunning analyzed two anatomical theaters, year abroad. [[email protected]] one in Padua, Italy, and one in Leiden, Netherlands, Christopher Green ’12 interned in the Department focusing not only on their design and construction, of Education and Communication at the Städel but also on how they were received and utilized by Museum in Frankfurt in summer 2010 through their civic and scholarly communities. With support the German department’s summer work program, from the Jay Wilson ’69 Senior Thesis Research with support from the Department of Art and Fund, she was able to travel to Leiden to study a Archaeology. He spent two months working in a reconstruction of that city’s anatomical theater. completely German environment, improving his Dunning also received a certificate in European cul- spoken German with colleagues and with the chil- tural studies. Outside the classroom, she spent much dren he led on tours and in art workshops, while of her time volunteering as an EMT for the also doing research, translating, editing, and even Suzy Frelinghuysen, Printemps, Princeton First Aid and Rescue Squad, which serves creating children’s games for the museum. He was 1938, oil and mixed media collage, both the town and the University. She was also very able to see the construction of a new exhibition and one of Frelinghuysen’s works involved in Outdoor Action, the Princeton Quad- attend the press conferences and openings that went studied by Daria Foner ’11 (courtesy rangle Club, and the Alcohol Coalition Committee. along with it. While he still craves Apfelwein and Frelinghuysen Morris Foundation) She plans to attend medical school and this summer Handkäse mit Musik, his most indelible memory is began Columbia University’s Postbaccalaureate Pre- exploring the museum’s art depot, pulling out racks medical Program. [[email protected]] of art at random and finding a Vermeer, a Cranach Daria Foner ’11, born in New York City, danced the Elder, and an Yves Klein hanging out together. with the Norwegian National Ballet before enroll- [[email protected]] ing at Princeton. Her senior thesis focuses on the Sam Lewis ’11 worked with Professor Andrew career of artist and opera singer Suzy Frelinghuysen Watsky on a thesis investigating the noted contem- and aims both to rescue Frelinghuysen from schol- porary Japanese artist Takashi Murakami and his arly neglect and to shed new light on her life. In art, particularly Murakami’s relationship to Japanese particular, it seeks to reinstate Frelinghuysen into art history. Lewis’s thesis proposes a complex and the discourse on the defining of American art in the innovative system to explain the varied references 1930s and ’40s by probing her transformation of to Japanese art throughout the body of Murakami’s Cubism from a revolutionary, bohemian movement work. After graduation, Lewis hopes to continue Still from William Martinez ’11’s into an elite American tradition, analyzing the working in a field with the qualities that initially senior thesis short film, mindseye integrated vision of her art, exemplified by her drew him to art history: creativity, self-expression, International Style house in Lenox, Massachusetts; and the transmission of diverse ideas through visual and exploring how she worked across media, bring- media. [[email protected]] ing together the arts of painting and performance. Foner also earned certificates in European cultural William Martinez ’11 began experimenting studies and Italian language and culture. This with paper silhouette cutouts during his sopho- summer, she worked as a curatorial intern at the more year and, with the help of summer funding Metropolitan Museum of Art’s Robert Lehman from the Lewis Center, created two animated Wing, and she is currently pursuing a master’s short films. Working with Zach Tolchinsky, a fall   1 1 15 puppeteer studying in Scotland, and volunteered as a coach of a fourth-grade girls’ Martinez built “shadow pup- basketball team. McStravick worked at the Houston pets” from black paper, sheet Arts Alliance for two summers and hopes to pursue lead, and wire joints, and ani- a job in the nonprofit arts realm. [emcstrav@alumni. mated them frame-by-frame on princeton.edu] a hand-built multiplane anima- Rachel Poser ’11 is an archaeology (Program 3) tion table. They soon realized that major whose junior and senior independent work they were emulating the influen- examined the effects of cultural exchange and inter- tial filmmaker Lotte Reiniger, who action on ancient art from Gandhara, a region created shadow films using paper composed of modern-day Afghanistan, Pakistan, puppets from the 1920s through and northern India. Under the guidance of Profes- the end of her life in the 1970s. sor Thomas Leisten, Poser focused her senior thesis These independent summer proj- Rachel Poser ’11 (left) and classics on a group of stucco sculptures from the Gand- ects eventually led to Martinez’s thesis short film, graduate student Mallory Monaco haran capital of Taxila, exploring the ways that mindseye excavating at Morgantina in Sicily . His film explores new ideas through various styles and iconographies were combined the same technique used in his previous shadow and adapted for the earliest multicultural commu- puppet films, but employing modern technology in nities. In summer 2010, Poser worked at the World place of the handmade process used for the earlier Monuments Fund in New York City, then traveled animations. It was created entirely with Adobe soft- to Sicily, where she excavated at the Hellenistic site ware, with digitally drawn cutout shadow puppets of Morgantina, with funding from the Classics that were then composited and animated in After department and a Stanley J. Seeger Summer Fellow- Effects. Martinez plans to spend the year applying ship from the Program in Hellenic Studies. On to graduate school, looking for work in animation, campus, she worked in the numismatic collection and planning his next short film. [wm.interlochen at Firestone Library and was a peer adviser at @gmail.com] Rockefeller College. Poser will spend the year after graduation as a Princeton-in-Asia fellow in Vietnam, working at an English-language daily newspaper based in Hanoi. [[email protected]] Kelly Kristin Rouser ’11, in addition to being a Program 1 major, completed the requirements for Kelly Rouser ’11 visited Claude Monet’s gardens in certificates in French language and culture and Giverny while studying in France African American studies. Her thesis, “Restoring during the summer of 2010 Power to the Black [Male] Body: A Reading of Robert Mapplethorpe’s Photographic Contribution to Thelma Golden’s ‘Black Male: Representations of Elizabeth McStravick ’11 studied the meaning of Masculinity in Contemporary American Art’ ornament in Walter Crane’s Victorian children’s books (1994),” was written under the guidance of visiting Elizabeth McStravick ’11, under the guidance of lecturer Colin Lang. Outside of the classroom, Postdoctoral Research Associate Jeremy Melius, Rouser served as program manager of the Fields wrote her senior thesis on the illustrations in Walter Center for Equality and Cultural Understanding Crane’s Victorian English primers and fairy tales. and as the student curator of the center’s Clark Thanks to the resources of the Cotsen Children’s Muñoz Gallery. For the past two years, she has Library at Princeton, she was able to work directly helped curate exhibits as a committee member of with Crane’s original books. Her thesis, “Champi- Butler College’s James S. Hall ’34 Gallery and has ons of ‘Meaningful Ornament’: The Walter Crane managed the Wilson College Art Studio. Her post- Children’s Books and the Function of the Decora- graduation plans include preparing for admission to tive,” explores the depiction of the decorative arts in medical school. [[email protected]] Crane’s illustrations. While the significance of the Annie Shapiro ’11 wrote her thesis, “Growing up decorative arts was not universally appreciated at Medici: Bronzino and Child Portraiture,” under the the time, Crane’s pictures demonstrate the function Annie Shapiro ’11’s senior thesis guidance of Professor Christopher Heuer. She inves- of the decorative and its central importance in examines Bronzino’s child tigated Bronzino’s representations of childhood in everyday life in late-19th-century England. By portraiture (image courtesy of Renaissance Florence, as well as Cosimo I de’ investigating the nuanced relationship between the Saskia Ltd., photo by Medici’s use of portraiture for his political aims. R. Wiedenhoeft) decorative and purpose in primers and stories such With funding from the department’s Jay Wilson ’69 as “Beauty and the Beast,” “The Frog Prince,” and Senior Thesis Research Fund and the Office of the “Sleeping Beauty,” McStravick elucidated the Dean of the College, Shapiro traveled to Florence imaginative power that Walter Crane so fervently during intersession to do thesis research at the Pala- believed the decorative possessed. On campus, she zzo Strozzi, the Palazzo Vecchio, the Palazzo Pitti, was captain of the varsity volleyball team and the Archivio di Stato di Firenze. In addition to

16 fall   1 1 her art history degree, she earned a certificate in Senior Thesis Research Fund and the Office of the Italian language and culture. At Princeton, Shapiro Dean of the College to conduct two research trips was a residential college adviser in Whitman College to Bucharest. On campus, he edited the arts sec- and a member of the Princeton Tower Club. After tion of the Daily Princetonian; DJ’d at WPRB, the Bruce M. White graduation, she began working in New York for Princeton student radio station; and acted with LearnVest, a personal finance company. L’Avant-Scène, the French theater workshop. He [[email protected]] also DJ’d parties at the eating clubs on a regular Michaela Strand ’11 wrote her senior thesis, basis. After graduation, he plans to teach English “Embracing Dichotomy: A Study of Kiyochika’s in Tokyo through the Princeton-in-Asia program. Detail of Kobayashi Kiyochika’s The Great Fire at Ryogoku Bridge,” under the guid- [[email protected]] The Great Fire at Ryogoku Bridge, the subject of Michaela Strand ance of Professor Andrew Watsky. Drawing on Mary Thierry ’12 worked as an intern in the ’11’s senior thesis (Princeton formal analysis, historical context, and art-historical medieval department of the Metropolitan Museum University Art Museum, Museum precedent, her thesis provides the first comprehen- of Art in New York in summer 2010. Along with purchase, Fowler McCormick, sive study of the hanging scroll painting acquired by other interns, she managed the department’s collec- Class of 1921, Fund, 2009-77) the Princeton University Art Museum in 2009, tion database, prepared object files for the museum’s exploring themes of reportage and the influx of online Collections Resource Database, and worked Western art into Japan at the end of the 19th with the physical archive and in other aspects of century. On campus, Strand was the captain of the collections management. Thierry was also involved women’s openweight crew team, which won the in preparing a proposal for a future exhibition with 2011 EAWRC, Ivy League, and NCAA champion- Charles Little, a curator of medieval art at the Met. ships. She also won a gold medal at the Under-23 On campus, she assisted Alan Stahl, curator of World Rowing Championships in Brest, Belarus, in Firestone Library’s numismatic collection, in cata- summer 2010. Strand was vice chair of the loging and photographing Princeton’s collection Rockefeller College Council, served as a wellness of coins, focusing on Late Antique coins from the leader to fellow students, worked several library jobs excavations of Antioch in the 1930s and ancient throughout her four years on campus, and was a Greek coins of the Achaean League and Sikyon. member of Cloister Inn. She intends to pursue a [[email protected]] career in marketing and social media communica- Eva Marie Wash ’11 worked with Professor Anne Chimera on a 4th-century B.C.E. tions. [[email protected]] McCauley on her senior thesis on abstract sculptor silver stater of Sikyon, one of the Alexander Calder, examining the critical reception coins studied by Mary Thierry ’12 Calder received in America from the 1930s through the early 1950s, and tracing the political dimensions of his sculptures and the construction of Calder as quintessentially American. Wash also choreographed a dance thesis performance, a 20-minute work titled Where Late the Sweet Birds Sang, for her certificate

in dance. She was awarded the Shapiro Prize for Bentley Drezner Academic Excellence in 2009. In the summer of 2010, she traveled to the Republic of Georgia to learn Georgian polyphony for her dance thesis. Funding from various campus sources also enabled her to travel and study in France, Mexico, and Thai- Adam Tanaka ’11 in front of the People’s Palace in land. Outside of her studies, she was a member of Bucharest, Romania various choirs, the manager of the Princeton Garden Project—a mini-model of sustainable agriculture— Adam Tanaka ’11 wrote his senior thesis on the and was a residential adviser in Forbes College. After urban development of Bucharest, Romania, in the spending a year in Lisbon, she plans to return to the Communist and post-Communist periods, advised United States to pursue further studies or a career in by Professor Esther da Costa Meyer. During the creating or teaching the arts. She also hopes to have 1980s, the Romanian Communist regime razed a small farm. [[email protected]] much of the historic center of Bucharest and Eva Marie Wash ’11 dancing her replaced it with a monolithic new Civic Center, Carrie Worcester ’11 worked with Karl Kusserow, senior thesis performance, whose focal point is the People’s Palace, the second- curator of American art at the Princeton University Where Late the Sweet Birds Sang largest administrative building in the world and by Art Museum, on a senior thesis about the American far the most expensive. In his thesis, Tanaka inves- artist, anthropologist, scientist, and museum direc- tigated the afterlife of these authoritarian structures tor William Henry Holmes. Her thesis focuses on in the post-Communist period, arguing that the three aspects of Holmes’s understudied career—his treatment of these “tainted monuments” reflects field sketches of the American West, his essays on Romanians’ conflicted relationship with the recent aesthetics, and his directorship of the National past. He received funding from the Jay Wilson ’69 Gallery of Art—as nontraditional contributions to fall   1 1 17 art and ways of knowing. On campus, Worcester as an emergency medical technician, and sang in was a Butler College residential college adviser and the Old NasSoul a cappella group. This year, he is peer academic adviser, a math coach for Let’s Get enrolled in the Postbaccalaureate Premedical Pro- Ready, a member of the art muse- gram at Bryn Mawr College, and he will then apply um’s student advisory board, an to medical school. [[email protected]] Outdoor Action leader, and a member of Charter Club. She also 2010 and 2011 Senior participated in a Pace Center Break- out trip exploring sustainable design Thesis Prizes in Greensburg, Kansas. Worcester Department of Art and Archaeology held summer internships at several Senior Thesis Prize nonprofit arts and educational Elizabeth Kassler-Taub ’10, “To Dwell upon a Holy organizations, including the City Hill: The Venetian Ascent to Imperial Power in 16th- of Santa Fe Arts Commission, Century Udine” Field sketch of an 1873 expedition Princeton’s Office of the Executive Adam Tanaka ’11, “Tainted Monuments: Urban to the Rocky Mountains by Vice President, and Teach For America. She is Memory in Post-Communist Bucharest” currently teaching middle school math in Tulsa, William Henry Holmes, Stella and Rensselaer W. Lee Prize who was the subject of Oklahoma, as a Teach For America corps member. Monika Jasiewicz ’10, “Fragmentation, Layering, Carrie Worcester ’11’s senior thesis [[email protected]] Discrepancy: The Artistic Practice of the Lettristes” Bridget K. Wright ’11 wrote a senior thesis, super- Rachel Poser ’11, “Ancient Globalization: Cultural vised by Professor Anne McCauley, on the artistic Interaction and Consciousness in Gandhara” trends, social circles, and exhibition spaces of the Irma S. Seitz Prize in the Field of Modern Art Whitney Studio and the Whitney Studio Club in Giovanna Campagna ’10, “Identity in the In-between: Greenwich Village during the 1910s and ’20s. Problems of Brazilian Modernism in the Art of Tarsila Supported by a thesis grant from the Program in do Amaral” American Studies, she traveled to archives in New Sarah Hogarty ’10, “Blinding the Stars: New York City York for much of her research. In addition to her at Night in Painting and Photography, 1890–1918” degree in art and archaeology, she earned certificates Jeffrey Richmond-Moll ’10, “Meaning in the Margins: in American studies and dance. Earlier this year, Henry Ossawa Tanner’s Biblical Pictures” Wright also choreographed and performed an Eva Marie Wash ’11, “Alexander Calder: The original dance thesis. Through the Program in Construction of an American Artist, 1932–1957” Dance, she has performed in the annual Spring Dance Festival in works by faculty and guest chore- Frederick Barnard White Prize in Architecture ographers, and in her own works. Wright was a Waqas Jawaid ’10 (Architecture), “City of Lights, City Rockefeller College peer adviser, a member of the of Fire: Architectural Apartheid in the Paris Banlieue” American Studies Student Advisory Council, and a Man Yee Lee ’11 (Architecture), “Forged by Flames: member of Cap and Gown club. She had summer The Evolution of Fire Disaster Planning in Traditional internships at institutions that included the Chinese Architecture” Princeton University Art Museum and Jacob’s Joshua Zeitlin ’11, “A King of (In)finite Space: Staging Pillow Dance Festival. After graduation, she has a the Domestic in the Houses of Tadao Ando” Tadao Ando’s Row House fellowship at Education Through Music, Inc., in Frederick Barnard White Prize in Art Sumiyoshi (1975–76), one of New York City through the AlumniCorps and Archaeology the buildings Joshua Zeitlin ’11 Princeton Project 55 Program. She hopes to pursue Mark Guiducci ’10, “Monophobia: Self and Sitter in examined in his thesis a career in museum work, arts administration, or the Art of Giovanni Boldini” law. [[email protected]] Ariel Gold ’11, “Paragoni in Porcelain” Joshua Zeitlin ’11 worked with Professor Esther Lucas Award in Visual Arts da Costa Meyer, writing a senior thesis that ana- Julie Dickerson ’10 and Kaitlyn Hay ’10, “On the Styx” lyzes the houses of contemporary Japanese architect (video) Tadao Ando. His project articulated Ando’s sophis- Evangeline Lew ’10, “The Body Politic” (painting) ticated relationship to both traditional Japanese Madeleine Douglas ’11, “Court” (installation) domestic space and certain elements of Western Oriana Poindexter ’11, “Altered States” (photography) architectural thinking. Zeitlin received departmen- tal funding for a summer internship at the Supreme Francis LeMoyne Page Visual Arts Award Council of Antiquities in Cairo, where he worked Talia Nussbaum ’10, “Draft and Release: Navigating primarily on cultural heritage repatriation. On the Israeli Army and Life Beyond” (photography) campus, he was heavily involved with student William Martinez ’11, “mindseye” (film) theater, mainly as an actor but also as a technician and administrator. He served as vice president of the Princeton Shakespeare Company, volunteered

