Your destination for the past, present, and future of art. Table of Contents 2 Welcome from the Director 4 Message from the Chair 6 The Institute: A Brief History 8 Institute Faculty and Fields of Study 16 Institute Staff 18 In Memoriam 22 Faculty and Staff Accomplishments 38 Spotlight on Faculty 47 Student Voices: Art History 52 Student Voices: Conservation 57 Exhibitions at the Institute 63 Special Projects at The Institute: Online 69 Alumni in the Field 75 Study at the Institute 84 Course Highlights 90 Institute Graduates 94 Public Programming Highlights 104 Support Us

Art History and Archaeology The Conservation Center The James B. Duke House The Stephen Chan House 1 East 78th Street 14 East 78th Street New York, NY 10075 New York, NY 10075 Tel: (212) 992 5800 Tel: (212) 992 5847 [email protected] [email protected] Christine Poggi Christine Judy and Michael Steinhardt Director Steinhardt With all best wishes, The Institute of Fine Arts demands for an end to racial injustice. These an end to racial injustice. demands for have conversations that and the many protests deeply more caused us to reflect ensued have can and academic institutions on what cultural often accepts a status quo that too do to change that this is recognize We pervasive inequality. in which we must one a moment of reckoning, an to create come together as a community and inclusive that is truly anti-racist environment will Significant progress for all of our members. taking shape. already are take time, but changes a broad addresses Our curriculum this year issues and engages social spectrum of relevant the globe. across from artistic forms of expression by our organized of it Our programming—much forums, panels, students in various workshops, such as the Silberberg and student-run initiatives Artists at the Institute, in Progress, Works Lectures, Lapis: Journal of the Institute of Fine Arts, and the Hall and Duke House exhibition series—will Great issues of racial and gender diversity. also address allow us to to a year that will look forward We the history and legacy of inequality in our confront the potential of nation, while also pointing toward public works of art, scholarship, and other forms of conversations, open humanities to spark relevant and new channels of feeling and understanding, inclusive and vibrant communities. create The Even as the new year gets underway, Annual gives us an opportunity to look back at so which proved the 2019-2020 academic year, staff, and turbulent. Despite everything, our faculty, deal. Our broader students accomplished a great members, alumni, including our board community, and other friends and donors, Connoisseurs Circle, all of the challenges helped to sustain us through thoughtful grateful for your are we faced. We look forward support. We messages and generous of to having you join us for what will be a year teaching in blended and virtual formats, and of events, and initiatives. stimulating online programs, seeks to provide of The Annual seeks to provide his edition overview of an unprecedented you with an NYU, and Institute of Fine Arts, year at the

Welcome from the from Director Welcome Later in May, the brutal murder of George Floyd of George the brutal murder Later in May, by the Minneapolis police, which followed the unjustified deaths of too many people of color, and urgent launched a wave of sustained protests Then, seemingly abruptly in mid-March, we closed we closed Then, seemingly abruptly in mid-March, to the the James B. Duke and Chan Houses owing staff, and crises caused by the pandemic. Faculty, dedication students demonstrated their remarkable and flexibility as we began to offer our courses held online. We and some of our programming our commencement virtually on May 19, honoring and achievements of resilience the impressive picked up our students. Our online programming that we could use as we realized over the summer, the knowledge and the webinar format to share of our faculty and others with viewers research and hailed from in the hundreds who numbered the world. around in the world. We began with a warm welcome to began with a warm We in the world. as we class, and with excitement our entering of teaching, exhibitions, embarked on a new year activities. Our and other public programming, of by the presence curriculum was enriched Distinguished Visiting our two Judith Praska Studies, Technical in Conservation and Professors and Lucy Commoner. Rose Shashoua Yvonne highly esteemed Professor Chika Okeke-Agulu, a Diaspora Art at Princeton of African and African Kirk joined us in the spring as our University, delighted were We Professor. Visiting Varnedoe Hall exhibitions, curated to host two stellar Great 2019 exhibition displayed by our students; the fall of Sarah Peters (Glossolalists), and the sculpture the multi-media work the spring show featured ). The Duke House of Xaviera Simmons (Posture exhibition team installed the beautiful geometric abstractions of Columbia-born artist Fanny Sanín. still on view through (The latter two exhibitions are this fall and into next spring.) Many of us attended in the College Art Association Annual Meeting Chicago, which included excellent presentations by Institute faculty and students, the chance to meet with many of our alumni at our annual luncheon, and to tour two exhibitions of drawings at the Art Institute of Chicago, guided by alumna Harriet Stratis. T

The Institute of Fine Arts Annual 2019 - 2020 2

interested in securing first-hand museum first-hand museum in securing interested with This gift dovetails beautifully experience. and emphasizes Program Curatorial the Vilcek training the next commitment to the Institute’s of museum scholars. generation of the Institute’s core at the With public programs immediately we engagement with the community, to staying connected. pivoted in our approach planned for the were that While several programs offered many were spring have been postponed, Often change brings online in a webinar format. This was the discoveries and new opportunities. as now guests case with our online programming and we could the world around could attend from number of attendees. also accommodate a large Lucy Commoner, featured One of our first lectures Distinguished Professor, the Judith Praska Visiting with over 300 viewers, including guests from Germany, Brazil, Canada, Chile, Argentina, Hong Kong, Puerto Rico, and the UK. Words came flowing in for days, such of appreciation as: “I have not been able to come back to the Institute in years and this was a game-changer to be able to attend this talk online.” Our ability has transformed our our global reach to broaden of thinking and we plan to continue various forms along with our going forward, online programming able to traditional in-person events once we are return to the Institute. has also allowed us to Online programming the collaborate with colleagues throughout webinars This summer we hosted three University. Alumni Association featuring Professor with NYU’s J. Sullivan, Edward Finbarr Barry Flood, Professor we Not only were Thomas E. Crow. and Professor also we were our Institute community, able to reach with able to highlight the scholarship of our faculty and many Tandon Wagner, Stern, Law, guests from other NYU schools. Trustees of In May we held our first Zoom Board success. By shifting the timing meeting with great able to bring together to the morning, we were London and Hong Kong, allowing for from Trustees nearly 100% participation. In the coming year we to the day when online but look forward will remain we can gather together once again in the Loeb Room at the Duke House. his past year has been like no other in has been like no other his past year Arts. of the Institute of Fine the history challenges that the The unprecedented

Message from the Message Chair from We are heartened by the continued support of the are We alumni and friends. Graeme Whitelaw Institute’s surprised us at the beginning of the academic year with a second fellowship in honor of his will be a fully funded wife. Now every year there MA Harriet Griffin Fellow in our History of Art Also, in the fall, Rachel and Jonathan program. pledged their second fellowship Wilf generously has Their philanthropy for the Conservation Center. short had a significant impact on our work in the time that Rachel has been a member of our board. pleased to be included among the five were We a Helen to receive history of art graduate programs Frankenthaler Foundation Fellowship for a student focused on modern and contemporary art. Then in the early spring, a dedicated alumna established a love of her late husband’s bequest in recognition This was for a student travel fund to Italy. of Venice followed by another Institute alumna pledging a summer internship fund for those students The Institute stands with all those who have raised The Institute stands with injustice, which has their voices against racial of national conversations with come to the forefront Floyd, Breonna the devastating deaths of George and Brooks and Rayshard Ahmaud Arbery, Taylor, are them. We far too many people of color before listening to our community of students, faculty, renew our efforts to staff and alumni and will that is welcoming to all. In an environment create committed to further diversifying we are particular, and to staff and student body, faculty, our board, and training research offering a curriculum, and to the global interests opportunities, that respond of our students. COVID-19 pandemic has brought into our lives into has brought COVID-19 pandemic the value our perspective on changed have forever ability The Institute’s of being together in person. and take great remember to adapt is what we will when we all In March, pride in for years to come. Houses to shift to remote left the Duke and Chan of the faculty, resilience instruction, it was the that although proved students, and staff that a remain physically apart, we would we were complete another community and successfully academic year. T

The Institute of Fine Arts Annual 2019 - 2020 4 The Institute of Fine Arts Annual 2019 - 2020 5 Chair Marica Vilcek, Marica Vilcek, The Institute of Fine Arts

the New York Botanical Garden to view “Brazilian “Brazilian to view Garden Botanical York the New Modern: Marx,” Burle Art of Roberto The Living Edward Sullivan. curated by Edward an exhibition of the history behind his knowledge shared vibrant drawings and artist’s this multi-talented and lush his passion for immersive textiles and day at the garden. It was a memorable landscapes. teaching, transitioned to online When the spring commitment by the members’ impressed we were and navigating the whole to auditing their classes new world of Zoom. to welcoming the students back forward look We strive as we and remotely, this fall, both in person time before Although it may be some for normalcy. I hope company, each other’s able to share we are of all that the Institute that you will take advantage Thank programming. its online has to offer through our community and for your you for being a part of We and staff. students, commitment to our faculty, grateful for each and every one tremendously are of you! Ex-Officiis Katherine Fleming Hamilton Andrew Philippe de Montebello Nolan Terrance Stephanie Pianka Christine Poggi Ann Temkin Ian Wardropper Daniel H. Weiss

Larry Gagosian Rick Kinsel Nancy Lee Napoleone Valeria Maddalena Paggi-Mincione Pope.L Jennifer Russell Berkley Saunders Lauren Rachel G. Wilf Marica Vilcek, Chair Marica Vilcek, Chair Vice Anne Ehrenkranz, Stephen Lash, Chair Emeritus Chair Emeritus Sheldon H. Solow, Chair Emerita Judy Steinhardt, Board of Trustees of Trustees Board We remain grateful for the Institute’s Connoisseurs grateful for the Institute’s remain We critical support for members who provide Circle visited PhD fellowships. In the fall, the group In an effort to continue student and alumni In an effort to continue we Center, engagement at the Conservation over Zoom presentations invited alumni to deliver became an informative to the students in what Leadership at the series. summertime lecture also change hands in the Conservation Center will Michele Marincola completed her coming year. Holben term as Chair this spring, and Margaret to this position in the fall. A special Ellis returns only thanks to Michele for her excellent work, not as as Chair of the Conservation Center but also that planned a key participant on the task force Restart, including plans to for NYU’s protocols the Institute. reopen This year the Institute’s Alumni Association Board Board Alumni Association the Institute’s This year steps Jennifer Eskin as new leadership will have after four years and passes down as President President, Ambler and Vice to William the reins deeply grateful are Galitz. We Kathryn Calley that Jenny and commitment for the dedication deeper she developed to this role; brought initiated downtown, with colleagues relationships and attended alumni and student gatherings, event on the calendar. each and every alumni but miss her effectiveness as President will We to be active within our know that she will continue community. The Institute: A Brief History

rt history became a dedicated field of Friedländer, Karl Lehmann, Julius Held, and Richard study at New York University in 1922, Krautheimer set the Institute on its course of rigorous, A when the young scholar-architect Fiske creative, and pluralistic scholarship and strong Kimball was appointed the Morse Professor of worldwide connections. The National Endowment for the Literature of Arts and Design. He laid the the Humanities has commended the Institute as a foundation for much of what still distinguishes national asset for its leadership role in art historical The Institute of Fine Arts: its core faculty of the scholarship and training. The Endowment is one of highest quality, special relationships with New numerous institutional and private benefactors that York’s museums, liberal use of the expertise continue to support the Institute’s work. of visiting faculty, and twin commitments to graduate education and advanced research. In 1958, Nanaline Duke and her daughter, Doris Duke, presented the Institute with the James B. In 1932, NYU’s graduate program in art history Duke House at 1 East 78th Street. By the end of the moved to the Upper East Side in order to teach year, Robert Venturi had completed the remodeling in the collections of The Metropolitan Museum of the house for the Institute’s use. Two years later, of Art. Under the energetic leadership of its the Institute became the first graduate program in chairman, Walter W. S. Cook, the program the United States to offer an advanced degree in became one of the world’s most distinguished conservation. There was the conviction that a new centers for art historical research and education, kind of conservator would be trained at the Center, an and was renamed The Institute of Fine Arts in alternative to the artist-technician. 1937. The Institute was strengthened greatly by refugee professors from the German and The curriculum was designed as a “three-legged Austrian institutions that had given birth to the stool” by which the conservator is supported in equal modern discipline of art history. Foundational art measure by art historical study, scientific training, and historians such as Erwin Panofsky, Walter practical experience—an interdisciplinary approach