18 fall   1 1 Lectures, Conferences, Symposiums

Giorgione and His Times: time collaborators with Brown on integrating the Confronting Alternate Realities museum’s collections into her teaching. The day’s events concluded with a convivial reception in the A Symposium Honoring Patricia Fortini Brown museum and gala dinner at Prospect House. December 11, 2010 The department and the Council of the Humanities From Minor to Major: The Minor co-sponsored this symposium honoring Professor Arts and Their Current Status in Patricia Fortini Brown on the occasion of her Art History retirement, which coincided with the 500th March 17–18, 2011 anniversary of the death of the innovative and The Index of Christian Art continued its tradition Patricia Fortini Brown (in white enigmatic Venetian artist Giorgio da Castelfranco, of organizing highly successful international confer- called “Giorgione.” Since Brown has been involved jacket) and her students at the ences with this two-day gathering that focused on symposium in her honor with Venetian studies throughout her career, the what has traditionally been called “minor art.” figure of Giorgione was an appropriate and timely Eighteen leading experts from both sides of the theme for this day-long symposium, co-organized Atlantic addressed not only the historiography and Department and introduced by Tracy Cooper *90, with a wel- the current scholarship on these so-called minor Lecture Series come by Professor John Pinto. The conference arts, but also their status during the Middle Ages. Monday, October 11 drew a considerable audience of Brown’s current The conference was designed to bring to the fore a Jacqueline Chénieux-Gendron and former students, as well as historians and number of important questions, including: How Centre National de la Recherche curators of Italian Renaissance art from around much validity does the term “minor art” really Scientifique, emerita the world. have, either for the medieval period or for scholars Pensée et creation au feminine: Leonora Carrington et Laure The variety and breadth of Brown’s scholarly today? Was there a well-defined inequality in the interests were reflected in the organization of the (Colette Peignot) arts during the Middle Ages, or did they function Tuesday, October 12 symposium into four panels, on painting, archi- together as an entity? Why and how has art in tecture, sculpture, and patronage. Each segment Helmut Brinker certain mediums changed status from “minor” to University of Zurich, emeritus began with a lecture by a distinguished specialist “major” in the scholarship of recent decades? The Iconic Body as Insight into in the field who had previously had a connection The historiography of stained glass exemplifies Japanese Buddhist Practice to Princeton, as well as to Brown’s own research: this elevation in status, from the time when Tuesday, October 19 Bernard Aikema (University of Verona), Deborah Louis Grodecki lamented that, despite its rich Jonathan Reynolds Barnard College, Columbia University Howard (University of Cambridge), Sarah Blake iconography and prominent placement in the most Paradise Lost—Paradise Regained: McHam (Rutgers University), and Salvatore Settis significant monuments of the Middle Ages, schol- (Scuola Normale Superiore, Pisa). Their stimulat- Tōmatsu Shōmei’s Photographic ars had failed to fully integrate it into the study of Engagement with Okinawa ing papers on diverse aspects of Venice in the time medieval art. Today, thanks primarily to the initia- Wednesday, October 20 of Giorgione were followed by lively discussions by tives of the international Corpus Vitrearum Medii Mike Weaver panels composed of and moderated by Brown’s stu- Aevi, stained glass has become firmly established Linacre College, Oxford University dents, who also paid warm tribute to her impact as a major form of artistic creation. A similar trans- Paul Strand and the Cold War on their lives and careers: Nadja Aksamija *04, formation is currently taking place with ivories Monday, November 8 Blake de Maria *02 (moderator), Mary Engel and misericords. Sophocles Hadjisavvas Frank *06 (moderator), Robert Glass *11, Anna One recurring theme that emerged from the Department of Antiquities, Cyprus Swartwood House *11, Frederick Ilchman ’90 Alassa: A Late Bronze Age Town in papers and the lively discussions that followed was the Mountains of Alasiya, Cyprus (moderator), Deborah Lubera Kawsky *95, Barbara the futility of approaching any one medium in Thursday, December 9 Lynn-Davis *98, Jacqueline Marie Musacchio *95 isolation, and the need to raise the profiles of all of (moderator), Susannah Rutherglen *10, Francesca Jane Debevoise the mediums of medieval art together, rather than Independent scholar Toffolo *05, Madeleine Viljoen *00, and Deborah individually. Film: “Jean-Paul Sartre to Teresa Walberg *04. Brown’s current students and other The conference also featured the launch of the Teng: Contemporary Cantonese Art audience members contributed thoughtful dis- Index’s Elaine C. Block Database of Misericords, of the 1980s” cussion. The symposium concluded with moving an archive of more than 12,000 images, as well as Saturday, December 11 remarks by Brown about the importance of her a related exhibition of medieval book bindings in Symposium in Honor of Patricia Fortini Brown students and colleagues during 30 years as a Firestone Library. member of the department faculty. Giorgione and His Times: For more about this event, see page 28 and Confronting Alternate Realities Symposium participants also enjoyed the http://ica. the Index’s conferences Web page, Continued on page 32 accompanying exhibition Giorgione and His World: princeton.edu/conference.php. Nature Reimagined at the Princeton University Art Museum, co-organized by Cooper and museum curators Laura Giles and Betsy Rosasco, long- Continued on page 32 fall   1 1 19 Seminar Study Trips

Art 381 Travels brought together specially commissioned works by 23 Arab artists, all of which centered on the theme to Qatar of storytelling. The first museum exhibition of con- Art 381, “An Introduc- temporary art on this scale in the Arab world, the tion to the Modern and show included painting, sculpture, and photogra- Contemporary Arts in the phy, as well as video and multimedia installations. Islamic World,” taught by The second exhibition, Interventions: A Dialogue Professor Thomas Leisten, between the Modern and the Contemporary, featured investigated the develop- work by five internationally prominent Arab art- ment of modern art and ists from five different countries, with specially artistic media—architec- commissioned pieces shown alongside works from ture, painting, sculpture, earlier in their careers. The daylong tour of the and photography—in the exhibitions with Michelle Dezember, head of edu- Professor Thomas Leisten and the Islamic world from the late 19th century to the cation at the museum, provided the class with students in Art 381 at the Arab present. The course was designed to provide a many insights, as well as a vivid experience not only Museum of Modern Art in Doha background for the dominant artistic traditions in of contemporary artistic production but also cur- the Middle East after 1900, as well as to evaluate rent curatorial and collecting practices. how traditional aesthetics changed and were rene- gotiated under the influence of Western culture. It also explored the persistence and re-emergence of traditional arts, such as calligraphy, as an expression of national artistic identity within the region. After a semester of intensive study in the classroom and library, 14 students, a mix of under- graduates and graduate students led by Leisten and accompanied by department manager Susan Lehre, traveled to Qatar during the January intersession. Thanks to the interest and support of its ruling family, Qatar has emerged as a leading center of Islamic art, and it was thus a perfect destination for Students take a break by a pool the class to experience a wide range of modern and at the Museum of Islamic Art, contemporary artwork in person. The trip was with the skyline of Doha in the supported by a generous gift from Richard background Grubman ’84, with supplemental funding from the department. One of the chief highlights was a visit to the The Museum of Islamic Art in Doha Museum of Islamic Art, in the capital city Doha, which displays one of the world’s the most compre- hensive collections of Islamic art and artifacts in a On the last day, the class expanded their expe- spectacular building designed by I. M. Pei. Objects rience of the country to the physical remains of that the class had studied came to life in the muse- an earlier period, visiting al-Zubara, a trading and um’s extraordinarily beautiful interiors and displays pearling port that flourished between the 16th created by Jean-Michel Wilmotte, designer of the and the 18th century. The fort at the site hosts a Grand Louvre. regional antiquities museum that is one of the The newest museum in Doha—Mathaf: Arab oldest museums in Qatar. Museum of Modern Art—opened in late Decem- A typically enthusiastic response to the entire ber. Its permanent collection includes more than trip came from second-year graduate student Nancy 6,000 works dating from the 1840s to the present Demerdash, who wrote that it “facilitated a lot of The fort at the site of al-Zubara, day and representing artists from every Arab coun- fruitful discussion which could only have happened now a regional archaeological try, providing a comprehensive overview of the on site. Traveling provided the learning space of an museum major artistic trends and centers in the region. alternate, experiential classroom. I will remember The class was fascinated by two special exhibi- this trip and recall these impressions for the rest of tions organized by the Arab Museum of Modern my career; it was invaluable, and I will likely main- Art. The groundbreaking show Told/Retold/Untold: tain lifelong contacts with these institutions.” 23 Stories of Journeys through Time and Place

20 fall   1 1 Freshman Seminar Travels to Rome The freshman seminar “Transformations of an Empire: Power, Religion, and the Arts of Medieval Rome,” taught by Professor Nino Zchomelidse, focused on the impact of political, religious, and social change on the making of art and architecture in the city of Rome from Constantine the Great until 1308, when the papal court moved to Avignon. The class investigated the transition of the city from a thriving metropolis—the powerful pagan capital of a multiethnic empire—to a small, defenseless Christian community led by a power- less but religiously potent bishop. Professor Nino Zchomelidse (center) and the Lucas Ho ’14 gives his report A central topic was how the architecture and freshman seminar students in the loggia of the on-site in the Colosseum art of the medieval city reflected this transforma- Papal Palace at Viterbo tion from worldly to religious power and the visual strategies that were developed to promote the apse mosaics on a day dedicated to the early popes and the new Christian God. The focus on Christian churches of Rome. Department graduate reconstructing the “image” and the appearance of student Marius Hauknes gave the group a tour of medieval Rome included examining the concepts the recently discovered 13th-century fresco cycle in behind different forms of leadership—both polit- the church of the Santi Quattro Coronati, a focus ical and religious—and how they intersected with of his dissertation research. the power of the arts. The students themselves gave on-site talks A field trip to Rome during spring break week about monuments that they had studied and was the highlight and an invaluable feature of the researched on campus. One prospective classics seminar, allowing the students to immerse them- major gave a presentation on the palaeography selves in experiencing the Eternal City firsthand, of the inscriptions in the lower church of San appreciating the scale, siting, and colors of its Clemente and their connections with classical medieval art and monuments, as well as its cosmo- inscriptions. Other students spoke on topics as politan 21st-century life. The trip was generously diverse as the architectural sources of the Basilica of financed by the 250th Anniversary Fund, Richard St. Peter, the iconography and patronage of the Grubman ’84, and the department. The freshman 5th-century wooden doors of Santa Sabina, and seminar will be taught again in spring 2013. secular aspects of Cosmatesque church ornament. A day trip took the class to Viterbo and Orvi- eto, two papal strongholds built in the second half of the 13th century. There they experienced differ- ent forms of architecture, and in a very different The ancient Roman forum and the setting—the tranquil countryside of Lazio. Via Sacra seen from the Capitoline The enthusiasm of the congenial group never flagged during their long days traveling around the Eternal City in pursuit of its medieval vestiges. Their evenings were spent at a small trattoria on the Janiculum, where they expanded their study to include the culinary accomplishments of Italy. Even though the lively dinners often continued until The facade of the cathedral in Orvieto 10 p.m., many students still found time to set off for a late gelato or coffee. In addition to on-site lectures by Zchomelidse, Back on campus, each student prepared a the group benefited from presentations by four research project that addressed aspects of the many scholars with widely varying expertise. Professor artistic, architectural, and intellectual transfor- Yelena Baraz, who teaches in the classics depart- mations that occurred in Rome during the course ment, filled the ancient Roman ruins with life and of roughly a thousand years. Summaries of their provided invaluable insights into the classical heri- research are posted on the website www.princeton. tage of the medieval city; Professor Erik Wegerhoff edu/artandarchaeology/frs110-2011. Their final (Technische Universität, Munich) introduced the presentations were richly informed by the insights students to the architecture and function of the they gained through studying the monuments Multicolored pasta on display in Colosseum in antiquity and its afterlife in the themselves, and by having experienced them in the the Campo dei Fiori Middle Ages; and Professor Erik Thunø (Rutgers historically resonant setting of the city where they University) shared his current research on medieval were created. fall   1 1 21 Tang Center for East Asian Art

n the 2010–11 academic year, the Tang Center highest quality publication, the workshop included engaged in a variety of scholarly activities to discussions of the papers that will be included promote the understanding of East Asian art in the volumes and additional papers intended Iand culture, under director Jerome Silbergeld, the to broaden the understanding of the role of the P. Y. and Kinmay W. Tang Professor of Chinese Art Lo Archive in Dunhuang studies specifically and History, and associate director Dora C. Y. Ching. Buddhist studies in general. The publication will The center organized a research trip to Dunhuang, include an examination of the making of the Lo China, and a two-day workshop, both for its Lo Archive and its place in expeditionary photography; Archive project. It sponsored a workshop on Liuli a contextual study of archives and the relationship ceramics, hosted six lectures, and participated in of the Lo Archive to European archives; an over- the acquisition of artworks for the Princeton Uni- view of the role of the Lo Archive in the study of ARTiculations: Undefining Chinese versity Art Museum. The center also published the Buddhist art; and studies of the site of the caves at Contemporary Art, edited proceedings of its 2009 symposium, “ARTicula- Dunhuang, including the architecture and the land. by Jerome Silbergeld and tions: Undefining Chinese Contemporary Art.” Other essays will discuss the specific contributions Dora C. Y. Ching With the Program in East Asian Studies, the Tang of the Lo Archive photographs from the point of Center continued to fund the Japanese art bibliog- view of researchers at the Dunhuang Academy, and rapher’s position at Marquand Library. the development of Chinese art as documented by The research trip to Dun- the Dunhuang paintings and sculpture. huang in late October and early In November, the Tang Center co-sponsored November involved a team of the workshop “An Investigation of Late Imperial six—professors, Tang Center staff, Liuli Glazed Ceramics” in collaboration with the a museum curator, and a graduate Princeton University Art Museum and the “Arti- student—all of whom are partic- sans and Artifacts” segment of the East Asia and ipating in the Lo Archive project. the Early Modern World project, funded by the The center’s multi-year research Princeton Institute for International and Regional and publication initiative entails Studies. In the workshop, scholars explored Liuli research on and publication of a glazed ceramics, delving into technical and comprehensive selection of the conservation-based analyses, as well as art-historical historically and artistically valu- interpretations. able photographs of the The six lectures organized by the Tang Center The Tang Center’s research team Dunhuang and Yulin Buddhist this year covered topics ranging from Song Dynasty and members of the Dunhuang caves taken by James C. M. Lo in 1943–44. Lo, a aesthetic thought and the colossal sculptures of the Academy at the northern caves professional news photographer with an artist’s eye, Buddha in Sichuan to Japanese photography of spent more than a year with his wife, Lucy, taking the 20th century and contemporary Cantonese more than 2,500 photographs of the caves without art of the 1980s. The center is pleased to have artificial lighting or running water for developing co-sponsored its lectures with the Department of the negatives. The Tang Center plans to publish Art and Archaeology, the Program in East Asian the photographs, which are an invaluable historical Studies, the Princeton University Art Museum, and Bruce Bruce M. White record because of the thoroughness of their cov- the Buddhist Studies Workshop. erage, clarity, and photographic artistry. The team The Tang Center also collaborates with the was hosted in Dunhuang by Fan Jinshi, director Princeton University Art Museum on the occasional of the Dunhuang Academy, and Zhao Shengliang, acquisition of art for the museum’s permanent also of the Dunhuang Academy. Zhao spent the collection. This year the center contributed toward spring 2010 semester as a visiting research scholar the acquisition of Shan cheng (Mountain City), a at the Tang Center analyzing the Lo Archive print in the Shattered Jade series by Xu Bing (born photographs and researching the cave paintings 1955); Shadow Painting: Night Fire in Edo, ca. and sculptures for the project. The team spent one 1845, by Kishi Chōzen; and a print by Li Hua week surveying the caves and surrounding areas to (1907–94) titled Efforts to Accelerate the Four Mod- Xu Bing, Shan cheng (Mountain better understand the original production of the City), woodblock print, ink on ernizations. All three acquisitions will be used in paper. Princeton University Art Lo Archive photographs, the current condition of teaching and long-term projects at the museum. Museum, Museum purchase, the caves, and the uniqueness of the site. Xu Bing’s print Mountain City complements other Asian Art Department Fund and In mid-April, as part of the Lo Archive project, works by the same artist jointly acquired by the gift of the P. Y. and Kinmay W. the Tang Center held a two-day workshop with center and the museum. It also relates to the theme Tang Center for East Asian Art, participation by leading scholars from around the of “nature transformed by human action,” a subject 2010-138 country and Europe. Designed to help produce the explicitly portrayed in the print by Li Hua. Kishi