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

1932 1937 1958

A Graduate The name is changed to the Curatorial Studies program Department in Fine Institute of Fine Arts. established. Arts is founded separate from Washington Square Directors of The Institute of Fine Arts and moves uptown to Munn House, 1931 Walter W. S. Cook opposite the Plaza 1951 Craig Hugh Smyth Hotel. 1973 Jonathan Brown 1979 A. Richard Turner 1983 James R. McCredie 2002 Mariët Westermann 2008 Michele D. Marincola, Interim Director 2009 Patricia Rubin 2017 Christine Poggi Students in the Loeb Room c. 1960

that still forms the core of the program. Initially Turkey (conducted jointly with New York University’s located in the former kitchen of the Duke House, Faculty of Arts and Science) at the Sanctuary of the the Conservation Center has been housed in the Great Gods in Samothrace; at Abydos, Egypt; at Stephen Chan House across the street since Selinunte, Sicily; and as of 2018, at Sanam, Sudan. In 1983. the course of its history, the Institute of Fine Arts has conferred over 2,720 advanced degrees and trained Almost from its inception, the Institute has a high number of the world’s most distinguished art conducted significant archaeological projects history professors, curators, museum administrators, staffed by its faculty and students. and conservators.

Excavations are currently thriving at Aphrodisias,

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

1983 2007-08 2012

1960 2004 2010

Conservation Center Faculty expansion initiative The Conservation founded. begins with NYU funding. Center celebrates its 50th anniversary. The Institute Chairs of the Conservation Center welcomes its first entering class of the 1961 Sheldon Keck 2017 Margaret Holben Ellis new MA program. 1967 Lawrence J. Majewski 2019 Michele D. Marincola 1975 Norbert S. Baer and 2020 Margaret Holben Ellis Lawrence J. Majewski, Co-Chairmen 1987 Margaret Holben Ellis 2002 Michele D. Marincola 2008 Hannelore Roemich 2011 Michele D. Marincola 2014 Hannelore Roemich Jonathan Hay of Fine Arts Ailsa Mellon Bruce Professor art; art History of Chinese art; contemporary Chinese historical theory and method Kathryn Howley Professor Assistant Lila Acheson Wallace of Ancient Egyptian Art Ancient Egyptian and Nubian art and archaeology; cultural exchange Colin Eisler of Fine Arts Robert Lehman Professor and German art; Early Netherlandish, French, art; graphic arts; history of collecting; Quattrocento Jewish art issues Finbarr Barry Flood Silsila: Center for Material Histories; William Director, The of the Humanities, Professor R. Kenan, Jr., History Institute of Fine Arts and Department of Art of the Islamic world; cross- Art and architecture cultural dimensions of Islamic material culture; theories and practices of image-making; art historical technologies of representation; Orientalism and theory; methodology, historiography, Sheldon H. Solow Professor in the Sheldon H. Solow Professor History of Architecture and architecture Nineteenth- and twentieth-century Russia, and France, Italy, urbanism in Germany, issues in architecture, North America; contemporary design town planning, and landscape Thomas Crow Modern of Art; Rosalie Solow Professor for the Arts Associate Provost art; Seventeenth- and eighteenth-century nineteenth- and twentieth-century art; contemporary art Faculty in the History in the History Faculty Archaeology of Art and Cohen Jean-Louis

Institute Institute Faculty and Fields of Study Robert Lubar Messeri of Masters Studies (as of 9/1/2020); Director of Fine Arts Associate Professor art (France and Spain); European Twentieth-century and America; critical art since 1945 in Europe theory Thelma K. Thomas of Graduate Studies; Director of Fine Arts Associate Professor Late Antique, Byzantine, and Eastern Christian art and architecture Margaret Holben Ellis Margaret Chair of the Conservation Center (as of 9/1/2020); of Paper Conservation; Eugene Thaw Professor La Pietra Conservation Consultant, Villa connoisseurship of works of art on paper; Technical of prints and drawings; conservation treatment twentieth-century materials and techniques of works of art on paper; ethical issues in art conservation Edward J. Sullivan Edward and Administration; for Faculty Deputy Director History of in the Professor Helen Gould Shepard and Art, The Institute of Fine Arts Department of Art History and modern periods; Latin American art, Viceregal art of Iberian art; art of the Caribbean; Brazilian art; 17th- the Iberian Peninsula and overseas colonies 19th centuries Christine Poggi Christine Director; Steinhardt Judy and Michael of Fine Arts Professor Modern contemporary art and criticism, early and Italian studies; twentieth-century avant-gardes, the studies; and women’s sexuality, gender, rise of abstraction invention of collage; the Administrators Administrators

The Institute of Fine Arts Annual 2019 - 2020 8 The Institute of Fine Arts Annual 2019 - 2020 9 Thelma K. Thomas of Graduate Studies; Director of Fine Arts Associate Professor Late Antique, Byzantine, and Eastern Christian art and architecture Edward J. Sullivan Edward for Faculty and Administration; Helen Deputy Director in the History of Art, The Professor Gould Shepard Institute of Fine Arts and Department of Art History and modern periods; Latin American art, Viceregal Iberian art; art of the Caribbean; Brazilian art; art of the Iberian Peninsula and overseas colonies 17th- 19th centuries Hsueh-man Shen Art in World Associate Professor Ehrenkranz China; practices in pre-modern Funerary and religious of East Asia; art and image in the visual culture word along the ancient Silk Road and material culture Robert Slifkin of Fine Arts Associate Professor Contemporary art; history of photography; art nineteenth- and twentieth-century American Soucek Priscilla P. in the History of Art John Langeloth Loeb Professor history Persian and Arabic manuscripts; portraiture; of collecting Christine Poggi Director; Judy and Michael Steinhardt of Fine Arts Professor Modern contemporary art and criticism, early and Italian studies; twentieth-century avant-gardes, the invention studies; and women’s sexuality, gender, of collage; the rise of abstraction Andrea Nische-Krupp defending her dissertation “Material Proposition: The Early Work of Matthew Barney” in September 2019. Early Work The “Material Proposition: Nische-Krupp defending her dissertation Andrea Alexander Nagel of Fine Arts Professor Renaissance art; the history of the history of art; between artistic practice and art theory relations Philippe de Montebello in the History and Fiske Kimball Professor of Museums Culture Early Netherlandish art; history of collecting; history of museums; issues of cultural patrimony Robert A. Maxwell of Fine Arts Professor Sherman Fairchild Early Christian, Byzantine, and western medieval art Clemente Marconi in the History of Professor James R. McCredie University Professor; Art and Archaeology; Greek Excavations at Selinunte Director, art and architecture; and Classical Greek Archaic and the historiography of ancient art the reception of ancient Sicily the archaeology and architecture; Robert Lubar Messeri of Masters Studies (as of 9/1/2020); Director of Fine Arts Associate Professor Spain); and (France art European Twentieth-century and America; critical art since 1945 in Europe theory Assistant Professor/Faculty Fellow Assistant Professor/Faculty Roman art and and Ancient Aegean, Greek, archaeology architecture; Anne Hrychuk Kontokosta Anne Hrychuk Kontokosta (on leave 2019-2020) Chika Okeke-Agulu of African and African Diaspora Art, Professor Princeton University Linda Wolk Simon Simon Linda Wolk and Chief Curator, Frank and Clara Meditz Director Fairfield University Art Museum Lowery Stokes Sims Institute of Fine Arts; of Art History, Professor Curator Emerita, Museum of Arts and Design Visiting Kirk Varnedoe in Art History Professorship Elizabeth Cleland of European Department Associate Curator, and Decorative Arts, The Metropolitan Sculpture Museum of Art Susan Grace Galassi Curator Emerita, The Frick Collection William Hood C. Jay Professor Mildred Professor; Visiting Emeritus, Oberlin College Patricia Rubin Emerita of Fine Arts Professor museums, collecting, and Italian Renaissance art; portraiture; cultural patrimony; historiography; graphic arts Visiting Faculty Thomas F. Mathews F. Thomas Emeritus Professor Langeloth Loeb John of Art in the History and architecture and Byzantine art Early Christian David O’Connor Emeritus of Ancient Professor Wallace Lila Acheson Fine Arts/ The Institute of Co-Director, Egyptian Art; Egypt NYU Excavation to Abydos, and Roman art; Greek Ancient Aegean, Egyptian, archaeology

Günter H. Kopcke Emeritus Foundation Professor Avalon in the Humanities Art and the second millennium BCE; Mediterranean from progress art and Greek integration: Crete; statehood, second to first infiltration to Greek of millennium BCE; political origin and role Classical art Jonathan Brown Emeritus and Milton Petrie Professor Carroll of Fine Arts Spanish and new Spanish painting, 1500-1800; courts, history of collecting; art at European seventeenth century Hagop Kevorkian Professor Emeritus of Conservation of Emeritus Professor Kevorkian Hagop study Application of physiochemical methods to the environmental of cultural property; and preservation of policy and damage to materials; application risk assessment and risk management to the of cultural property preservation Norbert S. Baer Jonathan J. G. Alexander Emeritus of Fine Arts Professor Sherman Fairchild art, especially manuscript Medieval European illumination Faculty Emeriti Katherine Welch Arts; Deputy Director, of Fine Associate Professor Excavations at Aphrodisias archaeology architecture; Ancient Roman art and The Institute of Fine Arts and of Fine Arts, The Institute of Fine Arts Professor College of Arts and Science and culture Italian Renaissance art Kathleen Weil-Garris Brandt Kathleen Weil-Garris Marvin Trachtenberg Marvin History of of the Kitzmiller Professor Edith Fine Arts architecture Gothic, and Renaissance Romanesque, in of temporality problems and urbanism; of problematics and historiography; architecture the origins of perspective authorship; architectural

The Institute of Fine Arts Annual 2019 - 2020 10 The Institute of Fine Arts Annual 2019 - 2020 11 Kerith Koss Schrager The Found Objects Conservator and Proprietor, Object Peter Oleksik Associate Media Conservator, Museum of Modern Art Fran Ritchie National Park Service Objects Conservator, Katherine Sanderson Photograph Conservation, Assistant Conservator, Museum of Art The Metropolitan Dr. Marco Leona Marco Dr. Department of David H. Koch Scientist in Charge, The Metropolitan Scientific Research, Museum of Art Laura McCann Conservation Librarian, Barbara Goldsmith and Conservation Department, NYU Preservation Libraries Michael Alan Miller Sherman Fairchild Associate Paintings Conservator, The Metropolitan Paintings Conservation Center, Museum of Art Leslie Ransick Gat Art Proprietor, Objects Conservator and Conservation Group Alexis Hagadorn Columbia University Head of Conservation, Libraries, Columbia University Nora Kennedy in Charge, Conservator Sherman Fairchild Photograph Conservation, The Metropolitan Museum of Art Maria Fredericks Maria Thaw of Conservation, Head Fairchild Sherman & Library The Morgan Center, Conservation La Pietra Villa Consultant, Museum; Conservation Frohnert Christine Modern of Contemporary Art, Conservator LLC Media, Bek & Frohnert, Materials, and Jean Dommermuth NYC; ArtCare Senior Paintings Conservator, La Pietra Conservation Consultant, Villa Julie Barten Senior Conservator of Collections and Exhibitions, Solomon R. Guggenheim Museum Samantha Alderson American Museum of Natural History Conservator, Institute Lecturers for the for Institute Lecturers Conservation Center Hannelore Roemich Hannelore of Conservation Science; Conservation Professor La Pietra Consultant, Villa Conservation of works of art and artifacts; non-destructive testing of art objects; indoor glass and enamels, active and environment; conservation issues preventive Dianne Dwyer Modestini in Paintings Program Kress Clinical Professor, Conservation Conservation of old master and nineteenth-century paintings Margaret Holben Ellis Margaret Center (as of 9/1/2020); Chair of the Conservation Conservation; of Paper Eugene Thaw Professor La Pietra Villa Conservation Consultant, works of art on paper; connoisseurship of Technical and drawings; of prints conservation treatment and techniques twentieth-century materials ethical issues in art of works of art on paper; conservation Michele D. Marinola Michele D. of Distinguished Professor Sherman Fairchild La Villa Conservation Consultant, Conservation; Pietra of medieval and technical art history Conservation medieval German decoration of late sculpture; conservation of modern sculpture sculpture; Conservation Center Faculty Center Conservation Institute professors sign a Doctoral Thesis Reader Sheet sign Institute professors George C. Wheeler George Department of Scientific Scholar, Research Museum of Art; The Metropolitan Research, Senior Scientist, Highbridge Materials Consulting; La Pietra Conservation Consultant, Villa Jack Soultanian Center for Sherman Fairchild Conservator, Objects Conservation, The Metropolitan Museum of Art Deborah Trupin Conservator in private practice; formerly Textile of State Bureau New York Conservator, Textile Historic Sites Head of Conservation Emerita, Cooper Hewitt Head of Conservation Emerita, Cooper Hewitt Design Museum Additional Conservation Consultants Villa La Pietra Rachel Danzing Rachel Danzing Art Conservation Proprietor, Pam Hatchfield Henderson Head of T. and Carol Robert P. Objects Conservation, Museum of Fine Arts, Boston Judith Praska Distinguished Judith Praska in Visiting Professors and Technical Conservation Studies 2019) Shashoua (Fall Yvonne National Museum of Denmark Senior Researcher, Lucy Commoner (Spring 2020)

Dianne Dwyer Modestini in Paintings Program Kress Clinical Professor, Conservation C. Richard Johnson C. Richard S. 2017-2020; Geoffrey Professor, Research Visiting of Engineering, Cornell M. Hedrick Senior Professor University Dr. Marco Leona Marco Dr. David H. Koch Scientist in Professor; Research The Department of Scientific Research, Charge, Museum of Art Metropolitan Research Faculty in the Research Conservation Center Laura Turco Fellow in Painting Conservation Samuel H. Kress Shan Kuang Assistant Conservator and Samuel H. Kress Scholar Assistant Research Dianne Dwyer Modestini in Paintings Program Kress Clinical Professor, Conservation The Samuel H. Kress Program Program The Samuel H. Kress in Paintings Conservation Steven Weintraub Services Preservation Art Proprietor, Julia Sybalsky of Natural Science Associate Conservator Museum of Natural Collections, The American History Deputy Director and Chief Conservator, and Chief Conservator, Deputy Director Guggenheim Museum Solomon R. Lena Stringari Harriet Stratis Harriet Paper Conservator, Senior Research Former Institute of Department, The Art Conservation Chicago

The Institute of Fine Arts Annual 2019 - 2020 12 The Institute of Fine Arts Annual 2019 - 2020 13 Kenneth Silver Department of Art History of Art History, Professor and the Institute of Fine Arts Modern and contemporary art, design, and culture Kathryn A. Smith Department of Art History of Art History, Professor and the Institute of Fine Arts Gothic Early Christian and Medieval art; illustrated manuscripts Prita Meier of Department of Art History, Associate Professor of Fine Arts Art History and the Institute of east and built environment cultures Visual histories of transoceanic African port cities, and exchange and conflict Shelley Rice Tisch School of the Arts, Arts Professor, and the Institute Department of Art History of Fine Arts Photography and multimedia art Michele Matteini Michele of Department Art History, of Professor Assistant Arts and the Institute of Fine Art History material Chinese painting and Late Imperial Qing and collecting culture; antiquarianism culture; art exchanges; eighteenth-century history; artistic knowledge; craft and embodied and globalism; history; historiography and art anthropology Painting After Modernism: Rethinking Historical Change” in September 2019. Benjamin Carlos Clifford defending his dissertation “ Benjamin Carlos Clifford Associate Professor of Art History, Department of of Art History, Associate Professor Art History and the Institute of Fine Arts and Eighteenth- and nineteenth-century French and material culture, British art, architecture, landscape design; art and gender politics, cross- art; interiors and cultural encounters in European art and contemporary identity; historical revivalism Meredith Martin Meredith Carol Herselle Krinsky Carol Department of Art History of Art History, Professor and the Institute of Fine Arts and planning; architecture Twentieth-century fifteenth-century painting Dipti Khera of Department of Art History, Associate Professor of Fine Arts Art History and the Institute of South Asia; cartographic Art and architecture global art art, and urban topography; cultures, and methodology; historiography histories, theory, museums, encounters; collecting, of cross-cultural landscapes; and contemporary heritage postcolonial studies John Hopkins Department of of Art History, Associate Professor Arts and the Institute of Fine Art History the experience and spatial and physical Visual, societal of cultural and investigation diachronic shift in the ancient Mediterranean Associate Faculty Associate Christopher Wood Humanities German Department; Chair, Professor, Chairs, Faculty of Arts and Science, NYU Associate Clinical Professor of Art History, of Art History, Associate Clinical Professor NYU Department of Art History, Ann Macy Roth of Art History, Associate Clinical Professor NYU Department of Art HIstory, Lillian Tseng Asian Art and of East Associate Professor Institute for the Study of the Ancient Archaeology, NYU World, Deborah Willis of Department Chair, University Professor; Arts, Photography & Imaging, Tisch School of the NYU Jordana Mendelson Jordana and of Spanish Department Professor, Associate NYU Portuguese, Ara H. Merjian NYU of Italian and Art History, Associate Professor Jon Ritter

Dennis Geronimus of Art History; Associate Professor NYU Department of Art History, Department Chair, Dean of Arts and Humanities, Vice Provost for Provost Dean of Arts and Humanities, Vice Faculty Director Intellectual and Cultural Outreach, of The Institute, NYU Abu Dhabi Reindert Falkenburg Joan Breton Connelly Joan Breton of Classics, NYU of Classics, Department Professor Excavations and Island Yeronisos NYU Director, Field School, Cyprus Mosette Broderick of Art Department of Art History, Clinical Professor NYU History, Brigitte Miriam Bedos-Rezak Brigitte Miriam NYU of History, Department Professor, Miriam Basilio Department of Art History Associate Professor, Studies, NYU and Museum NYU Affiliated Faculty Affiliated NYU

The Institute of Fine Arts Annual 2019 - 2020 14 The Institute of Fine Arts Annual 2019 - 2020 15 Eileen Hsiang-ling Hsu Adjunct Instructor in Classical Chinese Rosalia Pumo Adjunct Instructor in Italian Adjunct Instructors in Languages Uwe Bergermann Deutsches Haus, Adjunct Instructor, of College of Arts and Science and The Institute Fine Arts Heidi Ziegler The Institute of Adjunct Instructor in French, Fine Arts Jeffrey Weiss Jeffrey Guggenheim Museum, New York Senior Curator, Glenn Wharton of the of Art History and Professor Professor Chair of the UCLA/ Conservation of Material Culture; in the Conservation of Archaeological Getty Program and Ethnographic Materials. Michael Seymour Ancient Near Eastern Art, The Assistant Curator, Museum of Art Metropolitan Spira Freyda Museum of Art The Metropolitan Associate Curator, Luke Syson Museum Fitzwilliam Director, Anne Umland The Blanchette Hooker Rockefeller Senior Curator at The Museum of Modern of Painting and Sculpture Art Mark McDonald Mark French and early Mexican, Spanish, Italian, Curator, of Drawings books, Department prints and illustrated of Art Museum The Metropolitan and Prints, Orenstein Nadine M. Metropolitan The Curator in Charge, Drue Heinz Art Museum of Associate Director, Academic Affairs, Institute for Associate Director, University New York the Study of the Ancient World, Pepe Karmel NYU of Art History, Associate Professor LeBlanc Marc Sherman Fairchild Conservator in Charge, Paintings Conservator in Charge, Sherman Fairchild Museum of Art Conservation, The Metropolitan Michael Gallagher Curator-at-Large, Walker Art Center Walker Curator-at-Large, Juliet Fleming of English, Associate Professor Univerity New York Adrienne Edwards Blair Fowlkes Childs Associate, Ancient Near Eastern Art, The Research Museum of Art Metropolitan John T. Carpenter John T. The Mary Griggs Burke Curator of Japanese Art, Museum of Art Metropolitan Diane and Arthur Abbey Assistant Curator of Diane and Arthur Abbey Assistant Curator of Japanese Decorative Arts, The Metropolitan Museum of Art Curator in Charge, Ancient Near Eastern Art, The Curator in Charge, Museum of Art Metropolitan Monika Bincsik Kim Benzel Jennifer Ball Byzantine Art, of Early Christian and Professor CUNY Center, College and the Graduate Brooklyn Bruce Altshuler Museum Studies Clinical Professor, Nadia Ali Center for Material Silsila Fellow, Silsila Faculty Histories, NYU Contributing Faculty and and Faculty Contributing Scholars Collaborating Former Director, Carnegie Museum of Art; Curator, Carnegie Museum of Art; Curator, Former Director, Art Historian Writer, Artist Joyce J. Scott Artist Ann Temkin of Marie-Josée and Henry Kravis Chief Curator Museum of Modern Art Painting and Sculpture, J. Winter Irene of Fine Arts Emerita, Professor William Dorr Board University Harvard Zelevansky Lynn Jim Coddington Museum of Modern Art Former Chief Conservator, Navina Najat Haidar Department of Islamic Art, The Curator, Museum of Art Metropolitan Mancusi-Ungaro Carol and Research, for Conservation Associate Director Art Whitney Museum of American Martha Rosler The Institute of Fine Arts Arts of Fine Institute The Fellows Honorary Barkan Leonard Chair of the and University Professor Class of 1943 Princeton of Comparative Literature, Department University