22 fall   1 1 Chōzen’s Shadow Painting: Night Fire in Edo Tang Center Events depicts the outbreak of a major fire, a frequent Lectures event in the history of Edo (modern Tokyo), using a combination of techniques from the shadow October 12, 2010 Bruce M. White picture or “silhouetting” tradition and one-point Helmut Brinker perspective and light effects newly imported from University of Zurich, Emeritus The Iconic Body as Insight into Japanese Buddhist the West. Practice In November, the Tang Center published Co-sponsored by the Buddhist Studies Workshop ARTiculations: Undefining Chinese Contemporary October 19, 2010 Art, the proceedings of the symposium held in Jonathan M. Reynolds conjunction with the 2009 exhibition Outside In: Barnard College Chinese × American × Contemporary Art at the Paradise Lost—Paradise Regained: Tōmatsu Shōmei’s Princeton University Art Museum. ARTiculations Photographic Engagement with Okinawa features contributions from six artists and seven Co-sponsored by the Department of Art and Archaeology scholars who challenge the narrowly conceived definitions of Chinese contemporary art that February 17, 2011 Ronald Egan dominate current discussion, revealing the great University of California–Santa Barbara diversity of Chinese art today and showing just Banana Tree in the Snow: Exploring Key Concepts of how complex and uncertain the labels “contempo- Song Dynasty Aesthetic Thought rary,” “Chinese,” and even “American” have become. Co-sponsored by the Program in East Asian Studies Four of the artists are ethnically Chinese—some April 13, 2011 born in China, some in America—yet all are U.S. Sonya Lee citizens. All of the artists are steeped in Chinese University of Southern California artistic traditions in terms of style, subject matter, New Faces of Nature: Leshan and Colossal Buddhas of Sichuan or philosophical outlook, and yet all of the works Co-sponsored by the Department of Art and Kishi Chōzen, Shadow Painting: in the exhibition were made or conceived in the Archaeology Night Fire in Edo, ink and color United States. The artists discuss their art and April 14, 2011 on paper. Princeton University careers with rare depth and candor, addressing Roderick Whitfield Art Museum, Museum purchase, diversity, ethnicity, identity, and other issues. The School of Oriental and African Studies, London Fowler McCormick, Class of 1921, academic contributors bring a variety of perspec- University, Emeritus Fund and gift of the P. Y. and tives—Chinese and American, art historical and Ruixiang: The Replication of Notable Buddhist Kinmay W. Tang Center for East Images From India and Central Asia in Chang’an political—to bear on the common but limiting Asian Art, 2011-1 and Dunhuang practice of classifying such art and artists as “Chinese,” “American,” or “Chinese American.” Introduction and Film Revealing and celebrating the fluidity of who can December 9, 2010 be considered a Chinese artist and what Chinese Jane DeBevoise art might be, these artists’ and scholars’ presenta- Asia Art Archive Film: Jean-Paul Sartre to Teresa Teng: Contemporary tions broaden our understanding and appreciation Cantonese Art of the 1980s of Chinese contemporary art. Co-sponsored by the Princeton University Art This fall, the Tang Center will publish Bridges Museum and the Program in East Asian Studies to Heaven: Essays on East Asian Art in Honor of Workshops Professor Wen C. Fong, a two-volume collection of November 12, 2010 39 essays, with an interview of Fong by Jerome An Investigation of Late Imperial Liuli Glazed Silbergeld. A number of other scholarly publica- Ceramics tions are in progress, all of which will be completed Workshop leaders: Susan Naquin and Ben Elman, in the next 18 months and will be distributed by Princeton University Princeton University Press. Co-sponsored by the Princeton Institute for As the new academic year begins, the Tang International and Regional Studies and the Princeton University Art Museum Center looks forward to another active roster of Li Hua, Efforts to Accelerate the events and activities. The fifth Tang Center lecture April 15–16, 2011 Four Modernizations, 1958, Lo Archive Project and Dunhuang lithograph, ink, and colors on series will feature Professor Claudia Brown of the Workshop leaders: Jerome Silbergeld and School of Art in the Herberger Institute for Design paper. Princeton University Art Dora C. Y. Ching, Princeton University Museum, Museum purchase, and the Arts at Arizona State University, who will Co-sponsored by the Program in East Asian Studies Asian Art Department Fund, and deliver three lectures on Qing dynasty painting and and the Princeton University Art Museum gift of the P. Y. and Kinmay W. Tang decorative arts during the third week of April. The Center for East Asian Art, 2011-30 fifth graduate student symposium in East Asian art on March 3, 2012, will focus on the subject “Myth and Orthodoxy in East Asian Art and Art History.” For further information about Tang Center events, please visit the website www.princeton.edu/tang. fall   1 1 23 Marquand Library

t was particularly rewarding to see items from Marquand’s collections incorporated into three Princeton University Art Museum exhibitions Ithis year. Lasting Impressions of the Grand Tour featured Giuseppe Vasi’s majestic Prospetto dell’alma città di Roma (1765). Kurt Schwitters: Color and Collage used several publications, including Dada, 1916–1923, a poster-catalogue designed by Marcel Duchamp for a 1953 retrospective at the Sidney Janis Gallery. Marquand’s acquisition of Tôkaidô gojûsantsugi emaki (Scrolls of the 53 Stations of the Tôkaidô) by Nihonga artists Ôtani Son’yu and Cavalrymen on Trajan’s Column from Alfonso Dissected man from Tabulae Chacón’s Historia vtriusque belli Dacici (1576). Elise anatomicae (1741) Iguchi Kashû led to a cabinet show pairing the printed 1922 images of the Tôkaidô Road with and Wesley Wright Jr. ’51 Marquand Book Fund the Hiroshige prints that inspired them. The scrolls are also the centerpiece of a fascinating Tôkaidô Luxembourg Palace, Versailles, and the Tuileries. collection created for the Princeton University George-Louis Le Rouge’s Détail des nouveaux Digital Library by Marquand bibliographer Nicole jardins à la mode (1776–87) is a folio suite with Fabricand-Person: http://pudl.princeton.edu/ more than 480 etchings showing European gardens collections/pudl0052. in the Anglo-Chinese style—such as Stowe, Désert There were many notable early-modern addi- de Retz, and Schwetzingen—and the imperial tions to special collections this year. Alfonso gardens of China. Marquand’s set is exceptionally Chacón’s Historia vtriusque belli Dacici a Traiano fresh, comprising 19 of the 21 parts in the publish- Caesare gesti (1576) comprises some 130 engrav- er’s original wrappers. The Palazzo Cornaro in ings, after designs attributed to Raphael and his Notable 19th-century acquisitions include a Vincenzo Coronelli’s Le singolarità pupils, reproducing in minute detail the entire copy of Émile Zola’s Mon salon (1866), inscribed by di Venezia (1708–9) narrative relief of Trajan’s Column in Rome. Two Zola to the painter Antoine Guillemet, and a rare other major acquisitions are of both artistic and set of catalogues of all the exhibitions of the Belgian scientific interest. A monumental facsimile repro- Symbolists Les XX (1884–93). Among the 20th- duces the 12 folios of the Codice atlantico, a century additions, Fortunato Depero’s graphic compilation of Leonardo da Vinci’s writings and anthology, Depero futurista (1927), is a masterpiece drawings preserved in the Biblioteca Ambrosiana. of Futurist book design. Its bold, dynamic pages are TheTabulae anatomicae (1741) is the earliest literally bolted together like a “dangerous” machine. publication of engravings after a remarkable suite Also from the early 20th century are four issues of of anatomical drawings done by Pietro da Cortona Bauhaus (Dessau, 1926–29); Tristran Tzara’s Dada around 1618. no. 6 (1920); and Cercle et carré, the organ of the The buildings of Venice and Paris are invento- French avant-garde group. The post-war collections ried in two major purchases. Three folio volumes by have been augmented with Christian Dotremont’s cartographer Vincenzo Coronelli, Le singolarità di Cobra journal on experimental art in Denmark, Venezia (1708–9) and La Brenta (1710), have more Holland, and Belgium (1949–51); and the Lettriste than 600 views of churches, palaces, and villas. Paris periodical Ur (1963–67), which has 91 original and its environs are detailed in Theodore Jacoubet’s artworks by Maurice Lemaître, Isidore Isou, 1836 Atlas général, a record of the city before and others. Haussmann’s sweeping changes. Marquand also A major photography acquisition, supported acquired two 18th-century works on Palladio: by the Elise and Wesley Wright Jr. ’51 Marquand Nicholas du Bois’s The Architecture of A. Palladio in Book Fund, was Professor Emeritus Emmet Gowin’s Concerning America and Alfred Stieglitz, The personification of Philosophy Four Books (1721), the first complete English trans- from the facsimile of Robert of lation of the celebrated treatise, and Les bâtimens et and Myself (1965). Marquand’s copy of this student Anjou’s Poem of Praise (ca. 1340) les desseins de André Palladio, compiled by Ottavio work comprising 14 gelatin silver prints is inscribed Bertotti Scamozzi in Vicenza (1786). by Gowin to his parents. In landscape design, Jacques Boyceau’s Traité The library accessioned documents about the du jardinage selon les raisons de la nature et de l’art Amsterdam gallery Art & Project—a full run of (1638), an influential treatise by the intendant their Bulletins for shows by Hanne Darboven, des jardins du roi, has 81 designs for “parterres de Richard Long, Sol Lewitt, and others—and The broderies” for royal commissions including the Complete Set of Printed Stuff, an archive of the

24 fall   1 1 introduced Western avant-garde art to Japan, and the complete run of the scandalous 1968–69 photo and literary magazine Chi to Bara (Blood and Roses). Marquand’s medieval collections were enriched by a facsimile of the Vienna Genesis, presented by the department to honor Professor Danny Ćurčić on his retirement. The sumptuous 6th-century codex was written in silver ink on purple vellum, a medium reserved for esteemed patrons. Marquand Bolted cover of Fortunato added several facsimiles of Beatus de Liébana’s Apoc- Depero’s Depero futurista (1927) alypse commentaries, including manuscripts of the 10th–12th centuries conserved in Turin, Valladolid, and the Escorial. Another purchase was a facsimile of the Codex aureus in the Escorial, an outstanding post-Carolingian Gospel of ca. 1035 attributed to the Echternach scriptorium. The library also acquired facsimiles of two manuscripts associated with Robert of Anjou, king of Naples—a south Italian Poem of Praise of ca. 1340 with 43 innova- Detail of the facsimile of Zhao Mengfu’s scroll tive, large-format illustrations (Österreichische Autumn Colors on the Que and Hua Mountains (1295) Nationalbibliothek) and a Neapolitan Bible morali- sée of ca. 1340–50 that blends traditional French catalogues and ephemera of New York’s Franklin imagery with scenes influenced by Giotto (Biblio- Furnace (1976–99). Documentation Book for Five thèque nationale). Car Stud Tableau and the Sawdy Edition (1971–72) Islamic facsimiles added this year include three is a conceptual version of Edward Kienholz’s manuscripts in the Bibliothèque nationale. Kitâb disturbing installation at Documenta V. The con- al-Diryâq, an Arabic medical text dated 1198, was Dieter Roth’s handmade book ceptual group Art & Language is represented by painted in the Mosul School style of northern Iraq. Daily Mirror (1970) their cerebral and austere book works Geology A Timurid style Mi’ragnama (Apocalypse of Muham- 1966–1968 (1966), July 1969 (1969), and the mad) produced in Herat, Afghanistan, in 1436, Olivet Discourse (1972). Two signature works by describes Muhammad’s journey through the celes- Dieter Roth were also added: Daily Mirror (1970), tial sphere. An Ottoman astrological manuscript, a newsprint volume with a yellow corrugated Matāli‘ al-sa‘ādah, or Book of Felicity, was lavishly wrapper incorporating two miniature books, and illuminated in 1582 by Ustad ‘Osman and his Poeterei (1967–68), a handmade book stained workshop for Sultan Murad III. with meat, exemplifying Roth’s fascination with Facsimiles of several renowned Renaissance impermanence. manuscripts were acquired, among them Très riches Notable Chinese acquisitions include LEAP, heures of the Duc de Berry by the Limbourg a new bilingual contemporary arts journal from brothers (ca. 1410) and Jean Colombe (1485–89), Beijing, and Song hua quan ji, a comprehensive now in the Musée Condé. Private devotional series on Song dynasty paintings in world collec- manuscripts include the Morgan Library’s Hours tions. Fourteen facsimiles of Chinese paintings of Catherine of Cleves (northern Netherlands, and calligraphy now supplement the teaching col- ca. 1430); the British Library’s Isabella Breviary lection. These range from Ji zhi wen gao (Funeral (Flemish, ca. 1479); and the Great Hours of Anne Address for My Nephew Jiming) by renowned 8th- of Brittany, illuminated by Jean Bourdichon century calligrapher Yan Zhenqing, to Song (Bibliothèque nationale, ca. 1503–8). dynasty fan paintings of figural and architectural subjects, and hand scrolls by Yuan dynasty land- scape masters Zhao Mengfu, Huang Gongwang, and Wang Meng. Sagittarius from the facsimile of Among the Japanese purchases were two the Book of Felicity, produced in exceptional early works by Kitagawa Utamaro. 1582 for Sultan Murad III Ehon mushi erami (Picture Book of Selected Insects) (1788) pairs humorous love poems with Utamaro’s exquisite woodblock prints of insects, flowers, and reptiles. Kyôgetsubô (Moon-Mad Monk) (1789) shows Utamaro working in a variety of classic styles. Twentieth-century additions included Itagaki Takao’s 1929 Kikai to geijutsu to no kôryû (The Rat snake and lizard from Utamaro’s Picture Book of Interrelation between Machine and Art), which Selected Insects (1788) fall   1 1 25 Detail of the facade of Gaudí’s Visual Resources Collection Casa Mila in Barcelona, an image from the Archivision Collection his was Barnes Foundation and the Foundation for Land- another busy scape Studies, 400 images of the works of Judy year for the Chicago, and the Herbert Cole archive of field TVisual Resources images of African art, architecture, and sites. The Collection, under the scanning and cataloging of Princeton’s William L. direction of Trudy MacDonald collection of images of ancient Roman Jacoby, as the digital architecture is being completed, and it will be collections continue to uploaded to ARTstor later this year. Professor John expand and improve in Pinto’s extensive collection of images of architecture quality and depth. in Rome will also be made available in ARTstor and Planning has begun SAHARA (Society of Architectural Historians for a rearrangement of Architecture Resources Archive). Discussions about the Visual Resources making other parts of the department’s teaching facility that will provide collections available to ARTstor are currently updated spaces for users of the digital collections underway. Princeton will not be an early adopter and for the production of digital images, as well as of the new ARTstor Shared Shelf cataloging and new instruction and meeting areas. In preparation hosting product but will wait to see the new for this reconfiguration, weeding of the 35mm software and will explore other alternatives. slide collection was begun, eliminating duplicates High-quality digital images acquired directly and lower-quality images. Weeding of the digital from museums for teaching included a view of the collections is also being done, with older digital lid of the Chinese “Laughing Dragon Box” in the images from the mid-1990s being replaced with Museum of Fine Arts, Boston. The museum had new scans or licensed images. no photo of the lid showing the dragon motif for In addition, 22 sets of microfiche—including which the box is named and did new photography the Bildarchiv Foto Marburg—were transferred to to provide the image. In other cases, museums Marquand Library. Now integrated with the “stitched” together detail views of hand scrolls to library’s other microfiche, they can be easily viewed, create overall views. digitized, or printed on the library’s ScanPro 1000 The collection of images of Colonial Latin digital scanner. Bibliographic records have also American art and architecture from vendor James been added to the library’s catalogue. B. Kiracofe expanded this year, as Visual Resources Image instruction sessions for undergraduates is selecting, scanning, and cataloging his slides from have been expanded to include finding and using areas including the Dominican Republic, Peru, and Bronze lion in Beijing’s image resources, images for senior theses, and pre- Puerto Rico. New images from Guatemala will be Forbidden City (image courtesy paring images for senior examinations. Sessions are added during the coming year. of Saskia Ltd., photo by also held for graduate students, with topics includ- Collections from Princeton faculty members R. Wiedenhoeft) ing technical specifications of images, copyright currently being added include images of Latin and fair use, using PowerPoint for art history pre- American sites and Eastern European monuments sentations, and building personal image from Professor Thomas DaCosta Kaufmann, collections and databases. A new session this Pre-Columbian images from Bryan Just, and Byz- year covered image resources for teaching. antine churches from Jelena Trkulja. New images in