Professor of Art History, Emory University; Adjunct of Art History, Professor Excavations in Samothrace and Director, Professor Bonna D. Wescoat Roland R. R. Smith of Classical Archaeology, Lincoln Professor at Excavations Director, University of Oxford; Aphrodisias James R. McCredie Professor in the History of Professor James R. McCredie University Professor; Art and Archaeology; Greek Excavations at Selinunte Director, Clemente Marconi Kathryn Howley of Ancient Assistant Professor Lila Acheson Wallace at Sanam Excavations Egyptian Art; Field Director, in Sudan Matthew Adams The Scholar; Field Director, Senior Research Institute of Fine Arts/NYU Excavation to Abydos, Egypt Institute of Fine Arts Excavation Field Directors Paul Stanwick Art Affiliate in Egyptian Research Beryl Barr-Sharrar Archaeology Art and Affiliate of Classical Susie Pancaldo Excavations at Selinunte Consulting Conservator, Jack A. Josephson Art Associate in Egyptian Research Brian Castriota at Excavations Conservator, Supervising Aphrodisias Institute of Fine Arts Fine of Institute Associates Research

The Institute of Fine Arts Annual 2019 - 2020 16 The Institute of Fine Arts Annual 2019 - 2020 17 Darius Segure Public Safety Officer Library (212) 992-5825 Lori Salmon Fine Arts Head, The Institute of Library Daniel Biddle Conservation Supervisor, Center Library Kimberly Hannah Assistant Senior Processing Abigail Walker Serials Receiving Assistant Public Safety (212) 992-5808 James Cook Public Safety Officer Egerton Kelly Public Safety Officer (until 06/30/2020) Finance Office Finance (212) 992-5895 Jennifer Chung of Budget and Director Planning Lisa McGhie Financial Analyst Fatima Tanglao Support Technician Classroom Jason Varone Media and Electronic Web Manager Joe Rosario Computer Services Manager L. Cintron George Computer and Network Support Technician Nita Lee Roberts Photographer Laura Turco Fellow in Samuel H. Kress Painting Conservation Digital Media and Computer Services (212) 992-5872; (212) 992-5884 Jenni Rodda Department Manager Administrative Aide Aakash Suchak Grants Administrator Amelia Catalano Laboratories and Study Manager, Collection Kevin Martin Academic Advisor Shan Kuang Assistant Samuel H. Kress Conservator and Assistant Scholar Research Conservation Center Conservation (212) 992-5888 Aminah Ibrahim Robert Doucette Building Operator Richard Nealon Richard Building Operator Wilfred Manzo Wilfred Facilities Supervisor Building Office (212) 992-5811 Hope Spence Academic Assistant Vanessa Stone Vanessa Academic Advisor (212) 992-5868 Conley Lowrance Administrator of Academic Programs Academic Office Joseph Moffett Development Assistant Sophie Phoenix Lo Manager of Public Programming and Special Events Sarah Higby of Development Director and Public Affairs Development and Public Development and Affairs Office (212) 992-5812 Brenda Phifer Shrobe Brenda for Assistant to the Director Administration and Human Resources Director’s Office Director’s (212) 992-5806 Institute Staff

Photo Courtesy Zimmerli Art Museum at Rutgers

Thomas W. Sokolowski, who received his MA from the NYU Institute of Fine Arts in 1975, died in New his MA from who received Sokolowski, Thomas W. curator and a courageous museum director was a pioneering Brunswick, N.J. on May 6th 2020. Tom that sought to advance the cause of social justice. His exhibitions created his career, who, throughout of the Grey life was deeply connected with NYU. The years during which he served as Director professional His ground-breaking fruitful for him professionally. extremely East were Square Art Gallery on Washington among many others, the 1985 audiences and critical acclaim. They included, exhibitions attracted large to related trends the opposite side of the aesthetic coin from This show examined art from “Precious.” approach is more” abstraction to consider artists who used the “more Minimalism and other forms of severe and installations, in their paintings, sculptures references to highly decorated surfaces and neo-religious Japanese Art of the “dazzling.” “Against Nature: taking their work beyond the “decorative” into the realm Hurwitz Collection” the Chester and Davida of the Eighties” and his survey of “Modern Indian Art from it has today. globalism took on the importance that aspects of global contemporary art before introduced Institute alumnus, Director of The Grey Art Gallery and Grey of The Institute alumnus, Director of contemporary art at the Department of Art professor NYU History, Tom Sokolowski (1950-2020) Tom Sokolowski In Memoriam

The Institute of Fine Arts Annual 2019 - 2020 18 The Institute of Fine Arts Annual 2019-2020 19 ofessor at Edward J. Sullivan Edward in the History of Art; Professor Helen Gould Shepard Deputy Director; and Sciences The Institute of Fine Arts and College of Arts Tom joined the staff of the Chrysler Museum, Norfolk, Virginia in 1982 and eventually became Chief Curator in 1982 and eventually became Chief Virginia Museum, Norfolk, joined the staff of the Chrysler Tom (1984-1996), and later, At the Grey of the Grey. the directorship to assume to New York returning before as well as in his final Museum in Pittsburgh of the Andy Warhol as Director tenure during his fourteen-year organized of the Zimmerli Art Museum at Rutgers University (2017 until his death), Tom position, Director other of artists and the AIDS crisis. In 1988 along with three many exhibitions that investigated the theme known as he founded the organization PhD) NYU/IFA colleagues (including William Olander, professional for the First Day Without Art. At the and was responsible AIDS, initiated the “Red Ribbon” project Visual (to open in September 2021) of the achievements was working on an exhibition time of his death Tom Angela Davis, for the Zimmerli (Davis is a former Pr and images in art of the Civil Rights activist Tom held teaching positions at the University of British Columbia and, in the late 1980s and early 90s, at the University of British Columbia and, in the held teaching positions at Tom his praise from contemporary art to great on At the DAH, he lectured Department of Art History. NYU’s teaching to were exhibitions the same lessons his ground-breaking classes students who learned in Tom’s not simply an invention of contemporary art was a world-wide phenomenon, Tom, the general public. For the U.S. art world. During his time at the Institute (and before going to the American Academy in Rome for dissertation Rome for dissertation American Academy in going to the before at the Institute (and During his time Gert Schiff, Jonathan Brown, Peter von Blanckenhagen, Posner, Clark and he took classes from research) among others. and Ann Sutherland Harris, his acute intelligence friends, remember many classmates and colleagues, personal and professional Tom’s NYU community. and IFA sadness for the entire wit. His sudden passing is a great and his razor-sharp At the IFA, Tom studied Early Modern European art. His particular interest (fostered at the University of the University at (fostered particular interest art. His Modern Early studied European Tom IFA, At the Italy. century and eighteenth seventeenth the art of was degree) his undergraduate he did where Chicago Art and Curator of Institute of of the Minneapolis former Director Clark, with Anthony (Tony) He studied in 1973. After IFA at the professor Clark became adjunct Museum. at the Metropolitan Paintings European finish) on (which he did not Posner on a dissertation worked with Donald Tom death in 1976 untimely Clark’s Sebastiano Conca. Roman painter Rutgers)

IN THE FOREFRONT

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SPOTLIGHT ON FACULTY STUDENT AND STAFF ACCOMPLISHMENTS Conference organized Conference “Americanized Bolshevism and its New New 2019, Ann Arbor. Worlds,” to North Europe from of reform “The culture America (1880-1914): strategies and poetics,” 2019, Saaleck-an-der Saale. Lectures of design education,” 2019, “History and the future Shanghai. via “Élie Azagury de Casablanca à Casablanca, Paris, Stockholm et ailleurs,” Conseil régional MAMMA, Made in A, des Architectes, de l’Ordre Casablanca, December 2019. Exhibitions Curated Amerikanizm in “Building a New New World: for Canadian Centre Russian Architecture,” 2019-2020. Montreal, Architecture, Shukhov, Formula in Shukhov, of Modern“Networks Beauty,” , 2019. of Architecture de la politique,” dans le champ “Charlotte Perriand Perriand, 2019. de Charlotte in Le Monde nouveau of Duke Metamorphosis “Opus 2 : Robert Venturi’s at Fifty: House,” in Complexity and Contradiction , 2019. “Gentle Manifesto” On Robert Venturi’s des ‘condensateurs sociaux,’” and “L’architecture à l’Exposition des arts “La participation de l’URSS in Rouge; art et utopie décoratifs de Paris, 1925,” au pays des Soviets, 2019.

Building a New New World: Amerikanizm in Amerikanizm in Building a New New World: Books “L’Atelier Chantorel de Frantz Jourdain: l’architecte l’architecte de Frantz Jourdain: Chantorel “L’Atelier in L’architecte et protagoniste,” comme romancier à la plume, 2019. “Le Corbusier et les Juifs : propos privés et “Le Corbusier et les Juifs : propos Populaire publique,” and “Le Front retenue in Le Corbusier 1930-2020; de Le Corbusier,” , 2020. et histoire polémiques, mémoire “Les Champs de la modernité,” in Champs- & perspectives, 2020. Élysées, histoire “L’invention dans le sang,” in Massimo / Maxime dans le “L’invention art et technique architecture, entre Ketoff, Parcours avec Marie Petit, 2020. Book chapters Elusive Constructivis,” in “Kenneth Frampton’s and the Lifeworld; Essays in Modern Architecture Honor of Kenneth Frampton, 2020. Ein neues Mainz? Kontroversen um die Gestalt der Ein neues Mainz? Kontroversen Stadt nach 1945, with Hartmut Frank and Volker 2019. Berlin: De Gruyter, Ziegler. Frank Gehry; Catalogue Raisonné of the Drawings; Frank Gehry; Catalogue Raisonné of the Drawings; d’art, 2020. One, 1954-1978. Paris: Cahiers Volume Architecture et urbanisme dans la France de Vichy. urbanisme dans la France de Vichy. et Architecture Paris: College de France, 2020. Russian Architecture. London: Yale University London: Yale Russian Architecture. 2020. Press, Awards, Honors, Fellowships Awards, the University of from Doctorate Honoris Causa 2019 Montreal, Jean-Louis Cohen Jean-Louis Faculty Faculty and Staff Accomplishments

The Institute of Fine Arts Annual 2019 - 2020 22 The Institute of Fine Arts Annual 2019 - 2020 23 Thomas Crow during his online lecture “French Landscape at the Landscape at “French during his online lecture Thomas Crow of Survival” on August 10, 2020. Margins Interview, “Grand temoin,” in The Art Newspaper, Interview, edition francaise, September 2019. Contribution to Donatien Grau, “Potential Museums” published by Paradis Magaine, 2019. Colin Eisler Publications Street Review: “Bringing Artists to Life,” Wall Journal (December 13, 2019). Philippe de Montebello Fellowships Honors, Awards, de Mecenazgo de (prize), Iberoamericano Premio the hands of Queen la Fundacion Calla, 2020, from Sofia of Spain, Real Academia de Bellas Artes Publications Conferences organized, Lectures, Talks Lectures, organized, Conferences Paris, 30 Pompidou, Folk to Pop,” Centre “From October 2019. to Scene: Scene “Going from Keynote lecture: conference The Multiple Bruce Conners,” City: Philadelphia and the accompanying “Invisible University of the Arts, 5 Avant-garde,” Vernacular 2020; March St. Gallery, cancelled at Tate 3 subsequent lectures Louis Museum of Art, and Art Institute of Chicago. “What? versus How Much? The Depth of Theology in art,” Art and Christianity (Autumn 2019). Review: Whitney Museum, “Warhol: From A to B From Review: Whitney Museum, “Warhol: and Back Again,” CAA Reviews (2019). “Spirituality,” in Nancy Spector ed., Guggenheim “Spirituality,” Museum A-Z (2019). “Jim Dine,” in Darby English and Charlotte Barat “Jim Dine,” in Darby English and Charlotte Barat eds., Among Others: Blackness at MoMA (Museum of Modern Art, 2019). “Bearing Witness in the Art of the Vietnam Era,” in Era,” “Bearing Witness in the Art of the Vietnam Melissa Ho ed., Artists Respond: American Art and 1965-1975 (Smithsonian Museum War, the Vietnam of American Art, 2019). “Illuminations Past and Present in the Painting of in the Painting “Illuminations Past and Present Mark Rothko,” in Jasper Sharp ed., Mark Rothko Kunsthistorisches Museum, 2019). (Vienna: “Afterlives of Heroism in the Art of Elizabeth “Afterlives of Heroism Peyton,” in Lucy Dahlsen ed., Elizabeth Peyton: and Angels (London: National Portrait Gallery, Aires 2019). “Conversation with Curator Massimiliano Gioni,” “Conversation with Curator Massimiliano Gioni,” Peter Saul: Crime and Punishment (New Museum, 2020). “Pure Beauty: On John Baldessari,” Artforum (April “Pure 2020), 120-124. Essays/Articles Book The Hidden Mod in Modern Art: London 1958- forthcoming October Press, University 1969. Yale 2020. Huntington Library, fellowship awarded: Ancient Ancient fellowship awarded: Huntington Library, and Late Modern Art of the American Southwest Awards, Honors, Fellowships Awards, European Prize in Contemporary Laura Shannon The Fall of Medal: for Restoration: Studies, Silver Art (Princeton the Course of European Napoleon in 2018) University Press, Thomas Crow Thomas Conferences Organized, Lectures, Talks Lectures, Organized, Conferences and with William A. Sethares Invited speaker, “The Computational Johnson, Jr., C. Richard Papers,” Characterization of Leonardo’s Kunsthistorisches Institut and the Museo Galileo, October 10-12, 2019. “The Computational Connoisseurship of Art Museums, Papers,” Harvard Rembrandt’s July 9-11, 2019. University, Harvard Study Technical Lichtenstein “Roy moderator, Panel Foundation, American The Roy Lichtenstein Day,” Institute for Conservation 47th Annual Meeting, June 25, 2019. Making Reference “Expanding the Toolbox, Collections Relevant to Conservation Practice,” Art May 17, 2019. on Paper Discussion Group,

“Unexpected FAME & unFORTUNE,” Postprints & unFORTUNE,” “Unexpected FAME Institute of Conservation, Book and Paper Group, 2020, https://icon.org. Conference, 2nd Triennial uk/unexpected-fame-conservation-approaches-to- the-preparatory-object “Computational Watermark Enhancement in “Computational Watermark with William A. Codex Leicester,” Leonardo’s Journal of Johnson, Jr., and C. Richard Sethares the American Institute for Conservation (March 2020); https://doi.org/10.1080/01971360.2019.17 03483 “Going beyond the Bench: The Paper Conservator Restaurator 40, nos. 3-4 (2019), 311-321. Today,” “The Computational Characterization of Leonardo’s Papers,” Mitteilungen des Kunsthistorischen Institut , forthcoming. in Florenz Margaret Holben Ellis Margaret Publications

TheThe InstituteInstitute ofof FineFine Arts Arts Annual Annual 20172019 - - 2018 2020

24 24 The Institute of Fine Arts Annual 2019 - 2020 25 Lecture 4: Tracer les contours (October 7) 4: Tracer Lecture (October 10) une impression 5: Faire Lecture Corps et copies, de la devotion à Round Table: l’exposition (October 14) “Économies de la copie et énigmes de la chronologie: des bols magico médicinales islamiques le problème des ‘médiévaux’”, seminar in the series Usages by Manuel Charpy and Noémie objets, organized de l’Art, Paris Étienne, Institut National d’Histoire (October 1, 2019) series on Slavery in the Islamic World Fall lecture at series on the Maghrib, (“Bonded”); Spring lecture Silsila. for the Alumni Association, “Healing Dust and Lecture in Medieval of Protection Technologies Printed Cures: Islam.” Lecture 1: Prendre la mesure (September 26) la mesure 1: Prendre Lecture (September par la poussière 2: Incorporer Lecture 30) 3: Guérir avec des images et des mots Lecture (October 3) Technologies de devotion dans les arts de l’Islam, Technologies Musée du Lectures, du Louvre Cycle of Chaire Paris (September 26-October 10, 2019) Louvre, https://www.louvre.fr/technologies-de-devotion- dans-les-arts-de-l-islam-par-finbarr-barry-flood Invited Individual Lectures, Endowed Lectures and Endowed Lectures Invited Individual Lectures, Keynote Speeches Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Small exhibition of artifacts from the permanent Small exhibition of artifacts from du Louvre collections discussed in the Chaire Musée du Louvre lectures, Exhibition Curated “Signs of Silence: Epigraphic Erasure and the “Signs of Silence: Epigraphic Erasure ed., The Gruber, in Christiane Image of the Word,” and in Islam Image Debate: Figural Representation 2019), (London: Gingko Library, the World Across 46-71. “Before the Mughals: Material Culture of Pre- the Mughals: Material Culture “Before Mughal North India,” Muqarnas (36, 2019), 1-40. Essays/Articles There Where You Are Not: Selected Writings of Not: Selected Writings Are You Where There by Kamal Boullata, edited with an Introduction 10-25 (Munich: Finbarr Barry Flood; “Introduction,” forthcoming). Hirmer, Books les Arts de l’Islam: de dévotion dans Technologies du et copies. Paris: Hazan/Musée pèlerins, reliques forthcoming. Louvre, Honors, Awards, Fellowships Honors, Awards, Paris, 2019 du Louvre, Musée du Louvre, Chaire Finbarr Barry Flood Barry Finbarr

Selinunte. Caruso, Enrico and Clemente Marconi. Enrico di Fotografie di Armando Rotoletti. Testi 2019. Grafirer, Troina: Caruso e Clemente Marconi. Essays/Articles and “War and Clemente Marconi. Andrew, Ward, from Weapons Structure: the Life of a Sacred the NYU-UniMi Excavations in the Main Urban Sanctuary of Selinunte,” in The Fight for Greek Politics, and Landscape, ed. M. Sicily: Society, 2019), and Philadelphia: Oxbow, Jonasch (Oxford 18-46. 2019. Visiting Professor, Australian Archaeological Australian Archaeological Professor, 2019. Visiting Institute at Athens (August 5th–September 12th): and seminars in Sydney (University public lectures University), Canberra of Sydney and Macquaire (Australian National University), Armidale (University of New England), Newcastle (University of Newcastle), Brisbane (University of Queensland), Melbourne Hobart (University of Tasmania), University), (University of MelbourneLa Trobe and Adelaide (University of Adelaide), Perth (University Australia) of Western Book Exhibitions Curated of Signs, Palazzo Miró and the Language Napoli, September 2019 - Municipale della Arte, February 2020. Clemente Marconi Fellowships Honors, Awards, Robert Lubar Messeri Lubar Robert Publications Miró, Juno and the Catalan “Peinture-Poésie: Rémi Labrusse and in Literary Avant-Garde,” Messeri, eds., Painting-Poetry/ Robert Lubar (Barcelona: , Miró Documents Peinture’Poésie 85-97. Fundació Joan Miró, 2020),

Seminar session on my “Glossary of Terms for the “Glossary of Terms Seminar session on my Co-organizer and sometime moderator, IFA China IFA and sometime moderator, Co-organizer Workshop. Project “Meroë: de vergeten Afrikaanse tegenstander van Afrikaanse tegenstander de vergeten “Meroë: African Rival of The Forgotten Rome,” [“Meroë: Rome”], Stichting Mehen: Studiecentrum voor het Oude Egypte (Leiden, Netherlands), July 14, 2019. “Ritual in the 25th Dynasty: Or, How to Worship How to Worship “Ritual in the 25th Dynasty: Or, Center in Amun like a Kushite,” American Research Egypt, Chicago Chapter (Chicago, IL), November 2, 2019. “Ancient Nubia: New Ideas, New Discoveries,” “Ancient Nubia: New Ideas, New Discoveries,” Museum of Herman Memorial Lecture, Barbara W. Fine Arts, Boston, 8th December 2019. Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Publications “The Materiality of Shabtis: Four Millennia of Journal 30, Cambridge Archaeological Miniatures,” no.1, 123-40. Kathryn E. Howley “A New Approach to Yuan Dynasty Scholar to Yuan “A New Approach Painting.” Department of Art History and taught also I 2020: 13, January UCLA, Archaeology, theory and method a session of the Department’s seminar. Study of Chinese Ink Painting,” Graduate Seminar Study of Chinese Ink Painting,” Department of Art History, in Methodology, November 19, 2019. University of Pittsburgh, Conferences Organized, Lectures, Talks Talks Lectures, Organized, Conferences “Professor Bo Songnian’s ‘Wide-Angle’ View of View ‘Wide-Angle’ Bo Songnian’s “Professor Chinese), Meishu guancha Chinese Art History” (in 11. (Art Observation) (2019), Publications Journal of Writing,” Archaeology “Guo Zhongshu’s History 3 (2019), 233-324. of Chinese Jonathan Hay Jonathan