David Connelly David All new department faculty members the Archivision archive of architecture, landscape are given an introduction to image resources architecture, and public art include extensive cover- and use. Visual Resources continued to age of Gaudí in Barcelona, the Barcelona Pavilion work with faculty members in other depart- by Mies van der Rohe, the Mission San Diego de ments and programs across the University Alcalá, and the Olympic Village in Beijing, among community—including visual arts, history, others. Older images used in courses are regularly English, modern languages, the Writing being replaced with improved images from Saskia, Program, and emeritus faculty—providing ARTstor, Bridgeman, and other sources. Visual instruction in finding and using images in Resources partners with the library to provide Annie Shapiro ’11, an art history ARTstor and PowerPoint, as well as assem- access to the Bridgeman Art Library, and with the major and four-year student bling and managing personal collections of images. School of Architecture to provide the Archivision staff member, works on the An important new function in ARTstor is the collection. image database. ability to export a saved image group directly to Jacoby served on the advisory group to the PowerPoint. ARTstor continued to add new Association of College and Research Libraries resources this year, including the collections of the Image Resources Interest Group, which recently

26 fall   1 1 drafted Visual Literacy Competency Standards Last spring, Kenfield met with three for Higher Education, the first time the group has archivists who are also engaged in catalog- issued such guidelines. Visual literacy addresses ing collections of historic photos of Greece. how people learn to select, evaluate, and use Aliki Tsirgialo of the Benaki Museum in Connelly David images. Athens, Alexandra Moschovi of the Univer- Student staff members Annie Shapiro ’11, sity of Sunderland in the United Kingdom, Eva Marie Wash ’11, and Bridget Wright ’11 did and Kalliopi Balatsouka, assistant curator of excellent work on a variety of projects and will be modern Greek collections at Firestone greatly missed. Cara Tucker ’12 will work on Library, met with Kenfield to discuss the database cleanup and other projects in 2011–12. organization and cataloging of their Chris Spedaliere was promoted to senior image respective collections. The curators plan to cataloger and support specialist this year, and create a shared database of Princeton’s Ljubomir Milanović, a Byzantine specialist who 19th-century photographs of Greece, which are Ljubomir Milanović earned his Ph.D. in art history at Rutgers, worked housed in Firestone Library, the art museum, and as a cataloger. the Department of Art and Archaeology. Research Photographs also provided photo- Research Photographs graphs and other documentation of the excavations of the ancient city of Antioch to scholars and Research Photographs moved into room 206, conservation specialists in the U.S. and Europe. better integrating its collections with the adjacent Conservators at the Rhode Island School of Visual Resources facility. The vacated room will be Design’s art museum made use of the archive’s converted to a study area for emeritus faculty. Shari records during the reinstallation of two 4th-century Kenfield, curator of the collections, established C.E. mosaic panels from a villa at Daphne. The priorities for preservation and de-accessioning. renowned mosaic from the House of the Phoenix, The move involved weeding collections, shifting now in the Louvre, was materials, and rearranging restored at the Musée the archive to provide gallo-romaine in Saint- better access to and view- Romain-en-Gal with the ing of the collections. aid of documents provided In the spring, by Research Photographs. Kenfield organized an An exhibition on the exhibition, The Art Histo- newly restored mosaic is rian as Ethnographer: A on view at the museum The Tower of Winds in Athens, Selection of Photographs through January 2012. photograph by Constantine from the Ananda K. Gunnar Brands of the Athanassiou, ca. 1875, Coomaraswamy Archive, Martin Luther University albumen print in McCormick Hall. of Halle-Wittenberg and The show presented Ulrich Weferling of Leipzig photographs from the University, who are study- department’s archive of ing the topography of materials relating to The recently restored mosaic panel from ancient Antioch and Coomaraswamy donated Daphne depicting the god Bacchus, now working on a revised by his wife, Dona Luisa in the Rhode Island School of Design’s topographical map of the Coomaraswamy. A self- Museum of Art area, again did research in taught art historian with a the collection. Their work Ph.D. in geology, Coomaraswamy is best known as was aided this year by drawings and other docu- a scholar of Indian art and civilization. While ments on the city wall, the aqueducts, and the conducting field research in Ceylon, he discovered necropolis. the vibrant folk and utilitarian arts, customs, and Research Photographs also supplied documen- ceremonial life that still defined daily existence in tation from its archives of the 1910–14 excavations remote regions. In 1910, he began to take photo- of Sardis in western Turkey to the current excava- graphs and collect images of the daily life and work tions, directed by Nicholas Cahill of the University of the indigenous peoples of India and Southeast of Wisconsin. New excavations in the great 4th- Asia. The collection includes portraits and genre century B.C.E. temple of Artemis are searching for Bejeweled women in Kandy, scenes; photographs of craftsmen and laborers; and remains of earlier buildings, and the temple’s Lyd- Sri Lanka, a photograph of images of dancers, musicians, and entertainers— ian altar is being restored. Photographs, drawings, the 1880s from the Ananda K. images that Coomaraswamy saw as a means of and other documents in the department’s collec- Coomaraswamy collection preserving a culture and disseminating information tions are providing important information on the about a people and lifestyle. area at the time of the original excavations in 1912. fall   1 1 27 Index of Christian Art

year full of activities organized by the Index of Christian Art, directed by Colum Hourihane, began on a musical note with Aa lecture/concert. The internationally acclaimed singer Moya Brennan, a two-time Grammy winner Late-12th-century wall painting and voice of the group Clannad, and Cormac de in the Chapel of the Knights Barra, Clannad’s harpist, performed and discussed Templars in Cressac-Saint- Genis, France, the flyer for the Irish music from the medieval period. They were conference “From Minor to Major” joined by medieval historian Edel Bhreathnach, deputy director of the Mícheál Ó Cléirigh Insti- tute at University College Dublin, who presented the lecture “Weaving the Memory of a Celtic Past: Tales of Ireland in a Treasured Archive,” using Irish manuscripts to examine topics such as the memory of saints, heroes, scholars, lords, women, and place. Edel Bhreathnach, Cormac de Barra, and This recounting of the medieval history of Ireland Moya Brennan through words and music focused especially on the Franciscan legacy. In March, the Index hosted the international currently carrying on her work, made her archive of conference “From Minor to Major: The Minor around 12,000 images available to the Index. All of Arts and Their Current Status in Art History.” Ever the photographs have now been digitized and are since Vasari, art has been classified into the two being cataloged and added to the Index’s database. subdivisions “major” and “minor,” and this catego- In the meantime, the images and brief data tags are rization has had a strong impact on how objects available without charge on the Index’s website, have been viewed and studied by scholars. The http://ica.princeton.edu. Index’s conference was designed to examine the The next conference organized by the Index, historiography and current status of art that has “Byzantium Redefined,” will take place on October traditionally been assigned to the second division 14–15, 2011, and will focus on how our under- The most recent volume of —jewelry, enamels, ivories, stained glass, seals, and standing of Byzantine art has changed in the last Studies in Iconography, the journal so on—and to assess the extent to which they have 20 years with the introduction of new approaches edited at the Index been integrated into the study of medieval art. A and methodologies. The speakers will examine full house heard state-of-the-art reports and analy- how innovative research is contributing to a bigger, ses by 18 scholars from around the United States broader picture of the arts of the Byzantine world. and Europe. A small exhibition of medieval book The most ambitious project ever undertaken by bindings in Firestone Library, organized by the Index, the cataloging of the miniatures in the the library’s curator of manuscripts, Don Western medieval manuscripts in the Morgan Skemer, displayed yet another category of Library in New York, was completed this year. The “minor” art. By a happy coincidence, the nine-year endeavor added an immensely rich trove current volume of Studies in Iconography, the of 150,000 images from approximately 1,600 journal edited at the Index and published manuscripts to the Index’s database and extended annually by the Medieval Institute at Western the range of coverage to 1550. The Morgan’s collec- Michigan University, contains several essays tion of medieval manuscripts, the largest in North dealing with ivories, one of the minor arts. America, is now one of the few such collections Another highlight of the minor arts con- anywhere to have its miniatures completely photo- ference was the launch of the Elaine C. Block graphed and electronically cataloged. Misericord in the church of La Database of Misericords. Over the course of nearly Collaborating with the New York Public Trinité in Vendôme showing a 30 years, Block traveled widely throughout Europe, Library and the department’s Professor Emeritus man carrying drinking vessels documenting and photographing the carved James Marrow, the Index has launched a new decorations of these small wooden shelves on the project that will add to its database the images in underside of choir stall seats. They exhibit a range the library’s encyclopedic collection of Western of unusual iconography, mostly secular, that is medieval manuscripts. Roughly 13,000 images in often whimsical, occasionally bawdy, and frequently manuscripts ranging in date from the mid-9th unparalleled in other art of the Middle Ages. through the 16th century have already been Frédéric Billiet, director of Misericordia Interna- digitized, and cataloging is underway. tional, the organization founded by Block that is

28 fall   1 1 Byzantine art, an area of recent growth in the Index’s database, will expand significantly thanks to the Centre d’études Gabriel Millet in Paris and its director, Catherine Jolivet-Lévy of the Sorbonne. With their collaboration, the Index is digitizing and cataloging the entire archive of images of Byzantine art owned by the center, the largest of its kind anywhere. More than 22,000 slides have already been digitized, and scans of prints and glass-plate negatives will be added, including Millet’s own documentation of his renowned expeditions to Mount Athos and the Balkans. The entire project is expected to take three to four years. Until these images have been cataloged and added to the database, the Index will make them Professor Sharon Gerstel of UCLA speaks at the gathering in remembrance of Index scholar available gratis on its website. Lois Drewer Christ in Majesty in an Ottonian The Index’s most recent book, Gothic Art and manuscript in the collection of Thought in the Later Medieval Period: Essays in the New York Public Library Honor of Willibald Sauerländer (Penn State Univer- valued by scholars and students alike, not only for (Ms. 1, fol. 6r) sity Press, 2011), edited by Colum Hourihane, was her wide-ranging knowledge, but also for her published this year. Despite the fact that Gothic is generosity and dedication to helping others with one of the best known and most studied fields of their research and finding an answer to even the medieval art history, the essays in this volume show smallest question. A group of her colleagues and that much remains to be researched. Stretching in friends from a number of institutions gathered at time from the early 13th to the middle of the 16th the Index on June 1 to remember her and to hear a century, and geographically from the western lecture by Sharon Gerstel, a professor of Byzantine shores of Ireland to the eastern borders of Europe, art and archaeology at the University of California– the Gothic style embraces many subdivisions and Los Angeles. “dialects.” In this book celebrating Willibald Last September the Index welcomed Mailan Sauerländer, the doyen of Gothic studies, leading Doquang, who earned her Ph.D. in medieval art scholars in the field present their research on issues and architecture from the Institute of Fine Arts at such as reception, methodology, nationalism, New York University in 2009. Her dissertation, scholasticism, and historiography, along with some directed by Marvin Trachtenberg, focuses on innovative investigations of iconography. Rayonnant chantry chapels that were This is the second of three volumes grafted onto French cathedrals in the of conference proceedings 13th and 14th centuries. surveying major styles and Doquang’s doctoral research subdivisions of medieval art: was supported by the Ameri- Gabriel Millet, founder of the Romanesque Art and Thought can Council of Learned archive whose images are being in the 12th Century was Societies and the Social added to the Index’s database published in 2008, and a Sciences and Humanities volume on Insular and Research Council of Anglo-Saxon art will appear Canada. Before joining the later this year. Index, she held a visiting Lois Drewer, the Index’s professorship at Ithaca College, longtime specialist in Byzantine where she taught both introduc- and early Christian art, died on tory and upper-level courses in April 23, 2011, after a long and coura- ancient Roman and medieval art. Her Mailan Doquang geous battle with cancer. Drewer earned recent publications include a chapter in her Ph.D. from the University of Mich- the volume Memory, Commemoration igan, writing a dissertation on the church of and Medieval Europe (Ashgate, forthcoming) and Justinian in the monastery of St. Catherine at catalogue entries in Franciscan Faith: Sacred Art in Mount Sinai. The medieval arts of the Near East, Ireland, 1600–1750 (Wordwell, 2011). Doquang is along with early Christian and Byzantine iconogra- currently working on a monograph titled “Thresh- phy in general, remained the focus of her scholarly olds of the Gothic Church,” which provides a interest and publications throughout her career. theoretical framework for the study of the bound- She had great enthusiasm for the neglected arts of aries of sacred buildings in 13th- and 14th-century Gothic Art and Thought in the Later Ethiopia, Syria, and Coptic Egypt, and she more France. Since coming to the Index, she has worked Medieval Period: Essays in Honor of than anyone else was responsible for creating the primarily on cataloging the misericords from the Willibald Sauerländer Index’s holdings in those areas. She was greatly Elaine C. Block collection. fall   1 1 29 Excavations

Excavations at Polis Chrysochous, Cyprus uring the summer of 2010, the depart- ment’s Princeton Cyprus Expedition, directed by Professor William Childs, conductedD a small-scale excavation in Polis, began a course of geophysical survey, brought together a diverse team for the study of material for publica- tion, and began to prepare for an exhibition at the Princeton University Art Museum about ancient Elliot Lopez-Finn ’12 prepares Polis—the Archaic and Classical city of Marion publication drawings of and its successor, Arsinoe. The 2010 Polis team pottery found in an Iron Age The excavation, carried out in part by Maria sanctuary at Polis Andrioti *10, clarified part of the architectural sequence in the northernmost area of the medieval also used to create terracottas found in the settlement, built during the Peristeries sanctuary as well as in other areas in Polis hegemony of the crusader excavated by the Princeton team. In the 2010 Lusignan kings in the 12th– season, she began the study of the Hellenistic and 15th centuries. A small team Roman terracotta sculptures, including fragments from Indiana University of of architectural models. Pennsylvania tested the Tina Najbjerg *97 worked with the excavation effectiveness of ground- architects to define the phases of the Roman period penetrating radar (GPR) architecture and to create a preliminary three- survey for mapping the dimensional rendering of a Roman period public unexcavated architectural building and its colonnaded courtyard. remains that lie between two Amy Papalexandrou *98 brought together a Byzantine basilicas uncov- team of scholars to undertake the study and publi- ered by the team in earlier cation of the Late Roman through medieval periods seasons. This geophysical of Arsinoe. Her team includes Nora Laos *02, who survey aims to clarify the is contributing to the publication of a Late Roman wider architectural plan of house she excavated in Polis in 1988. The group Nick McAfee ’13 records and the city of Arsinoe from the of specialists in architecture, ceramics, human draws examples of Iron Age Hellenistic through the medieval period. remains, and building materials, including frescoes, pottery in a findbook The majority of the season centered on the is currently focusing its efforts on the publication study of material in preparation for publication. of a Byzantine basilica that underwent significant Joanna Smith ’87 led a small team in the study of modifications during its 500 years of use. Tina Najbjerg *97 in the Iron Age ceramics from the earliest of ancient Study and conservation also focused on the conservation lab with fragments Marion’s sanctuaries, the complex uncovered in selection and preparation of several objects that of columns from the portico of a Peristeries, on a plateau set back from the seacoast. will form part of an exhibition at the Princeton large Roman public building Her study of the ceramics from the main temple University Art Museum. Smith and Childs are building in the northern part of the site clarified a collaborating with Michael Padgett, the museum’s stratified sequence of deposits covering at least half curator of ancient art, on the exhibition City of a millennium, from the 10th century through the Gold: Archaeological Excavations at Polis Chrysochous, 5th century B.C.E. Elliot Lopez-Finn ’12 and which will be on view from October 20, 2012, to Nick McAfee ’13, undergraduate concentrators January 6, 2013. in archaeology, worked with Smith to illustrate The excavations and upcoming exhibition form ceramic finds that will appear in the final the basis for a professional session, also titled “City publication. of Gold: Archaeological Excavations at Polis Chrys- Mary Grace Weir *96 (M.A.) continued her ochous,” organized by Smith for the 2011 through study of a Classical period sanctuary in Maratheri, 2013 annual meetings of the American Schools of a small ridge at the east edge of the city. The terra- Oriental Research (ASOR). At the 2011 meeting, cotta sculptures from this sanctuary have been to be held in San Francisco this November, the studied by Nancy Serwint *87. Her analysis shows papers will feature the research of Serwint, Najbjerg, that Classical period molds used to fashion the Papalexandrou, and their colleagues working on the sculptures and figurines from this sanctuary were Hellenistic through medieval city of Arsinoe. 30 fall   1 1 Excavations at Bālis, Syria A team of Princeton students and others, led by Professor Thomas Leisten, returned to Bālis in the summer of 2010 to continue excavations in the area of a Shiite mosque-shrine about one kilometer east of the city, near Lake Assad. The Princeton project had already uncovered much of this elabo- rate mashhad, a commemorative sanctuary in the form of a mosque, that was built in the 10th or 11th century c.e. and continued in use until the mid-13th century. The mashhad at Bālis is a typical example of such shrines erected by Shiite rulers in Egypt and Syria, and it was built during a period when Shiite influence at Bālis was particularly strong—one of a number of structures that were intended to create a specific cultural landscape marked by shrines commemorating key figures of early Islamic history in the area. Overall view of the mashhad at Bālis looking The excavations of the 2010 season were through the main entrance toward the prayer niche focused on gaining a better understanding of the at the rear large cemetery that surrounded the mashhad. Digging in the cemetery revealed a number of extremely rare in this period, when most inhuma- burials of very young children and infants, some of tions involved only wrapping the corpse in a them perhaps stillborn. A Shiite source mentions shroud and burying it in a shallow grave. The that there was a “shrine of miscarriages” at Bālis, extraordinary treatment of this individual, a male perhaps a commemoration of a miscarriage suffered in his 50s, indicates that he was a personage of there by one of the women in the illustrious family some importance. He may have been a keeper of of Hussein ibn Ali as they were being taken as the shrine or a prominent descendent of the prisoners to Damascus after Hussein’s defeat at the Prophet Muhammad or, even more likely, an Battle of Karbala in 680. The members of Hussein’s important patron of the shrine complex. Burials of family were direct descendents of the prophet patrons within the walls of the shrines they sup- Muhammad, and the commemoration of this ported were quite common during the 11th–13th event apparently provided the impetus for the centuries. practice of burying stillborns and infants in the All of these new discoveries help to create a Sarah Johnson ’10 and Alexandra shrine centuries later. fuller picture of how this shrine on a hilltop outside Epps ’12 excavate painstakingly An unexpected feature of this longstanding the city of Bālis functioned during the Fatimid and with brush and trowel practice was revealed when the excavators opened Ayyubid dynasties. It attracted the faithful as a trenches on both sides of the main entrance of the pilgrimage site—and possibly the burial place of mashhad. They found that unusually deep burial a prominent patron or saint—as well as serving as shafts had been dug into the ground, and, even a cemetery for those who wished to bury their more surprisingly, that each tomb had been re-used children at a holy place linked to the family of for multiple successive burials. The earlier burials the Prophet. had not been removed—the remains had simply been pushed aside, with the bones of several small skeletons heaped together at the foot of the tomb. This discovery showed that the lure of being buried in the cemetery at this holy site was so potent that it led to the unusual recycling of tombs. Excavation also took place in a room within the shrine itself. Earlier digging in this room adja- cent to the entrance had uncovered a very shallow burial, identified by a tomb marker as that of a teenage boy. The unusual shallowness of this burial led Leisten to suspect that something of interest might lie below it. Excavation immediately revealed large stone slabs covering a one-meter- Forscher surveys the mashhad deep burial chamber. Within this grave were the with a theodolite remnants of a wooden coffin, along with the nails Professor Thomas Leisten and Emily Forscher ’11 that had joined its planks. Coffin burials are discuss the excavations in the mashhad fall   1 1 31 Department Lecture Series, continued from page 19 Lectures, Conferences, Symposiums Continued from page 19

Tuesday, February 8 Alan Trachtenberg Yale University, emeritus Being There: Photography as Habita- Drawing a Blank: Past and Present Senior Thesis Symposium tion in Photo-Texts by Wright Morris 2011 Graduate Student Conference April 29, 2011 Tuesday, February 22 April 8–9, 2011 This year’s Senior Thesis Symposium, organized by The Kurt Weitzmann Lecture Gerhard Wolf The department’s 2011 graduate student conference department representative Professor Anne McCau- Kunsthistorisches Institut in featured a wide geographical and chronological ley, with the assistance of graduate students Annie Florence, Max Planck Institute array of papers concerning the theme “Drawing a Bourneuf, Nika Elder, and Emily Spratt, featured Between the Global and the Local: Blank: Past and Present.” The speakers discussed 13 members of the Class of 2011 who presented Mediterranean Art Histories talks based on their thesis research. Tuesday, April 5 multiple ways in which societies represent a forgot- Marian Feldman ten past in order to influence what is remembered University of California–Berkeley in the present. Forgetting can involve erasure, The Practical Logic of Style and denigration, choosing one version of a story over Memory in Early First Millennium another, or revival of a more distant past in place of Levantine Ivories a more immediate one. The conference papers Friday and Saturday, April 8–9 addressed a wide range of these strategies, discussing Graduate Student Conference the deification of Roman emperors, portraits of the Drawing a Blank: Past and Present Medici, post-World War II monuments in Germany Wednesday, April 13 and Japan, preservation practices in post-conflict Sonya Lee University of Southern California Rwanda, the role of Fang art history in the study New Faces of Nature: Colossal of Fauvism, contemporary commentary on Jesuit Buddhas of Sichuan missions in Brazil, and the counter-histories of lower Manhattan. Graduate students from 11 universities chal- Bridget Wright ’11 speaks at the Senior Thesis lenged the traditional terms “remembering” and Symposium “forgetting” in cultural memory studies, and showed how art and memorial can act as active In the morning session, Rachel Poser ’11 agents in the construction of historical narratives. discussed multicultural aspects of Gandharan art; The vast chronological range of the papers was Katie Mumma ’11 spoke on the 12th-century exemplified by the opening and keynote speakers: mosque in Tinmal, Morocco; Ashley Dunning ’11 the department’s Professor Nathan Arrington examined the anatomical theaters in Padua and presented a paper on the ways in which Classical Leiden; Annie Shapiro ’11 presented her research Graduate Student Conference Athenians remembered their war dead in monu- on Bronzino’s portraits of children; May Geolot ’11 opening speaker Professor ments, arguing for a theological reading of the gave a talk on tapestry rooms in late Georgian Nathan Arrington with conference Parthenon metopes, while Professor Bradford J. English country houses; and Ariel Gold ’11 spoke organizers (from left) Vivian of Syracuse University analyzed the themes about the small decorative sculptures and art Megan Goldman-Petri and in the proposals for the Sept. 11 Memorial. criticism of 18th-century artist Étienne-Maurine Jaqueline Sturm The conference was organized by second-year Falconet. graduate students Megan Goldman-Petri (classical In the afternoon the focus shifted to 20th- Speakers, panel chairs, and art and archaeology) and Jaqueline Sturm century and contemporary art. Bridget Wright ’11 organizers of the Graduate (medieval art and architecture). spoke about the Whitney Studio Club and folk art; Student Conference Daria Foner ’11 presented her research on Cubist painter and classical performer Suzy Frelinghuysen; Madeleine Douglas ’11 discussed her senior art show installation, Court; and Eva Marie Wash ’11 spoke on Alexander Calder and World War II. After a break for coffee, Adam Tanaka ’11 examined urban memory and monuments in post-Communist Bucharest; Joshua Zeitlin ’11 gave a presentation on the domestic architecture of Tadao Ando; and Sam Lewis ’11 wrapped up the afternoon session with a presentation on contemporary Japanese artist Takashi Murakami and traditional Japanese art. The day-long event concluded with a reception for the speakers and audience members.

32 fall   1 1 News from Alumni

Undergraduate Alumni Treasures: Illuminated Manuscripts from Midwestern Collections, a selection of ornately embellished man- Julia Allison ’01, an independent project manager uscripts from university libraries, museums, and in Los Angeles, recently managed the renovation private collections in seven states that was on view and reinstallation of the European and American from December 2010 to February 2011. Informa- galleries of the Huntington Art Gallery. Julia is tion about the exhibition, including a gallery guide, currently developing a lighting and green energy can be found at www.chazen.wisc.edu/exhibitions/ Will Cardell ’74, Christmas concept for the Los Angeles County Museum of index.asp. Maria has also recently curated small card design Art. She also does occasional projects for Karl exhibitions of the museum’s newest acquisitions, Hutter Fine Art, a contemporary art gallery in including Haitian Paintings and Southwest Pottery Beverly Hills owned by her husband. For more from the San Ildefonso, Santa Clara, and Acoma about her work, visit her website www.jallison Pueblos. Her article “Technical Note: Conservation projects.com. [[email protected]] Summary of Sirani’s Signora Ortensia Leoni Cordini Rebecca Zack Callahan ’04 lives in Manhattan as St. Dorothy” appeared in the Chazen Museum of with her husband, Rob Callahan, and is a wom- Art Bulletin for July 1, 2003–June 30, 2007 (pub- en’s health care nurse practitioner at a public health lished in 2010). Maria has been working with clinic in Brooklyn, where she provides prenatal and objects conservator Meghan Thumm Mackey ’91, gynecological care to underserved women. Rebecca preparing works of modern sculpture from the is also a certified teacher of Jivamukti Yoga, one of Terese and Alvin S. Lane collection for installation the nine internationally recognized styles of Hatha in the newly expanded Chazen Museum of Art Yoga, involving a vigorous physical asana practice building, which will open in October. along with a spiritual practice rooted in the ancient [[email protected]] yogic texts and traditions. She plans to teach pre- Julie Dickerson ’10, with the support of a Martin natal yoga in the future. Rebecca has recently been A. Dale Fellowship from Princeton, spent the year working on acquiring a photograph by Mexican painting murals in shelters, hospitals, and centers for photographer Daniela Rossell, whose work was the impoverished. Eighteen of her murals now the subject of her senior thesis and of the research enliven institutions from Washington, D.C., to New papers she wrote for Professor Rubén Gallo’s semi- York City, Manchester, New Hampshire, and Haiti. nars on Mexican art. [[email protected]] In March, her Dancing with the Saints mural opened Maria Saffiotti Dale ’85, Hidden Will Cardell ’74 is an upper-school art instructor with fanfare in the undercroft of the St. Paul and St. Treasures: Illuminated Manuscripts at Oak Knoll School of the Holy Child in Summit, James church in New Haven, which hosts a number from Midwestern Collections New Jersey. His courses include a computer graph- of nonprofits dedicated to helping the community, ics elective in which students use the latest tools of including AA, NA, and Loaves and Fishes emergency digital image creation and manipulation, sometimes food pantry and clothing closet. Seventy-five people celebrated with capoeira and flamenco dancing, merging them with traditional art techniques. Julie Dickerson ’10 and part of along with jazz performances. Julie has regularly Using the Corel Painter 11 program, a tablet the mural she painted on a new posted her stories, thoughts, and pictures from the laptop, and stylus, they learn to edit and mani- school in Fond Parisien, Haiti pulate digital drawings and paintings, apply project at www.jdickysartforum. chromatic and textural effects, and merge images blogspot.com. In May she com- with special effects and text. Will has designed his peted in the 140-mile Ford Ironman own Christmas cards for many years, originally St. George race in Utah, raising using the silk screen process, but more recently pri- funds to support the work of the marily with digital imaging, sometimes combined Foundation for Peace in Haiti. She with photography. His students are now enthusias- plans to continue volunteering to tically creating their own greeting cards, in create murals, and may investigate addition to posters and other graphic design. forming a nonprofit that will con- [[email protected]] nect volunteer artists with nonprofit organizations to bring original art Jamie V. Crapanzano ’00 is currently working as into the lives of those they serve. a proprietary trader in New York City. [jvc212@ [[email protected]] gmail.com] Barclay Dunn ’85 has recently Maria Saffiotti Dale ’85, curator of paintings, begun a new project, Baba’s Fiber sculpture, and decorative arts at the Chazen Dyeing Workshop, which involves Museum of Art at the University of Wisconsin– an examination of a range of topics Madison, curated the loan exhibition Hidden related to dyeing spinning fiber and fall   1 1 33 yarn, color artistry, and process. She plans to inter- week of field research. Kaitlyn has also been traveling view as many fiber dyers as possible over the next around the United Kingdom, photographing, year or so and will blog about her progress at making videos, and blogging about each new city http://blog.babasfiberdyeing.com. Barclay would and experience. To see Kaitlyn’s Edinburgh blog, go like to hear from fiber-dye artists to share ideas and to http://burgh.tumblr.com. [[email protected]] discuss the activity of dyeing; she can be contacted Anne D. Hedeman ’74 was via her blog. At the conclusion of elected a Fellow of the Medieval her research, she plans to present Academy of America in spring her findings in a book. [info@ 2010. Her co-edited special issue babasfiberdyeing.com] of the journal Gesta—Making Tracy Ehrlich ’87 has taught in Thoughts, Making Pictures, Making the master’s program at the Memories: A Special Issue in Honor Cooper Hewitt Museum in New of Mary J. Carruthers—appeared York City since 2006. Her recent in the summer of 2010. The exhi- Slippers for sale in the medina of publications include “Otium cum bition that she co-curated with Casablanca, photograph by negotium: Villa Life at the Court Elizabeth Morrison, Imagining Kaitlyn Hay ’10 of Paul V Borghese,” in The Poli- the Past in France, 1250–1500, tics of Space: European Courts ca. was shown at the J. Paul Getty 1500–1750, edited by Marcello Museum in Los Angeles from Fantoni, George Gorse, and November 2010 to February Malcolm Smuts (Bulzoni, 2009). 2011. Assembling some of the [[email protected]] finest illuminated manuscripts of Tracy Ehrlich ’87 et al., The Politics the period from the collections of Stuart P. Feld ’57, the owner of of Space: European Courts ca. more than 25 museums and Hirschl & Adler Galleries in New 1500–1750 York, reports that the gallery has libraries across Europe and the moved from the townhouse at 21 East 70th Street United States, the exhibition was accompanied by a that it had occupied since 1977 to larger quarters in catalogue, Imagining the Past in France: History in the Crown Building at 730 Fifth Avenue (at 57th Manuscript Painting, 1250–1500 (J. Paul Getty Street). In its new location, the gallery will showcase Museum, 2010). Anne is professor of art history and its unique collection of American and European art medieval studies at the University of Illinois. [ahede- from the 18th century to the present, and its com- [email protected]] prehensive collection of American decorative arts William I. Homer ’51, the H. Rodney Sharp from 1810 to 1910. Professor of Art History Emeritus at the University Holly (Markovitz) Goldstein ’00 enjoyed her first of Delaware, is completing the second volume of Anne D. Hedeman ’74 and Thomas Eakins’s letters; the first volume was pub- Elizabeth Morrison, Imagining year as professor of art history at the Savannah Col- lege of Art and Design in Savannah, Georgia, where lished by Princeton University Press in 2009. Bill the Past in France: History in collaborated with Mark Pellegrini on a digital Manuscript Painting, 1250–1500 she teaches courses in modern and contemporary art and the history of photography. Last November catalogue of the complete paintings and drawings she welcomed a daughter, Eloise Joyce Goldstein. of Eakins, and has been working with Lloyd [[email protected]] Goodrich’s research material to produce a catalogue raisonné of the paintings of Eakins’s contemporary, Kaitlyn Hay ’10 is working toward a master’s Albert Pinkham Ryder. Working in a later period of degree in urban studies at the University of Edin- art history, Bill has been deeply involved with the burgh as a Saint Andrew’s Society of New York discovery, rescue, and presentation of the work of Macmillan Fellow. She and her fellow students in the heretofore unknown Abstract Expressionist the MSc in The City program wrote and designed Arthur Pinajian (1914–99). Pinajian’s paintings have a book, titled Gamma/Jaamaa: Urban Fragments: been shown in exhibitions in Woodstock, N.Y., Casablanca/Edinburgh (Graphical House and Uni- Boston, and Los Angeles. Bill wrote the introduc- versity of Edinburgh, School of Arts, Culture and tion to the book that accompanies the exhibition, Environment, 2011). The volume examines issues Pinajian: Master of Abstraction Discovered (Falk Art of housing, community do-it-yourself (D.I.Y.) Reference, 2010), and coauthored an article on architecture, public art, and city-center renewal in Pinajian in the American Art Review. Straying Edinburgh and Casablanca, Morocco. The project from art history, he published an article on the involved a case study of Wester Hailes, a town in groundbreaking aquarist William T. Innes in William I. Homer ’51 et al., Pinajian: the Edinburgh suburbs that has both D.I.Y. proj- Aquarium Fish International (January 2011). Master of Abstraction Discovered ects and D.I.Y. architecture. The town’s community- generated social movement in the 1970s and ’80s Frederick Ilchman ’90 is curator of Italian paint- included building and running health and educa- ings at the Museum of Fine Arts, Boston, where he tion centers, a job center, and an arts agency. Last has recently been immersed in researching problems December, the class traveled to Casablanca for a in Tintoretto connoisseurship, with the eventual