The Institute of Fine Arts Annual 2019 - 2020 26 The Institute of Fine Arts Annual 2019-2020 27 , Essays/Articles Northern “The Cloisters’ Romanesque Crucifix from in: Spain: A Reconstruction and Interpretation,” and eds. Lutz, G. and Fozi, S,. Christ on the Cross of Medieval Monumental Sculpture the Emergence 2020), 264-81. Miller, (Brepols/Harvey 2019 New Finds from “Selinunte: Baglio Florio. Excavations.” Michele Marincola Book The Kargère. and Lucretia Michele D. Marincola Wood Polychrome Conservation of Medieval Practice. Getty Theory, History, Sculpture: Publications, 2020. Mauro Cremaschi, Massimo Cultraro, and Cultraro, Massimo Cremaschi, Mauro ambiente, di Selinunte: “Prima Marconi, Clemente sito di lunga insediative di un risorse e strategie al II millennio a.C.” LIV Riunione durata dal X Protostoria e Istituto Italiano di Preistoria scientifica 23–26, 2019. Rome, October Curated Exhibitions Clemente Marconi and Ann Kuttner, “The Pasts of and Ann Kuttner, Clemente Marconi CIMA (Center for Italian Modern Futures,” Marini’s February 11, 2020. Art, New York), Conferences organized, Lectures, Talks Lectures, organized, Conferences The Encyclopedia of Greek “Centuripe,” in The Encyclopedia of Greek Comedy, ed. A. Sommerstein, 1 (Hoboken, NJ: Wyley-Blackwell, 2019), 165-166. “Prolegomena to the Study of Sculpture in Sicily in to the Study of Sculpture “Prolegomena and Classical Periods.” In Handbook the Archaic ed. Olga Palagia (Berlin: De Sculpture, of Greek 2019), 429-472. Gruyter, “New Evidence for Early Greek Settlement on “New Evidence for Early Greek of Selinunte,” in Listening to the the Acropolis and Function in Stones: Essays on Architecture Sanctuaries in Honour of Richard Ancient Greek , eds. Elena C. Partida and Barbara Alan Tomlinson 2019), Schmidt-Dounas (Gloucester: Archaeopress, 252-261. “The Raw and the Cooked: Scenes of Animal “The Raw and the Cooked: Scenes of Animal Res: Architecture.” Sacred Greek Fights on Archaic and Aesthetics 71–72 (spring/autumn Anthropology 2019), 209–228. Immagini di Gela. Le necropoli e il in Immagini di Gela. Le necropoli “Prefazione,” I materiali culturale della polis tardo-arcaica. profilo Lauricella, Alessandro della collezione e del predio All’Insegna del Giglio, Pace, IX-X. Sesto Fiorentino: 2019. Clemente Marconi, David Scahill, and Massimo and Massimo Scahill, David Marconi, Clemente on the Work Architectural “New Limoncelli. a Digital Sicily: Towards of Selinous, Akropolis New Directions Cultural Heritage,” in Platform for Architecture: for the Study of Greek and Paradigms in the Field, eds. P. Dialogues Interdisciplinary and Boston: Brill, D. Scahill (Leiden Sapirstein and 2019), 289-304. of the Institute of “The New Investigations Urban Sanctuary Fine Arts–NYU in the Main New of Selinunte,” in The Akragas Dialogue: in Sicily, eds. M. De Investigations on Sanctuaries (Berlin: De Gruyter, C. Portale, and N. Sojc Cesare, 2019). Robert Maxwell and Isabelle Marchesin in the Lecture Hall during Hall during in the Lecture Robert Maxwell and Isabelle Marchesin 3, 2020. the Medieval Art Forum on March “Retour sur une dialectique transatlantique, ou transatlantique, dialectique sur une “Retour de l’art formes d’expression les aborder comment Journéesmédiéval,” d’études franco-américaines: 12-13 Atlantique, INHA, Paris, the Looking Across June one lectures, (three four events Organized Institute Medieval Art Forum, The for the conference) 2019-2020: Year of Fine arts, Academic November 21, 2019 Adair Dammann Chair Jerrilyn Dodds, Harlequin College, Lawrence in the History of Art, Sarah “Mozarabic and Romanesque” October 3, 2019 of Department Curator, Charlotte Denoël, Chief Nationale de France: “The Manuscripts, Bibliothèque on its Ivory Sacramentary: New Perspectives Drogo Plaques” 3, 2020 March Institut Advisor, Research Isabelle Marchesin, de l’art, Paris: “Early Carolingian national d’histoire Gospels: Giving Form and Substance to God’s Word” April 24-25, 2020 “Imagining Pilgrimage International Conference, co- to Santiago: Itineraries, Narratives, Myths,” de Auto. (Univ. with M. Castiñeiras organized with the Xunta de Galicia and Xacobeo Barcelona), 2021 - ultimately canceled due to Covid-19.

Book Review: “M. Duquong, The Lithic Garden: The Lithic Garden: Book Review: “M. Duquong, of the Medieval and the Transformation Nature A Companion to Medieval Art, 2nd ed. ( London, A Companion to Medieval 2019) . “Discernement et crédulité dans l’art du XIIe siècle,” de d’études supérieures Session d’été, Centre civilisation médiévale, Poitiers, 27 June 2019 “At the End and Beginning of the World: Santiago de “At the End and Beginning of the World: Compostela,” opening talk for Imagining Pilgrimage to Santiago: Itineraries, Narratives, Myths, The Institute of Fine Arts, NYU, 24-25 April 2020 — canceled due to Covid-19 “Authorship, Writing, and the Discourse of Law “Authorship, Writing, in Some Early Medieval Manuscripts,” 55th 7-10 on Medieval Studies, International Congress May 2020 – canceled due to Covid-19 Session responses, “Quo Vadis? Medieval Italian “Quo Vadis? Session responses, Glass,” F. Studies in Honor of Dorothy Sculpture (Cal. State Channel by A. Perchuk organized in Gangemi (Kunsthistorisches Institut Islands), F. on Medieval 55th International Congress Florenz), Studies, 7-10 May 2020 – canceled due to Covid-19 Co-organizer, International Conference on Santiago on Santiago International Conference Co-organizer, de Compostela, with M. Castiñeiras (Universidad Imagining Pilgrimage to Autònoma de Barcelona), Santiago: Itineraries, Narratives, Myths, The Institute to of Fine Arts, NYU, April 2020 – canceled due Covid-19 Conferences Organized, Lectures, Talks Talks Lectures, Organized, Conferences Church History 88, no. 2 2018,” Church Oxford, Church, (2019), 497-499. Publications “Modern of Romanesque Sculpture,” Origins in C. Rudolph, ed., version of 2008 article, revised Awards, Honors, Fellowships Awards, the Xunta from $50,000 grant for approx. Awarded Santiago de Compostela/Madrid, de Galicia, due to (ultimately canceled conference Spain, for a Covid-19). Robert Maxwell Robert

The Institute of Fine Arts Annual 2019 - 2020 28 The Institute of Fine Arts Annual 2019 - 2020 29 Conferences Organized, Lectures, Talks Lectures, Organized, Conferences is our God? Giotto and the “Where Invited Lectures: Chapel,” Department of the History of Art and Arena February 21, 2020. U.C. Berkeley, Archeology, “The Revelation of the Earth: Raphael and History Parmigianino,” Riley Family Class of 2013 Art Dartmouth College, January 29, 2020. Lecture, without Names,” Symposium “Michelangelo: Figures Barkan, Princeton University, in Honor of Leonardo May 10, 2019. Essays/Articles the Age of Digital in The Aura in “Art in Time,” in the Shadow Rethinking Preservation Materiality: Lowe, Elizabeth , eds. Adam Future of an Uncertain Giulia Fornaciari, Tess Béliard, Mitchell, Nicolas Damone Nieto and Guendalina Blanca Tomassini, 2020), 295-307. (Milan: Silvana, Dead Nor Alive,” in Art Neither “Fugitive Mirror: Art the Animation of Matter in Dead or Alive! Tracing Maria Culture, eds. Gunhild Borggreen and Visual Rosanna Tindbæk (Aarhus: Fabricius Hansen and 21-64. 2020), Aarhus University Press, Michelangelo’s in Leo Steinberg, “Introduction,” , ed. Sheila Schwartz Paintings: Selected Essays Chicago University Press, (Chicago and London: 2019), vii-x. “The Stripping of Art,” “Abstraction and the is No Such Thing as Sublimation,” and “There , of Art Vision Abu Dhabi: A World Global,” in Louvre ed. Jean-François Memory, part 1, Time, History, Charnier (Paris: Skira, 2019), 165-81. portal: Amerasia: An Inquiry into Early Research Modern Imaginative Geography (edited with Elizabeth Horodowich) http://ifaresearch.org/amerasia/ Bending Concepts: The Held Essays on Visual Art, Held Essays on Visual Bending Concepts: The Neil. Rail Editions, 2019. edited with Jonathan T.D. Bishop, Benn Michaels, Claire Essays by Walter Levi Strauss, David Agape Fuegoverde, Talib Judith Demos, Ariella Azoulay, T.J. Simon Critchley, Martha Schwendener, Rodenbeck, Katy Siegel, David Geers, Alexander Alva Noë, Blake Gopnik, Siona Wilson, Luis Camnitzer, Nagel, David Robbins, Smith, Alexander Dumbadze, Terry Michael O’Hare, Gaby Collins-Fernandez, Katie Anania, Alexi Worth, Knowles, Sheila Heti, and Karen Marika Takanishi Archey. Books Péter Metapainting , (edited with Renaissance Krüger, Essays by Klaus 2020. Bokody). Brepols, Wolfgang Erik Eising, Bokody, Péter Robert Brennan, Beate Herman, Anna Degler, Kemp, Nicholas in of Archaism “Structures Fricke, Alexander Nagel: Raphael,” Shira Fra Bartolommeo, and Leonardo, Brisman, and André Chastel. Alexander Nagel Alexander H. Roemich, “Glass Science and Glass of Degradation,” Winterthur Museum/ University 25 February 2020. Conservation Program, Delaware about time! “It’s H. Roemich and C. Frohnert, art meets art conservation,” Technology-based 19 School of Engineering, Brooklyn, NYU Tandon February 2020. need for both students to the growing In response artists working in digital as well as professional mediums to learn best practices and practical to bring solutions, NYU hosted a spring 2020 series disciplines together faculty and expertise across Eyebeam, Organizers: of art and technology. that supports arts nonprofit a Brooklyn-based artists who meaningfully engage with technology for Senior Director and society; Ellyn Toscano, Partnerships and Community Programming, Engagement for NYU in Brooklyn. Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Hannelore Roemich Hannelore Publications K. Wittstadt, G. Maas-Diegeler, H. Roemich, experiments weathering and long-term “Accelerated of conservation for preventive – conclusions International of the In Proceedings glass objects,” Degradation in Atmospheric Symposium on Glass Odile Fanny Alloteau, Conditions, Ed. Isabelle Biron, and Daniel Caurant (Paris: Majérus, Patrice Lehuédé 23-33. Hermann Editions, 2020), Conservation “Preventive Baldry and H. Roemich, F. Collaboration, La Pietra: Management, at Villa Conservation in Historic Education,” in Preventive Assessment Houses and Palace Museums: (Milan: Methodologies and Applications 242-244. SilvanaEditoriale, 2020),

“The Body as Hieroglyph in Early Picasso,” keynote in “The Body as Hieroglyph Conferences Organized, Lectures, Talks Lectures, Organized, Conferences “Early Picasso: A Dialogical Approach to Style and to Style “Early Picasso: A Dialogical Approach , Meaning,” Picasso: Seated Female Nude Workshop Center for Modern A. Lauder Research The Leonard Museum of Art, November Art, The Metropolitan 12, 2019 , ed. and Algorithm Panelist, book launch for War Noll, and Daniel Steuer, Max Liljefors, Gregor 5, March University, School, New York Steinhardt 2020 Series of four lectures, to be given at the Scuola to be given at the Scuola Series of four lectures, Università di Pisa, April 2020; Normale Superiore, postponed owing to Covid-19. Panelist, webinar, “Exploring the Way Forward: Forward: “Exploring the Way Panelist, webinar, What do Leaders of Higher Education Institutions Educating Artists and Art Scholars See for Their Years?” Schools and Students in the Coming Three The Aspen Institute, Artist-Endowed Foundations moderated by Christine Vincent, Initiative, organized by Alberta Arthurs, June 9, 2020. “Cartographies of Crisis: Mona Hatoum’s “Cartographies of Crisis: Mona Hatoum’s Geopolitical Mappings,” keynote address, Network for Avant- Crisis, European Conference: and Modernism Studies (EAM), University of garde owing Leuven, September 17-19, 2020 (cancelled to Covid-19). Material Grounds: Bodies Material Grounds: conference: address, (1906-1907), Museo in Early Picasso and Territories 17-18, 2020 (postponed to Reina Sofia, Madrid, November 18-19, 2021). “Giacomo Balla’s Vortex: The Volatile Politics of an The Volatile Vortex: “Giacomo Balla’s and Abstract Form,” RES: Journal of Anthropology 2019), 192-208. Aesthetics 71-72 (spring/autumn Essays/Articles Peinture- de mes rêves: Joan Miró’s “La couleur in the Art of False Resemblances,” Poesie and Miró Documents, Peinture-Poésie, Painting-Poetry, Labrousse Lubar Messeri and Rémi ed. Robert 2020), 33-51. Fundació Joan Miró, (Barcelona: Christine Poggi Christine