34 fall   1 1 goal of replacing the 1982 catalogue raisonné by both near Antioch/Antakya, Turkey—for which he Pallucchini and Rossi. In 2010, he was a fellow in serves as epigrapher. Part of Jake’s work involves the Center for Curatorial Leadership, a program preparing for publication a collection of cuneiform that trains curators for careers as museum directors tablets that was discovered in a temple at Tayinat in and administrators. He also gave public lectures at 2009. An exciting development of the past year was the Frick Collection, the Norton Museum of Art his identification of one of these tablets as a new in Palm Beach, and the Cape Cod Museum of Art, manuscript of an Assyrian treaty previously known and gave a paper at the Frick’s conference on the from a site in Iraq. Textual echoes of this treaty have collecting of Italian Renaissance painting in Amer- long been recognized in the Book of Deuteronomy, ica. Frederick has been named co-project director of and the presence of a new manuscript in the Levant Save Venice Inc., helping to select and supervise the promises to offer important contributions to bibli- many restorations of art and architecture in Venice, cal studies as well as to the history of ancient including the current projects at the Church of Mesopotamia. [[email protected]] San Sebastiano and the former Sala dell’Albergo David Maisel ’84 has published History’s Shadow of the Scuola della Carità, now part of the Gallerie (Nazraeli Press, 2011), a series of photographed, dell’Accademia, known for Titian’s famous Presen- scanned, and manipulated X-rays of ancient artifacts tation of the Virgin. His work with Save Venice is from museum archives. The project began during Will Johnson ’68, Rumi’s Four particularly satisfying, as it involves collaborating his 2007 residency at the Getty Research Institute, Essential Practices: Ecstatic Body, with Professor Emerita Patricia Fortini Brown and when he became captivated by X-rays of ancient Awakened Soul Mary Frank *06. [[email protected]] objects in the museum’s collections. He went on to Will Johnson ’68’s latest book about Jalalladin select X-rays from the thousands of examples in the Rumi, the 13th-century Sufi poet, mystic, and archives of the Getty and the originator of the dance of the whirling dervish, Asian Art Museum of San is Rumi’s Four Essential Practices: Ecstatic Body, Francisco. The resulting Awakened Soul (Inner Traditions, 2010). Will’s prints transcribe both the new book focuses on the four main body-oriented inner and outer surfaces of spiritual practices that Rumi encouraged his fol- their subjects simultaneously lowers to explore: eating lightly, breathing deeply, and form spectral images of moving freely, and gazing raptly into the eyes of a indeterminate space, depth, great friend. Explored in concert, they create a and scale. The book also con- powerful prescription for reclaiming our lost birth- tains an original short story right as ecstatic humans, and a path for those who by Jonathan Lethem that was have come up against the stark limitations of inspired by David’s images. A Field Kallop ’04, Untitled organized religion and will settle for nothing less selection of photographs from this series was shown (Multi-pass), 2010, ink on fabric, than a reunion with the palpable, felt energies at the California Museum of Photography from 57 × 114 inches that we describe using the word “God.” August–December 2010, at the Miller Block Gallery [[email protected]] in Boston from March–April 2011, and at the Field Kallop ’04 completed the second year of the Haines Gallery in San Francisco in April–June M.F.A. program in painting at the Rhode Island 2011. David plans to develop the project through School of Design (RISD). Much of her recent collaborations with museums around the world. work has been in the medium of bleach and ink [[email protected]] on fabric. She and her classmates participated in Sasha Nicholas ’00 was the assistant curator of the the RISD M.F.A. thesis exhibition in Providence, exhibition Lyonel Feininger: At the Edge of the World, Rhode Island, in early June, then brought their which opened at the Whitney Museum of American show to Mixed Greens Gallery in Chelsea, New Art in June and is on view through October 16, York. After graduating from RISD, she moved back 2011. This is the first retrospective on Feininger in to New York City. For more information about his native country in more than 45 years and features Field, visit her website, www.fieldkallop.com. works from throughout his diverse career, including [[email protected]] his turn-of-the-century satirical illustrations and Jacob Lauinger ’99, after spending the 2009–10 comics, his carnivalesque Expressionist compositions academic year as the Gaylord and Dorothy and crystalline architectural scenes, his whimsical Donnelley Research Fellow at the University of hand-carved wooden toys, his Bauhaus photographs, David Maisel ’84, History’s Shadow Cambridge’s Corpus Christi College, returned to and his late oils of New York City. Sasha contributed the States to take up the position of assistant pro- the essay “The Inveterate Enemy of the Photo- fessor in Assyriology at Johns Hopkins University, graphic Art: Lyonel Feininger as Photographer” to where he is enjoying teaching courses on Mesopo- the catalogue that accompanies the exhibition. She tamian history and the Akkadian language. His also co-curated the show Breaking Ground: The research focuses on two excavations—the Bronze Whitney’s Founding Collection, which opened in Age site Alalakh and the Iron Age site Tayinat, April and will be on display until September 18, 2011. [[email protected]] fall   1 1 35 Rose Quinn ’99 works as a technical designer and Polis for the 2011–13 annual meetings of the Amer- product developer for outerwear and waders at ican Schools of Oriental Research. The title of the Simms Fishing Products in Bozeman, Montana. session draws on the name of the upcoming exhibi- Rose and her husband, Brian, are happy to be rais- tion about Polis, City of Gold: Archaeological ing their 3-year-old son Miles in a beautiful Rocky Excavations at Polis Chrysochous, Cyprus, scheduled Mountain town where camping, fishing, hiking, to be on view at the Princeton University Art skiing, and snowboarding keep them busy year- Museum from October 20, 2012, through January round. [[email protected]] 6, 2013. Related to her research for this exhibition, Mark Sheinkman ’85 had a solo exhibition of she received a research fellowship from the Cyprus paintings in February–March 2011 at Von Lintel American Archaeological Research Institute and the Gallery in New York, and his graphite drawings Council of American Overseas Research Centers for were featured in a two-person show of works on May of 2011. [[email protected]] Sasha Nicholas ’00 et al., Lyonel paper at Gallery Joe in Philadel- Alexandra “Sasha” Suda ’03 is Feininger: At the Edge of the World phia in March–April 2011. currently finishing her disserta- During the past year, he also tion at the Institute of Fine Arts had solo shows in Boston and in New York, working with Dallas. His work was included Professor Jonathan J. G. in the group exhibition and cat- Alexander. Her dissertation alogue 100 Years/100 Works of is centered on the Girona Art: Introduction to the Collec- Martyrology, a manuscript pro- tion of the Grand Rapids Art duced in Prague in about 1410 Museum, and in Drawn/Taped/ that combines delicately elegant Burned: Abstraction on Paper, Laura A. Trimble ’07, wedding depictions of saints with images shown at the Katonah Museum invitation directions card, showing their gruesomely vio- of Art from January–May 2011. watercolor and ink lent martyrdoms. She gave One of Mark’s large paintings papers about her research in was acquired by the Palmer Museum at Penn State Venice and at UCLA last year. After completing an this year. Other works by him are in the collection Andrew W. Mellon Research Fellowship at the Met- of the Museum of Modern Art in New York, the ropolitan Museum of Art in February, Sasha moved National Gallery in Washington, the Metropolitan to Toronto, where she is now assistant curator of Museum of Art, and many others. For more infor- European art at the Art Gallery of Ontario. mation, visit www.mark sheinkman.com. [[email protected]] [[email protected]] Mark Sheinkman ’85, Williams, Laura A. Trimble ’07 works at the Center for 2011, oil, alkyd, and graphite on Cameron O. Smith ’72 has been on sabbatical for Architecture of the American Institute of Architects paper, 29 × 21 inches the past year between his last and next job. He has New York Chapter, where she coordinates partner- made major trips this year to Peru (Smithsonian ship programs and all exhibition-related Travel), Turkey (Princeton Journeys), Vietnam programming. She also does illustrations and and Cambodia (Odysseys Unlimited), Egypt designs stationery. Last fall, she illustrated the cover (Princeton), and China (Smithsonian), with smaller of El haz de leña/The Bundle of Firewood by Gaspar excursions to Canada, Mexico, and a number of Núñez de Arce (1872): A Drama (Edwin Mellen the national parks out west. He plans to visit south- Press, 2010), translated by her grandfather, Robert ern Africa in September. His biking trip to Jordan, G. Trimble, an emeritus professor of Spanish. Syria, and Lebanon scheduled for March was Laura’s line of stationery, LATinNYC (www. understandably postponed by current events. LATinNYCstudio.com), includes a signature series [[email protected]] of watercolor scenes of historic landmarks of New Joanna S. Smith ’87 delivered and published York City, as well as an “Ice Cream Saves the Day” papers about her research on the design and signifi- ice cream truck scene. Her specialty is bespoke Alexandra Suda ’03’s dissertation cance of tapestries and seals in the Bronze Age bridal stationery, from save-the-date cards to bridal examines the Girona Martyrology; Mediterranean and Near East. The papers were pre- shower invitations, wedding invitations, wedding this detail shows the Prophet Job sented at the 7th International Congress on the programs, menus, and place cards, with text and (© Girona Bishopric, Ancient Near East in London, the Aegaeum illustrations custom designed for each invitation. All Rights Reserved) “Kosmos” conference in Copenhagen, and the [[email protected]] American Schools of Oriental Research annual David Van Zanten ’65, professor in the Art History meeting. She also delivered a paper about her ongo- Department at Northwestern University, is the ing work on the publication of the department’s editor of Marion Mahony Reconsidered (University of excavations in Polis Chrysochous, Cyprus, at the Chicago Press, 2011), which includes essays by conference “Iron Age Synchronisms in the Eastern Alice Friedman, Paul Kruty *89, Anna Rubbo, Mediterranean” in Zaragoza, Spain. She has orga- James Weirick, and David. This is the first in-depth nized a three-year session about the excavations in study of the work of Marion Mahony Griffin

36 fall   1 1 (1871–1961), who produced Frank Lloyd Wright’s August 2011. Her landscapes of New England, japoniste presentation drawings and the 1911 win- Provence, and Tahiti can be seen on her website, ning plan for Canberra, Australia, by her husband, www.rokhaya.com. [[email protected]] Walter Burley Griffin, as well as exquisite silk scroll Mary K. Weatherford ’84 had a one-person show renderings of their buildings in Chicago, Australia, of ink-on-paper drawings at the John Tevis Gallery and India. One of the first licensed female archi- in Paris in the summer of 2010, which included a tects in the world and an original member of the gallery lecture and artist interview by Jeanette Prairie School of architecture, she was an adventur- Zwingenberger, curator of the 2009 Grand Palais ous designer whose work attracted attention at a exhibition Un image peut en cacher une autre. In moment when architectural drawing and graphic May–June 2011, Mary’s large-scale Flashe-on-linen illustration were becoming integral to the design paintings were featured in a solo exhibition at Bren- process. This volume presents new research into nan & Griffin in New York. The show, Cave at Mahony’s life and her career working among some Pismo, included large versions of the ink sketches of America’s most noted architects, from her origins shown in Paris. Mary has been making images of a in Chicago progressive circles through her years sea cave at Pismo Beach, on California’s central Marion Mahony Reconsidered, as Wright’s right-hand woman and her bohemian coast, for several years. The series has its origins in edited by David Van Zanten ’65 life with her husband in Australia. Gustave Courbet’s paintings of the source of the [[email protected]] Loue. Mary’s caves reverse the anticipated figure/ Alex Ward ’75, after graduating from Harvard’s ground relationship, creating a shift- Graduate School of Design, worked in New York ing interplay of solid and void. For for Kohn Pedersen Fox, where he was senior more images of her work and past designer on the award-winning high-rise 333 exhibitions, visit www.brennanand Wacker Drive in Chicago. Since 1992 he has been griffin.com and www.johntevis. in Los Angeles, where he now heads his own office, com. [[email protected]] lxw design. Alex’s firm designs a wide range of Alan Weinstein ’61 had exhibitions projects, from private homes to school buildings in 2010 at the Preston Contempo- and airport terminals to urban master plans, rary Art Center in Las Cruces, New emphasizing environmental responsiveness, Mexico, and The Project Art Gallery unusual materials, and fine detailing. His recent at University Hospitals in Iowa City, Alex Ward ’75 was the lead projects incorporate visual art and performance, both overviews of his work of the last 15 years. The designer for the Santa Monica and have included a large-scale installation of video shows presented a range of large and mid-sized can- College Theater Arts Building art for the renovation of the Bradley International vases that traced the development of his recent Terminal at Los Angeles Airport; the set for a site- formal preoccupations and sampled his increasingly specific dance performance by Heidi Duckler calligraphic language, as well as his complex “joined Dance Theater on an empty lot in Long Beach; canvases,” which play with the ideas of central and the award-winning Theater Arts Building at images and their interaction with peripheral vision. Santa Monica College in Los Angeles. His team is Last November, in the gallery space of his currently working on a proposal for the revival of 8,000-square-foot converted barn home and studio, the Los Angeles River. [[email protected]] Alan mounted the exhibition Cut Canvas, 2007– Rokhaya Waring ’88 is one the artists featured in 2010. The show featured works that incorporate 100 Artists of New England by E. Ashley Rooney canvas cut and glued to canvas, a technique he pio- (Schiffer Publishing 2011). The book showcases neered in the ’70s. The cut canvases range in size the work of artists from across the entire region of from tiny to 25 feet wide. Permanent collections New England in a wide range of mediums, with holding his prints, livres d’artiste, drawings, and information about the artists, galleries, and histo- paintings include the Library of Congress, the ries of the New England art National Gallery in Mel- colonies. Rokhaya’s paintings bourne, Australia, and many were also included in The other public and university Best of Rocky Neck Art Colony museums and galleries. For show at the Rocky Neck more about his art and recent Gallery in Gloucester, exhibitions, visit his website Massachusetts, in May–June www.alanweinstein.com. 2011. She also had two solo [[email protected]] exhibitions: Tahiti Views at Rick Wright ’87 was awarded Blue Heron Gallery in Well- the Louchheim Fellowship by fleet, Massachusetts, in July the Fleisher Art Memorial in Alan Weinstein ’61, Blue Breeze, 2006, acrylic on canvas, 2011, and Paintings from Mary Weatherford ’84, Georgia, Philadelphia, where he is a 25 × 48 inches Cape Ann to Tahiti at the 2010, Flashe and starfish on linen, faculty member. The award Rocky Neck Gallery in 40 × 42 inches included a solo exhibition, fall   1 1 37 Late Petroleum Age Vessels, that was shown from the symposium held in his honor in 2008, was pub- October 2010–January 2011 in the Suzanne lished last year. The book includes 19 essays on Fleisher & Ralph Joel Roberts Gallery. The black- subjects ranging from El Greco’s portraits and Goya’s and-white photographs in Rick’s exhibition focused Red Boy to the patronage of Italian Renaissance on brightly colored plastic containers—Wisk, Tide, tombs in Spain and portraits for trade in Mexico in Clorox, etc.—and revealed hidden “personalities” the 17th and 18th centuries. and allusions to primitive masks or ancient deities. Kaira Cabañas *07 is lecturer and director of the This work was also chosen for the Print Center’s M.A. in Modern Art: Critical and Curatorial Studies Annual International Competition, curated by (MODA) program at Columbia University. This Museum of Modern Art curator Sarah Suzuki. In academic year she lectured in the “Art et Sociétés” January 2011, Rick served as juror for the Perkins seminar at the Centre d’Histoire de Sciences Po Center for the Arts 30th Anniversary Photography (Paris), the Hirshhorn Museum (Washington, Show, which was the site of his first juried show 20 D.C.), and the Walker Art Center (Minneapolis), in years ago. He teaches workshops and classes at connection with the exhibition Yves Klein: With the Project Basho, Panasonic’s Digital Photo Academy, Void, Full Powers, the artist’s first major retrospective and the Fleisher Gallery, and will hold his first in the United States in three decades. Kaira also Rick Wright ’87, Catalog #54, international workshop in Thailand next January. contributed to the exhibition catalogue produced photograph from the series Rick has started to work with a 4 × 5-inch field in conjunction with the exhibition, which was co- Vessels of the Late Petroleum Age, camera, and his next project will involve making organized by the Hirshhorn Museum and Sculpture 12 × 18 inches portraits in black and white. Garden and the Walker Art Center. She is currently [[email protected]] serving as guest curator of the upcoming exhibition Specters of Artaud: Language and the Arts at the Graduate Alumni Museo Nacional Centro de Arte Reina Sofía in Madrid. [[email protected]] Virginia Bower *77 (M.A.) was the lecturer on a private tour of China in May 2010. The focus was Nick Camerlenghi *07 was appointed assistant ceramics, with visits to contemporary artists’ stu- professor in the Department of Art History at the dios, kiln sites, museums, and private collections; University of Oregon in the fall of 2010. At the the tour group consisted of collectors, a dealer, an 2010 Society of Architectural Historians (SAH) interior designer, and a museum director. She was meeting, he chaired the well-attended session also one of three editors, and wrote one of the two “Reassessing Italian Medieval Architecture.” Nick introductions, of Chinese Ceramics: From the has recently begun scholarly work on a longtime Paleolithic Period through the Qing Dynasty (Yale passion, gastronomy, and at the 2011 SAH confer- University Press, 2010), a lavishly illustrated histor- ence he will present a paper on the notion of terroir ical review of Chinese ceramics. The product of a and its applicability to the study of regional archi- 10-year collaboration of American, Chinese, and tecture. During an upcoming leave from teaching, Chinese Ceramics: From the Japanese scholars, the book features 770 illustra- he will continue work on his book on the Basilica of Paleolithic Period through the tions and is the first comprehensive photographic San Paolo fuori le Mura in Rome. Nick and Qing Dynasty, co-edited by survey of Chinese ceramics in English. It will Jessica Maier, an art historian with a Columbia Virginia Bower *77 (M.A.) be published in a Chinese version by Foreign Ph.D., were married in the fall of 2009. Languages Press of Beijing. [[email protected]] [[email protected]] Neil Chassman *71 (M.A.) gave a lecture on artist Jonathan Brown *64 received the 2011 Distin- and philosopher Peter Schwarzburg at the Marcella guished Scholar Award from the College Art Sembrich Museum at Bolton Landing on Lake Association of America, which held a session titled George, and curated a related exhibition at the “Between Iberia and New Spain: The Scholarship of nearby Silverwood Gallery. At SUNY New Paltz, he Jonathan Brown” in his honor at its annual meeting taught “Images and Ideas: Asian Art” last fall and in February. In July 2010, he was awarded the will teach that course again, in addition to “Art of Premio Internacional of the Fundación Cristóbal Early China.” His courses at Woodstock Day School Gabarrón of Valladolid, Spain. Jonathan was the include “Directed Studies in World Literature and curator of the October 2010–January 2011 exhibi- the Novel” and “Twentieth-Century History of tion Pintura de los reinos: Identidades compartidas en Europe and the U.S.: Political, Military, and Cul- el mundo hispánico at the Museo Nacional del Prado tural.” Neil also directed several programs at the and Palacio Real in Madrid, and was co-curator of Metropolitan Museum of Art related to the Met’s The Spanish Manner: Drawings from Ribera to Goya, exhibition The World of Khubilai Khan, including a which was on view at at the Frick Collection from dialogue with poet David Jaffin, visiting from October 2010 to January 2011. Art in Spain and Munich, at which eight poems related to Yuan Art in Spain and the Hispanic the Hispanic World: Essays in Honor of Jonathan Dynasty images were composed. The poems formed World: Essays in Honor of Brown, edited by Sarah Schroth (Paul Holberton the basis for Neil’s subsequent lectures at the univer- Jonathan Brown Publishing, 2010), the volume of contributions to sity and at Woodstock Day. [[email protected]]

38 fall   1 1 Gregory Clark *88 has published the commentary Tracy E. Cooper *90 was awarded a research grant volume that accompanies the full facsimile of the by the Gladys Krieble Delmas Foundation for her celebrated Da Costa Hours in the Pierpont Morgan current book project, The Artist at Home in Renais- Library: Da Costa-Stundenbuch: Vollständige Fak- sance Venice, and she spoke on that subject at the simile-Ausgabe im Originalformat von MS M.399 meeting of the Association of Art Historians in aus dem Besitz der Morgan Library & Museum, New Glasgow, where she was among the many detained York (Akademische Druck- u. Verlagsanstalt, 2010). by the eruption of Eyjafjallajökull. She was in Venice Made probably in Ghent around 1515, the Da as a book presenter at the Guggenheim Museum Costa Hours is best known for its superb cycle of and participated in the Warwick University Centre 12 full-page depictions of the months of the year for the Study of the Renaissance “Family Values” executed by Simon Bening (1483–1561), who was workshop, as well as in a conference on the tombs also responsible for all but a handful of the man- of the Venetian doges at the Centro Tedesco and uscript’s other 109 miniatures. Greg is currently Fondazione Giorgio Cini. Tracy was also the co- working on reinventing his Princeton dissertation as organizer and co-chair, with Blake de Maria *03, a book-length monograph, with the provisional title of seven sessions in honor of Professor Patricia “The Master of Morgan 453 and Manuscript Illu- Fortini Brown at the Renaissance Society of Amer- Gregory Clark *88’s commentary mination in Paris during the English Occupation ica’s annual meeting in Venice. A volume of the volume accompanies the facsimile of the Da Costa Hours (1419–35).” [[email protected]] papers, co-edited by de Maria and Mary Frank *06, in the Pierpont Morgan Library; is currently in progress. Tracy was the organizing Michael W. Cole *99 has just published Ambitious this leaf shows the occupations committee co-chair for the symposium sponsored Form: Giambologna, Ammanati, and Danti in Flor- of December ence (Princeton University Press, 2011), which by the department in honor of Brown’s retirement, describes the transformation of Italian sculpture “Giorgione and His Times: Confronting Alternate during the neglected half century between the death Realities,” and collaborated on an accompanying of Michelangelo and the rise of Bernini. Michael’s exhibition at the Princeton University Art Museum. book traces the Florentine careers of three sculptors [[email protected]] —Giambologna, Bartolomeo Ammanati, and Vin- Alex Curtis *95 has been appointed headmaster cenzo Danti—as they negotiated the politics of the of Choate Rosemary Hall, an independent coedu- Medici court, followed one another’s work, and set cational boarding school of 850 students in new aims for their own art. This comparative study Wallingford, Connecticut. Founded in 1890 as of Giambologna and his contemporaries provides Rosemary Hall, a school for girls, The Choate a new understanding of the individual artists and School for boys was founded six years later, and the the period in which they worked. While their pre- two schools officially merged in 1974. Alex was decessors had focused on specific objects and the chosen from among 200 candidates from boarding particularities of materials, late-16th-century sculp- and independent schools, liberal-arts colleges and tors turned their attention to models and design. research universities, and high-performing public Michael is professor of art history at Columbia and charter schools. He had been headmaster of the University. [[email protected]] Morristown-Beard School in Morristown, New Michael W. Cole *99, Ambitious Jersey, for the last seven years, and took up his new Form: Giambologna, Ammanati, Christopher Comer *80 recently completed the and Danti in Florence manuscript of a book on Jacques de Bellange (ca. position in July. 1574–1616), the licentious painter, printmaker, Pierre du Prey *73 edited and wrote the and draftsman who worked for the court of introduction to The House that Jack Built Lorraine at Nancy. An interdisciplinary study titled (Kingston, Ontario: Queen’s Archives, 2010), Whore Made into an Angel: Jacques de Bellange, a catalogue of architectural drawings, com- Catherine de Bourbon, and Painting in Nancy at piled by 24 of his undergraduate and graduate the Turn of the 17th Century, it tells the forgotten students, for a house on Niagara Island in the story of the painter and his Huguenot patroness at Thousand Islands. The catalogue describes all the Catholic court during her tenure as Duchess 196 surviving architectural drawings and blue- of Bar from 1599 to 1604. It also begins the pro- prints prepared by the architect John Walter cess of rehabilitating Bellange’s oeuvre as a painter, Wood (1900–58). A very early example of which consists of about 30 autograph paintings of reinforced concrete construction in a domes- spectacularly high quality. Another 30 pictures are tic context, it was built in 1930–32, with an Alex Curtis *95 speaks with tentatively attributed to the master in Chris’s book. equally fascinating ferro-concrete boathouse added students at Choate Rosemary He has also completed an article on Bellange’s in 1934–35. The drawings were recently presented Hall, where he is the newly later work, titled “A Poet and a Madman: Artistic to Queen’s University by the daughter of the builder, appointed headmaster License and Bellange’s Etchings of the Bible,” which Sherman Pratt. The catalogue was Pierre’s farewell to will appear in La cause en est cache: Études offertes à his researches in the uncharted architectural waters Paulette Choné par ses collègues, ses élèves, et ses amis, of the Thousand Islands, and also a sort of farewell edited by Sylvie Taussig (Brepols, forthcoming). to teaching: he retired in July after “40 happy years [[email protected]] in the trenches.” [[email protected]] fall   1 1 39 Sabine Eiche *83 coauthored an article with new meanings as they move from sacred spaces to Anthony M. Cummings, “Nino Pirrotta’s Early secular collections. The 14 contributors explore how Music-critical Writings,” in Studi Musicali 37 the complex amalgam of the aesthetic and the (2008). Pirrotta (1908–98) was trained in art his- numinous that characterizes religious art changes tory and the organ, and began his musicological with changes of function, setting, audience, and the career in 1933 as music critic for the daily L’ Ora of passage of time. They focus on the centuries in Palermo. He came to the United States in 1954 as which the phenomenon of collecting came into its visiting professor at Princeton, moving to Harvard own, with the resulting radical recontextualization in 1956, where he taught until 1972, when he of celebrated paintings by Raphael, Caravaggio, and returned to Italy to take up the chair of musicology Rubens. [[email protected]] at the University of Rome. The January 13, 2011, Marcy B. Freedman *81 (M.A.) presented several www.theflorentine. issue of The Florentine (no. 134), interactive performance pieces in 2010. At the net , published Sabine’s article on the history of Katonah Museum of Art, guests were invited to par- The House that Jack Built, edited news collecting, “Hear Ye! Hear Ye! How the News ticipate in Everything You Always by Pierre du Prey *73 Came to Be.” Last year, she trans- Wanted to Know about Contempo- lated conference papers and rary Art but Were Afraid to Ask, articles in art history from Italian and at the Dorsky Museum of into English for Harvard Univer- Art, visitors could interact with sity, the National Gallery of Art, Marcy’s embodiment of The Go- and the Getty Research Institute. Between. She curated a program of Writing for children continues to performance art for the Collabor- be her passion. Visit her website ative Concepts’s “Fifth Annual www.members.shaw.ca/ at Farm Project,” which included her seiche . [sabinedellarovere@ own piece, The Farmer’s Daughter. yahoo.ca] In collaboration with Gene P J. David Farmer *81 organized anczenko, Marcy created the his third exhibition as director video Wake-Up America and a of exhibitions for the Dahesh three-channel video installation Museum of Art, returning Poster for the exhibition The titled Videoballs. Other collabora- from his retirement as director Essential Line: Drawings from the tions included a collage exhibition of that museum. The Essential Dahesh Museum of Art, organized with The Cathouse Associates, a Line: Drawings from the Dahesh by J. David Farmer *81 three-woman group, and a por- Sacred Possessions: Collecting Museum of Art, on view from trait performance with E.Y.E. Italian Religious Art, 1500–1900, February–March 2011, was the (erase your ego), a six-person co-edited by Gail Feigenbaum first exhibition devoted to the museum’s drawing group. In the spring of 2011, Marcy worked with a *84 and Sybille Ebert-Schifferer collection and covered the wide range of tech- videoconferencing system to present a remote, inter- niques, styles, and subject matter of 19th-century active project called Speaking of Things for the Texas academic drawing. The Dahesh’s annual exhibitions Advanced Computing Center at the University of are presented in Syracuse University’s Palitz Gallery Texas in Austin. She also returned to the Katonah in New York City. David also coordinates requests Museum of Art to present First Kiss Remembered, a for loans from the collection, and last fall was the performance comprising an online component and courier for 17 paintings and sculptures loaned for a live event. She was featured at the museum as a Orientalism in Europe: From Delacroix to Kandin- guest speaker, presenting a three-part lecture series, sky, a major survey of Orientalist art that opened “When Giants Collide: Rivalries in Western Art.” in Brussels, then moved to Munich and Marseille. [[email protected]] David teaches art history at University College in Ingrid Furniss *05, after teaching for three years at Rockland, a local center of the University of Maine, the University of Texas–Arlington, accepted a posi- and may begin teaching at the Maine State Prison. tion in the art department at Lafayette College. Her [[email protected]] recent book, Music in Ancient China: An Archaeologi- Gail Feigenbaum *84, associate director of the cal and Art Historical Study of Strings, Winds, and Getty Research Institute, heads the international Drums during the Eastern Zhou and Han Periods research project “Display of Art in Roman Palaces (770 BCE–220 CE) (Cambria Press, 2008), a revised 1550–1750,” and she organized a two-day confer- version of her dissertation, won the 2010 Nicolas ence on that subject at the Getty last December. Bessaraboff Prize of the American Musical Instru- Flyer for The Farmer’s Daughter, Her most recent book, Sacred Possessions: Collecting ment Society. The annual award is given to the most a performance piece by Italian Religious Art, 1500–1900, co-edited with distinguished book-length work in English that Marcy B. Freedman *81 (M.A.) Sybille Ebert-Schifferer (Getty Research Institute, “promotes the study of the history, design, and use 2011), is a collection of essays that examine how of musical instruments in all cultures and from all works of art created for religious purposes take on periods.” Ingrid’s book is the first comprehensive