The Institute of Fine Arts Annual 2019 - 2020 30 The Institute of Fine Arts Annual 2019-2020 31 Robert Slifkin Book The New Monuments and the End of Man: U.S. and Peace, 1945-1975. Between War Sculpture 2019. Princeton: Princeton University Press, Essays/Articles 1991-2011, “Theater of Operations: The Gulf Wars MoMA PS1,” Burlington Magazine 162 (February 2020), 161-163. in Joan Mitchell: I Carry My “Afterwards,” David with Me (New York: Landscapes Around 2020), 15-21. Zwirner, “Plantation Owner and His Field Hands, Mississippi ed. Dorothea Delta,” in Sarah Hermanson Meister, Museum of (New York: and Pictures Lange: Words Modern Art, 2020), 84-85. “Bruce Nauman Going Solo,” in Bruce Nauman, (Cambridge: MIT Walsh October Files, ed. Taylor 2019), 159-174. Press, “In the Ring,” in Prédicaments: Brain Burke: A (Charlottetown, PEI: Confederation Retrospective 2019), 41-54. Art Gallery, Centre “Agents of Appropriation: Monks and Merchants in and Merchants Monks of Appropriation: “Agents International ca. 1050-1300,” Trade, Sino-Japanese the Global Early Middle Portability in workshop, of St. Networks, University and Ages: Production Academy, with the British in collaboration Andrews, until further notice]. 2020 (postponed U.K., May 1-2, at the international (title TBD) Presentation Religions, of BRI: Empires, workshop, Antecedents of the Silk Road, and Economics Material Culture, 23, 2020 [postponed March University of Virginia, until further notice]. Look Chinese: Don’t “When Chinese Ceramics in and Ceramic Trade Cargoes Shipwrecked China Outward: Looking Day, Medieval Asia.” Study Art, at The Philadelphia Museum of and the ‘West’ October 4, 2019. with Jonathan Hay and many lectures, Organized Workshop. Michele Matteini, for the China Project ” [The 由黑石 アジア佛教美術論集: 北宋/遼/西夏 アジア佛教美術論集: Presentation (title TBD) at the international Presentation workshop, Chinese Funerary Art of the 10th to 13th Century: Redefining Boundaries and Mediating May 8-9 [postponed Factors, Princeton University, until further notice]. “Between Ningbo and Hakata: Trade of Art in the “Between Ningbo and Hakata: Trade ca. 1050-1250,” China Age of Maritime Commerce, Seattle, Colloquium, University of Washington, November 1, 2019. “Authenticity and Reproduction of Buddhist Art and of Buddhist Art “Authenticity and Reproduction The Artifacts in Medieval China.” Invited lecture. Center for Asian Art and Ideas, Seattle Art Gardner Museum, November 2, 2019. Invited Lectures and Talks Invited Lectures Publications kan chushui wenwu Heishi-hao chenchuan “You maoyi ” shiqi de haishang Wudai Tang-mo no kyō-tō” 遼と北宋時代の経 “Ryō to Hoku-Sō jidai Deposits in Northern Song and Liao 塔” [Scripture Hoku-Sō, bijutsu ronshū: Pagodas], in Ajia Bukkyō Ryō, Seika hen Song zhiji fojiao yu shisu “Shengsi yu niepan – Tang muzang de jiaocuo lingyu” 生死與涅槃－唐宋之際佛 Secular Death and 教與世俗墓葬的交錯領域 [Where Buddhist Nirvana Intersect: Secular and Religious Research Transition], Burials during the Tang-Song of Chinese Fine Arts 30 (2019): 9-29. In Chinese. Hsueh-man Shen Hsueh-man 號沈船出水文物看唐末五代時期的海上貿易 -- Trade and the Indian Ocean Belitung Shipwreck in 黑石 and Perspectives], Approaches, Problems, [The Cargo Heishi-hao chushui wenwu 號出水文物 edited by Shanghai of the Belitung Shipwreck], daxue chubanshe, Museum (Beijing: Beijing In Chinese. forthcoming in 2020). and Itakura Maromitsu 篇, co-edited by Tsukamoto forthcoming in bijutsu. Chuokoron Masaaki (Tokyo: Song 2020). Japanese translation of “Liao yu Bei shelita nei cangjing zhi yanjiu” 遼與北宋舍利塔內 Journal of Art History 12 (2002): 藏經之研究,Taida 169-212. Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Symposium: Roberto Burle Marx, Institute of Fine Arts, September 24, 2019. “Mexican Photography: Modern to Contemporary 2019. Practices” Institute of Fine Arts, October 24, University “Caribbean: Themes and Variations,” October 29, 2019. College Cork, Ireland, “Frida Kahlo and Contemporary Art,” University October 31, 2019. College Cork, Ireland, in Twentieth Urbanism and ‘Progress’ “Architecture, and São Paulo,” Century Rio de Janeiro paper: CAA session and conference co-organized as Urban Planning: The Case Architecture “Garden of Roberto Burle Marx,” Chicago, February 2020. all Latin American 2019-2020, organized At IFA: Forum events and all Huber Colloquium events. “New MoMA Offers Pleasures & Possibilities for “New MoMA Offers Pleasures copy) (online and hard Art News Learning More,” 2019). (December, “Alexander von Humboldt and the Book review: by Eleanor and Culture,” United States: Art, Nature The Burlington Magazine, (September Jones Harvey, 2020). Americana: Mexican “Vida Exhibition review: Muralists Remake American Art 1925-1945,” Whitney Museum of American Art, Apollo (May 2020). The New Monuments and the End of Man: U.S. Sculpture Between End of Man: U.S. Sculpture The New Monuments and the Robert Slifkin in conversation with Martha Rosler about his book Robert Slifkin in conversation and Peace, 1945-1975 War

Publications The Drawings of Marcelo and Testimony: “Trace Bonevardi: exhibition catalogue, Marcelo Bonevardi” Magic Made Manifest (Miami, Lowe Art Museum, U. of Miami, 2019), 6-9. Edward J. Sullivan Edward Conference co-organizer, “Representation and “Representation co-organizer, Conference of Reparation in Global Contemporary Art,” Institute Fine Arts, 27 September 2019. the End Book Launch for ‘The New Monuments and Institute of Fine Arts, 9 of Man,” with Martha Rosler, November 2019. Conferences Organized, Lectures, Talks Lectures, Organized, Conferences in Jeff Mermelstein, Arena “Illuminated Profanity,” of (Oakland, CA: TBW Books, 2019), np. Review Art in the Life of Color, Darby English, 1971: A Year Bulletin (September 2019), 179-181. “Lee Friedlander, Madison, Wisconsin, 1966,” in Madison, “Lee Friedlander, Darby English and Charlotte Barat, eds., Among Museum of Others: Blackness at MoMA (New York: Modern Art, 2019), 206-207. “On Dennis Oppenheim’s Marionette Theater,” Marionette Theater,” “On Dennis Oppenheim’s Journal Historiography 21 (December 2019), of Art 1-14.

The Institute of Fine Arts Annual 2019 - 2020 32 The Institute of Fine Arts Annual 2019 - 2020 33 Publications Painted The Place of Many Moods: Udaipur’s Eighteenth Century. Princeton Lands and India’s 2020. September, University Press, “Lakes Within Lake-Palaces: A Material History in Eighteenth-Century India,” in of Pleasure in Global South Asia, Liquescent: Spatializing Water 1500-2000, edited by Sugata Ray and Venugopal Maddipati (New Delhi: Routledge, 2019), 60-92. Awards, Honors, Fellowships Honors, Awards, American Institute of Indian Studies’ Edward Prize for the best unpublished Dimock, Jr. Cameron April book manuscript in the Indian Humanities in 2019 Sept 2018 - Aug 2023 Global Horizons, Berne, by Switzerland Part of a team of five scholars led Beate Fricke, working on trans-regional Professor conceptions and historiographies of landscape, Research European and art. Awarded nature, Council Grant of USD 2.5 Million. Dipti Khera “Architectural Production in Rome: A New A New in Rome: Production “Architectural Fifth the Long for of Evidence Assessment of Classical Studies, Australasian Society Century,” January Dunedin, New Zealand, Annual Meeting, 29, 2020 Accretion Encrustation, Architectural “Sculptural of the Early Roman Semantics and the Visual The Graduate Center, Cityscape” Rewald Lecture, 5, 2019 November CUNY, The Connective Culture: “Folding Time, Folding Art.” Department of Experience of Early Roman October 26, 2019 University, Classics, New York Semantics of Early Cista and the “The Ficoroni Club, October 21, Classical Roman Art” New York 2019

“Introduction: The Long Lives of Ancient Objects”; The Long Lives “Introduction: and Reassessing and “Decapitated: Reassembling in John Hopkins, Sculpted Heads,” the Lives of Two “Dissolving Boundaries: A Study in Artistic Between Rome, Etruria and Latium,” Production Technology, “Exchanging Ideas: Trade, Conference, Italy” University of and Connectivity in pre-Roman Aukland, New Zealand, February 5, 2020 “The Archaic Legacy of Roman Public Space,” “The Archaic “The Origins of Roman Public Space,” Conference, for Classical and Near Centre University of Sydney, Eastern Studies of Australia, February 7, 2020 Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Book Review of Building Mid-Republican Rome: and the Urban Economy, by Architecture, Labor, American University Press.” Oxford Seth Bernard. (2019). Journal of Archaeology Oxford in Oxford “Roman Republican Architecture,” Planning, and Bibliographies in Architecture, University , ed. Kevin Murphy (Oxford Preservation doi:10.1093/ 130-work critical bibliography. Press). obo/9780190922467-0026 (2019). “Decoding the Regia” Journal of Roman 32, no. 2 (2019), 546-555. Archaeology Essays/Articles Davis, Object Biographies: Sarah Costello and Paul to Ancient Mediterranean Collaborative Approaches University Press, Art (The Menil Collection and Yale 2020). Book Davis, with Sarah Costello and Paul Principal editor, to Approaches Object Biographies: Collaborative and Art. The Menil Collection Ancient Mediterranean 2020. Press, University Yale John Hopkins Associate Faculty Associate