40 fall   1 1 study of string, wind, and percussion instruments and rephotographing of sites documented in Farm in tombs of the Eastern Zhou and Han periods, Security Administration photographs. [aehersh@ examining evidence for their social, ritual, and bgsu.edu] entertainment functions, and their association with Claudia Lazzaro *75 published the article “River various levels of wealth. [[email protected]] Gods: Personifying Nature in 16th-Century Italy” Robert E. Harrist Jr. *89, the Jane and Leopold in the February 2011 issue of Renaissance Studies, Swergold Professor of Chinese Art History at a special issue titled “Locus amoenus: Gardens Columbia University, completed his lengthy term and Horticulture in the Renaissance,” edited by as chair of the Department of Art History and Alexander Samson. The essay grew out of her Archaeology in June. He will be on sabbatical longstanding interest in personifications of the natu- during the 2011–12 academic year. His most recent ral world and, more generally, personifications of book is The Landscape of Words: Stone Inscriptions place, which she is also pursuing in one chapter of from Early and Medieval China (University of Wash- her book-in-progress on images of cultural identity ington Press, 2008), an examination of the Chinese in 16th-century Florence. Claudia also published a landscape as a medium for literary inscription, review of Bomarzo: Il Sacro Bosco, edited by Sabine which won the Levenson Prize sponsored by the Frommel (Electa, 2009), in the Journal of the Society Association for Asian Studies. The Levenson Prize of Architectural Historians for March 2011. Ingrid Furniss *05, Music in recognizes the book that makes the greatest contri- [[email protected]] Ancient China bution to increasing understanding of the history, Robert S. Mattison *85 wrote the essay for the culture, society, politics, or economy of China. exhibition catalogue Theodoros Stamos: A Commu- [[email protected]] nion with Nature, which accompanied a show at Maxwell K. (Mike) Hearn *90 has been appointed the Hollis Taggart Gallery in New York from May– Douglas Dillon Curator in Charge of the Depart- July 2010. Stamos was the youngest member of ment of Asian Art at the Metropolitan Museum of the Abstract Expressionist group of American art- Art. After a stint as curatorial assistant at the Met in ists, and this was his first retrospective in America 1971–74, he returned to the museum in 1979 and in nearly 20 years. Bob also wrote the text for Helen has been there ever since, helping oversee the Frankenthaler: Painting Is Paper, the catalogue of a expansion of the Met’s collection of Chinese art as show at the Bernard Jacobson Gallery in London well as major additions to its exhibition spaces, in October–November 2010. He has assembled including the Astor Chinese Garden Court, the two upcoming exhibitions with catalogues: Black Douglas Dillon Galleries, and the renovated and Mountain College and Its Heritage, which will be on expanded galleries for Chinese painting and callig- display at the Loretta Howard Gallery in New York raphy. He has worked on more than 50 exhibitions, in 2012, and Franz Kline: Coal and Steel, which including The Great Bronze Age of China (1980), will open in September 2012 at the Allentown Art The Century of Tung Ch’i-ch’ang (1992), Splendors of Museum and will later move to New York. During Imperial China: Treasures from the National Palace the spring 2011 semester, he led students on a three- Robert E. Harrist Jr. *89, The Museum, Taipei (1996), Along the Riverbank: Chi- week trip to Istanbul and Anatolia, Turkey. Bob is Landscape of Words: Stone nese Paintings from the C. C. Wang Family Collection the Marshall R. Metzgar Professor of Art History at Inscriptions from Early and (1999), How to Read Chinese Paintings (2008), Lafayette College. [[email protected]] Medieval China Landscapes Clear and Radiant: The Art of Wang Hui Heather Hyde Minor *02’s book, The Culture of (1632–1717) (2008), and The World of Khubilai Architecture in Enlightenment Rome (Penn State Khan: Chinese Art in the Yuan Dynasty (2010). University Press, 2010) has been awarded the 2010 Mike has also taught graduate and undergraduate Helen and Howard R. Marraro Prize in Italian His- seminars on Chinese painting at Princeton, Yale, tory from the Society for Italian Historical Studies. Columbia, and the Institute of Fine Arts at New The prize is awarded annually to the best book in York University. Italian history by a committee comprised of mem- Andrew E. Hershberger *01, associate professor of bers of the American Historical Association, the contemporary art history at Bowling Green State American Catholic Historical Association, and the University in Ohio, was elected to a second, non- Society for Italian Historical Studies. In the spring consecutive two-year term as chair of the Division of 2012, Heather will be the Samuel H. Kress fellow of Art History. Over the past year, he continued at the Sterling and Francine Clark Art Institute. editing his forthcoming anthology on photographic She teaches at the University of Illinois at Urbana- theory, under contract with Wiley-Blackwell. Champaign and is currently working on a book on Andrew also continued his work as the photo his- Giovanni Battista Piranesi. [heatherhydeminor@ torian for the project “Imagining a New Deal: A gmail.com] Maxwell K. Hearn *90 et al., The Documentary Portrait of Ohio,” sponsored by the World of Khubilai Khan: Chinese Kevin Moore *02 published Starburst: Color Photog- Art in the Yuan Dynasty National Endowment for the Humanities and Ohio raphy in America 1970–1980 (Ostfildern: Hatje Arts Council. The goal of the team of Ohio-based Cantz, 2010) and curated the related exhibition, researchers and photographers is a statewide survey which opened at the Cincinnati Art Museum in fall   1 1 41 February 2010 and traveled to the Princeton Uni- Popes at San Lorenzo in the Historiographic Tra- versity Art Museum in the summer of 2010. This dition” at the annual meeting of the Renaissance was the first historical survey of what critics of the Society of America in Venice in April 2010; the 1970s dubbed “the New Color Photography,” paper will be published in San Lorenzo: A Floren- focusing on 18 artists who embraced color despite tine Church, edited by Robert Gaston and Louis its seeming artlessness, at a time when color pho- A. Waldman (Villa I Tatti, Florence). Along with tography was viewed as too literal-minded and Babette Bohn of Texas Christian University, Sheryl tainted by its commercial history. Kevin’s most co-organized two Italian Art Society sessions for this recent publication is the essay, “My Utopia: Play in year’s CAA meetings, under the rubric “Claiming Bauhaus Photography” in From Diversion to Subver- Authorship: Artists, Patrons, and Strategies of Self- sion: Games, Play, and 20th-Century Art, edited by promotion in Medieval and Early Modern Italy.” David Getsy (Penn State University Press, 2011). For the 2011 meeting of the Renaissance Society For more about his lectures, publications, consult- of America in Montreal, she organized three ses- ing work, and other activities, visit his website, www. sions on “Tales from the Streets of Early Modern Robert S. Mattison *85, Theodoros fultonstreet.us. [[email protected]] Europe.” [[email protected]] Stamos: A Communion with Nature Paul Monty Paret *01 won the 2011 Art Journal Shelley Rice *76, professor of art history at New Award from the College Art Association for his York University, has been named a Chevalier in the article “The Aesthetics of Delay: eteam and ‘Inter- Order of Arts and Letters by Frederic Mitterand, the national Airport Montello,’” part of the forum minister of culture and communication in France. “Land Use in Contemporary Art” in the winter The Order of Arts and Letters was established by 2010 issue of the Art Journal. The article, part of a the French government in 1957 to recognize art- series of investigations into land-use issues in con- ists, writers, and others who have contributed temporary art, considers the artist duo eteam’s significantly to furthering the arts in France and “International Airport Montello,” a project that throughout the world. The decoration is awarded transforms a remote, economically depressed to up to 200 people worldwide each year; recent Nevada town into a global economic and art-world American recipients include Paul Auster, Ornette hub. [[email protected]] Coleman, Morgan Freeman, Richard Meier, and Véronique Plesch *94 is president of the Inter- Meryl Streep. Shelley received the insignia of the national Association of Word and Image Studies order in a ceremony at the French Consulate in (www.iawis.org) and organized its triennial confer- Manhattan in May 2011. [[email protected]] ence, “The Imaginary/L’imaginaire,” in Montreal, Orville Joseph Rothrock *87 has been retired from where she also chaired a series of sessions on “Past the Department of Art and Art History at the Uni- Kevin Moore *02, Starburst: Color Imagined: Monuments and Memorials.” With versity of New Mexico since 1998. He has given Photography in America 1970–1980 Catriona MacLeod and Jan Baetens, she coedited occasional lectures, but most of his retirement time Efficacy/Efficacité: How to Do Things with Words has been spent compiling a bibliography of the and Images? (Rodopi, 2011), the papers from the books known to have been in colonial New Mexico Eighth International Conference of the IAWIS. She between 1609 and 1788 (about 500 of them) and also chaired the session “Word and Image writing a new, revised history of Rubens’s work Studies: Past, Present, and Future” at this at the Palais du Luxembourg. He invites others year’s College Art Association meetings, who share those interests to contact him. and was a member of the organizing com- [[email protected]] mittee, chaired a session, and participated Susan Rotroff *76 was awarded the Archaeological in a roundtable at the First International Institute of America’s Gold Medal for Distinguished Conference on Architecture and Fiction, Archaeological Achievement, the organization’s “Once upon a Place: Haunted Houses & highest honor, at the institute’s annual meeting in Imaginary Cities,” in Lisbon, Portugal, last January. The award cited her inspired teaching, October. Last fall Véronique became vice extensive archaeological fieldwork, and international president of the New England Medieval reputation as a scholar who uses the material culture Conference. [[email protected]] of ancient societies to understand the daily lives of Sheryl E. Reiss *92, who teaches in the their people. An authority on pottery of the Helle- Shelley Rice *76 and Kenneth Department of Art History at the University of nistic period, Susan has published multiple volumes Silver celebrate being named Southern California, has been named editor-in- on pottery found at the Athenian Agora, where Chevaliers in the Order of chief of caa.reviews, the online review journal of the she has worked since 1970. She has also published Arts and Letters College Art Association (CAA). She joined the edi- material from sites in Turkey and other areas of torial board in July 2010 and began a three-year Greece and has been a trench supervisor or pottery term as editor-in-chief this summer. Sheryl has also consultant at a number of archaeological excava- been elected to the nominating committee of the tions, including Troy, Carthage, and Mt. Lykaion. Italian Art Society, which she will chair. She pre- Her recent publications include “Moldmade Bowls sented a paper titled “The Patronage of the Medici at Samothrace,” in Samothracian Connections: Essays

42 fall   1 1 Margaret Rose Vendryes *97 had a debut solo exhi- bition of paintings, African Divas, in the Slater Gallery at Tufts University last March. The series was inspired by the familiar, uniform format of LP record album jackets, with each square canvas fea- turing a full-figure portrait of a popular black female soloist, but wearing an African mask that was chosen for its character and/or aesthetic compatibil- ity with her image. Margaret Rose was also the guest curator of the exhibition Richmond Barthé: The Seeker, a selection of 22 of Barthé’s sculptures that was shown at the Ohr-O’Keefe Museum of Art in Biloxi, Mississippi, from November 2010 to June 2011. Her lead article, “Young, Gifted, and Black Between the Wars: Richmond Barthé’s Manhattan Garden pavilion from Gijsbert Years,” was published in the spring 2011 issue of van Laar’s Storehouse of Garden Susan Rotroff *76 measuring the capacity of one of Sculpture Review. She is also enjoying teaching in Ornaments, translated by the Athenian Agora’s largest cooking pots conjunction with making art, and during the spring Vanessa Sellers *92 2011 semester taught a seminar on contemporary in Honor of James R. McCredie (Oxbow Books, African diaspora art as a visiting lecturer at Wellesley 2010). Susan is the Jarvis Thurston and Mona Van College. [[email protected]] Duyn Professor in the Humanities at Washington Gary Vikan *76 published Early Byzantine Pilgrim- University in St. Louis. [[email protected]] age Art (Dumbarton Oaks/Harvard University Press, Vanessa Sellers *92 has published an online 2011), which explores the portable artifacts of east- translation of Gijsbert van Laar’s Magazijn van ern Mediterranean pilgrimage from the 5th to the Tuin-Sieraaden (Storehouse of Garden Ornaments), a 7th century in the context of contemporary pil- treatise on garden layouts and ornaments published grims’ texts and the archaeology of sacred sites. His in Amsterdam in 1802. The only garden model book shows how the iconography and devotional book in Dutch at that time, van Laar’s volume piety of Byzantine pilgrimage art changed, examines provides a clear visual overview of the transitional what early religious travelers took home, where these moment in Dutch garden history when the mature “sacred souvenirs” were manufactured, and how the Margaret Rose Vendryes *97, style of landscape design was emerging. It was also a images imprinted upon many of them helped realize Kwele Betty, 2010, oil with seminal do-it-yourself book, providing an array of their purpose. In this revised and enlarged version of cold wax on canvas and paper, beautifully colored plans and ornaments as models his groundbreaking 1982 study, Gary expands the 30 × 30 inches for improving gardens. Vanessa’s translation and her narrative by placing the world of the early Byzantine accompanying essay, “The Romantic Landscape pilgrim within the context of Late Antique magic Garden in Holland,” show that garden design in the and pre-Christian healing shrines, and considering Netherlands underwent a stylistic development just pilgrimage after the Arab conquest of the 7th cen- as interesting as that of the grand landscaped estates tury. During the spring 2011 semester, he taught a in England, but on a more modest scale. This new class titled “Saint Elvis: From the Holy Land to edition, which features the original text with inter- Graceland” at Goucher College. Gary has been active English translation, was published online director of the Walters Art Museum in Baltimore for by the Foundation for Landscape Studies (www. 17 years. [[email protected]] foundationforlandscapestudies.org ) as the first Joshua Waterman *07 is researching the early publication of their Web-based initiative, which German paintings at the Philadelphia Museum of will include a virtual library of rare books. Art, where he is a Andrew W. Mellon Postdoctoral [[email protected]] Curatorial Fellow. He organized an installation at Ulrike Meyer Stump *96 (M.A.) has coauthored a the museum titled Late Gothic and Renaissance history of Swiss photography with fellow Princeton Cologne: Paintings from the John G. Johnson Collec- Gary Vikan *76, Early Byzantine alum Martin Gasser *96. The book will appear this tion, and published an article on drawings by Jost Pilgrimage Art fall as a collaborative publication of the Fotostif- Amman in the spring 2011 issue of Master Draw- tung Schweiz (Winterthur) and Lars Müller Verlag ings. [[email protected]] (Baden). In addition to teaching at the University of Zurich and the Zurich University of the Arts, Ulrike participated in a panel discussion at Corner College in Zurich on������������������������������� the current boom in publica- tions on photography. [[email protected]] fall   1 1 43 The Department of Art and Department of Art and Archaeology Non-Profit Mail Archaeology Newsletter is McCormick Hall U.S. postage produced by the Publications Princeton University PAID Office of the Department of Art Princeton, NJ - Permit no.186 and Archaeology and the Office Princeton, NJ of Communications, Princeton University. Editor: Christopher Moss Design: Megan Peterson Photography: Lisa Ball, Miriam Basilio, John Blazejewski, David Connelly, Bentley Drezner, Jeff Evans, Elizabeth Harkins ’14, Lucas Ho ’14, Claresta Joe-Wong ’14, Richard K. Kent *95, Susan Lehre, Thomas Leisten, Sandra Lucore, Craig Mauzy, Michael Pirrocco, Joanna S. Smith ’87, Nebojša Stanković, Bruce M. White, Andrew Wilkinson Illustrations: JoAnn Boscarino Cover illustration: Old goddess, Maya, Late Classic, 600–800 C.E. Princeton University Art Museum, gift of J. Lionberger Davis, Class of 1900, y1965-197 (photo: Bruce M. White) Department of Art and Archaeology newsletters are available in PDF format on the Web at www. princeton.edu/artandarchaeology/ publications/index.xml. Copyright © 2011 by The Trustees of Princeton University In the Nation’s Service and Comments and news or information from in the Service of All Nations our readers on recent activities are always welcome, as are inquiries regarding the pro- gram. Please submit news items for the next issue to Newsletter, Department of Art and Archaeology, McCormick Hall, Princeton University, Princeton, NJ -, or e-mail [email protected].

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