The Institute of Fine Arts Annual 2019 - 2020 34 The Institute of Fine Arts Annual 2019-2020 35 Meredith S. Martin Meredith Fellowships Honors, Awards, The Center for Ballet and the Arts at NYU Fellowship April 2020, to be taken Spring 2021) (awarded Paris invité, École normale supérieure, Professeur 2020, postponed until (originally planned for March 2021) March Initiatives Fellowship, Global Research Provost’s University (2019-2020) New York Carol Krinsky Carol Essays/Articles “A New Orthodox Synagogue in Manhattan: Decision Making and Design, Arts 8, 113 (September 2019); https://doi.org/10.3390/arts8030113 Exhibitions Curated “A Splendid Land: Paintings from Co-curator, National Museum for Asian Art, Royal Udaipur,” Art and Arthur M. Gallery of Smithsonian, Freer D.C. (in Washington Sackler Gallery Institution, Udaipur, collaboration with the City Palace Museum, 2022 India; scheduled for September 2021–March to the D.C., travelling thereafter in Washington Cleveland Museum of Art in Summer 2022). “Dispersed Horizons and Itinerant Histories of Histories and Itinerant Horizons “Dispersed Annual Colloquium c. 1700,” Pictures, Worldly in Art, A Line and its Movement Theme: Horizons: Lucas by Dr. organized Literature,” and History, Beate Fricke of Basel) and Burkart (University of Berne),(University August 29-31, 2019 Cultures for Art,” Panel: Art and Nature: “The Season 35th International Italy, of Collecting, Florence, (CIHA), Florence, in the History of Art Congress Kunsthistorisches Theme: Motion/ Transformation, Institute, September 1-6, Institute – Max Planck 2019 “Making Pictures, Memorializing Moods in “Making Pictures, India,” Castelen, the estate of the Precolonial Clavel, Augst, Switzerland, René Dr. Römer-Stiftung November 10, 2019 “Worlds of Pleasure: Making Sense Between Place, Making Sense of Pleasure: “Worlds and Performance,” Department Painting, Poetry, of the History of Art, University of Pennsylvania, 4, 2020 Philadelphia, March “In the Mood for Art in India’s Eighteenth Century,” Eighteenth Century,” “In the Mood for Art in India’s Series, University of Chicago, March Smart Lecture 5, 2020 Conferences Organized, Lectures, Talks Lectures, Organized, Conferences the Local Bazaar: Scraps and Scrolls “Letters from Part of of Mobility in the Global Eras of Art History,” Indian Histories of the “Interwoven: Sonic and Visual Department of Art History and The Ocean World,” March Smart Museum of Art, University of Chicago, 6, 2020 Kenneth Silver Books and Exhibition Catalogues (Milton/ Author and ed., Summer with the Averys , exh. cat., Bruce Museum (Greenwich, Sally/March) Connecticut), 2019. Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Global,” “How the Indian Ocean Made Photography Series, NYU, February 4, 2020. Scholars Lecture Area “The Arts of Swahili Port Cities: Beyond the Studies Paradigm” Africa in the Middle East/ , Cornell University, Middle East in Africa Workshop November 18, 2019. an Indian Ocean “The Migrating Image: Toward 8th Biennial Symposium on History of Photography,” Art, Islamic Art: The Seas and the Mobility of Islamic November Qatar, Commonwealth University, Virginia 10, 2019. in Global “A Sea of Things: Swahili Coast Postcards Connectivity of Materiality The Cargoes: Circulation,” the Indian Ocean Symposium, in Motion Across Berlin, Max Planck Institute for Social Anthropology, October 5, 2019. “Photography and the Aesthetics of Dispossession in Contemporary Studies in Colonial Zanzibar,” September 24, 2019. Africa, Columbia University, Prita Meier Prita Publications Modernities:“Beyond Multiple Port East African Space Between” Nka: JournalCities as the of African Art 28 (2020): 116-125. Contemporary Highway: Trans-African With Kenny Cupers, “The and Selfhood” Between Statehood Infrastructure Historians 79, Journal Society of Architectural of the 2020): 61-81. no. 1 (March A History of Photography “The Surface of Things: 101, no. 1 the Swahili Coast,” Art Bulletin from (2019): 48–69.

“Swiss Porcelain and Slavery in the Global and Slavery in “Swiss Porcelain in Une Suisse exotique. Une Eighteenth Century,” Switzerland. A globale des Lumières/Exotic histoire Bloomsbury, 2020). Bloomsbury, Edited journal issue with Nina Dubin: 1720, special issue of Journal18 (Fall 2020). “On the Margins: Meredith Martin on Jean-Jacques Martin Meredith “On the Margins: Lequeu,” Artforum 58 (February 2020), 51-52. “Monstrous Assemblage: Ribart’s Elephant Assemblage: Ribart’s “Monstrous Journal18, Spring 2019 Monument to Louis XV,” http://www.journal18.org/issue7/monstrous- assemblage-ribarts-elephant-monument-to-louis-xv/ “A Tale of Two Guns: Mediterranean Servitude and Two of “A Tale (co- France,” XIV’s in Louis Maritime Weaponry The in The Art of Travel: with Gillian Weiss), authored Mobility of People and Things in the Early Modern Mediterranean, ed. Elisabeth Fraser (Routledge, 2019), 27-48. “The Art of Plague and Panic: Marseille, 1720” (co- “The Art of Plague and Panic: Marseille, 1720” Platform (April 2020): with Gillian Weiss), authored https://www.platformspace.net/home/the-art-of- plague-and-panic-marseille-1720 “Fortune and Folly: A Pandemic Reminiscence,” “Fortune and Folly: A Pandemic Reminiscence,” with Nina Dubin and Madeleine Viljoen, co-authored Eighteenth-Century Studies, special issue on the South Sea Bubble, Fall 2020. , ed. N. Etienne, Global History of the Enlightenment E. Wismer (Zurich: Diaphanes, C. Brizon, C. Lee and 2020). Articles Court,” (co- the Sun King’s “Enslaved Muslims at Effect: in The Versailles with Gillian Weiss), authored of the Domain, ed. Objects, Lives, and Afterlives York: (New Wellington Mark Ledbury and Robert Meltdown! Picturing the World’s First Bubble Picturing the World’s Meltdown! Nina L. Dubin and with Economy, co-authored Public York exh. cat. (The New C. Viljoen, Madeleine Miller: 2020). Library/Brepols/Harvey Book

The Institute of Fine Arts Annual 2019 - 2020 36 The Institute of Fine Arts Annual 2019 - 2020 37 [solo exhibition], Installation Space, 49 Eagle Uchronia North Adams, MA. July 24 - August 30, 2020. Street, www.49eaglestreet.com Administrators and Staff Lori Salmon Lori Salmon, Jennifer Kehoe, Alexandra Provo, Lauren “Wikimedians at NYU: Stubbs and Kimberly Tarr, Curriculum, and Community of Practice,” Pedagogy, May 20, 2020. Curriculum Development Challenge University. Fund, New York Jason Varone Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Deborah Vischak, Dr. colloquium, with Co-organized Egypt, 2020, Sohag University, Faculty of Archaeology, in which he gave the following talks: at Abydos”; Early Kings Myth, and Egypt’s “History, Land: in the Great and on-site talk: “On the Ground Landscape.” Understanding the Abydos Sacred Senior Research Scholar Senior Research Matthew Adams Publications at Abydos,” in I. Regulski, “The Origins of Sacredness Horizon, the Western Land at ed., Abydos: The Sacred on Ancient Egypt and British Museum Publications Sudan 8 (2019), 25–70. the Shunet el- from “Abydos in Late Antiquity: A View , Zebib,” in E. O’Connell, ed., Abydos in Late Antiquity and British Museum Publications on Ancient Egypt Sudan 9 (2020), 79–149. “Scripture Transformed in Late Medieval England: The England: Medieval in Late Transformed “Scripture of the Welles-Ros Worlds and Social Artistic, Religious, Courtauld Annual 1),” ICMA at the BnF fr. Bible (Paris, 18, 2020; and Institute of Art, March Courtauld Lecture, of Edinburgh University UK Annual Lecture, ICMA in the postponed lectures 19, 2020 (both March College of Art, of the COVID-19 pandemic) on account “Scripture Transformed in Late Medieval England: Transformed “Scripture of the The Religious, Artistic, and Social Worlds 1),” Center for Bible (Paris, BnF fr. Welles-Ros February University, Medieval Studies, Fordham 27, 2020 “Scripture Transformed in Late Medieval England: Transformed “Scripture of the The Religious, Artistic, and Social Worlds 1),” Department Bible (Paris, BnF fr. Welles-Ros University, Reserve Case Western of Art History, November 7, 2019 Conferences Organized, Lectures, Talks Lectures, Organized, Conferences Artists, and Patrons, “Found in Translation: Bible,” keynote Readers in the Welles-Ros Mid-America Medieval Association lecture, University of Missouri-Kansas City, Conference, September 14, 2019 “Moralizing the Mass in the Butler Hours,” Manuscript Studies 4, no. 2 (2019): 187-230. Member, Sapienza University of Rome Research Sapienza University of Rome Research Member, Network (invited December 2019) Publications Fellow, Royal Historical Society (elected February Royal Historical Fellow, 2020) American Philosophical Society, Franklin Franklin Society, American Philosophical 2020) March Grant (awarded Research Awards, Honors, Fellowships Awards, Kathryn A. Smith about A Conversation “Curators’ Talk: 2019: May, The Bruce with Barbara Haskell,” the Averys, May 2019. CT, Museum, Greenwich, Conferences Organized, Lectures, Talks Talks Lectures, Organized, Conferences “Homo Erectus and His Discontents,” essay in essay Discontents,” and His Erectus “Homo Evil and Earnest, ed., The Young Jarrett exh. cat., January 2020), (Zwirner & Schuster, Books/Simon 53-63. We expect that some of the students’ ideas will be some of the students’ expect that We this end, we videorecorded To the future. taken up in archival an sessions to provide the workshop has encouraged the Scheier-Dolberg and Dr. record, taking his feedback their projects students to rework into account. format at the IFA— course The graduate lecture an opportunity unique in the United States—offers cursed with too much thinking. Being for big-picture habit of writing out all my curiosity and having the drafts of with preliminary I find myself now lectures, Since each new iteration of several possible books. of the revision course leads to a thorough a lecture drafts all move forward, these various book lectures, In Spring 2020, I adapted albeit at a glacial pace. on the course for undergraduates, one such lecture clearly me to write more principle that it would force accessible. Also, with more and make my project to write rather than fourteen, twenty-seven lectures plan I knew the draft was bound to expand. The was to arrive at a one-volume history of Chinese down years painting covering some fifteen hundred but at the end of the to the nineteenth century, too sketchy to be fully I found the result process convincing. Since finishing the course, therefore, and expanding the last and I have been revising a more most challenging part of the draft to create from detailed book-length history of ink painting if only I can get it about 1550 to about 1860. Now, finished this summer …… he longer I teach at the IFA, the keener I am teach at the IFA, he longer I I artworks, something from to teach directly Museum, do mainly using the Metropolitan

collection of ink paintings donated by the late collection of ink paintings Shoucheng. Unfortunately, Shanghai artist, Zhang of a study trip the cancellation the pandemic forced Angeles to see a once in a for PhD students to Los Jonathan Hay Jonathan Arts of Fine Bruce Professor Ailsa Mellon Spotlight Spotlight on Faculty

but also the Brooklyn Museum, the Princeton Museum, but also the Brooklyn the dealers and auction University Art Museum, own and the IFA’s City, houses of New York by and attributed to lifetime exhibition of paintings Fortuitously, painter Qiu Ying. the sixteenth-century was on the other hand, the Spring 2020 seminar teaching. The eight participating suited to remote students designed a total of six virtual exhibitions suite of Chinese painting galleries using the entire Jason at the Met. For the purposes of the seminar, built an interactive Sketch-up model of Varone with the galleries, which has since been shared the curator of Chinese paintings, who did not have such an online model available to previously its selections him. Each thematic exhibition drew own collection. Each the Museum’s solely from its selections solely from thematic exhibition drew After presenting own collection. the Museum’s in the seminar, iterations of each project three their very varied and the students then presented Scheier- Dr. to the curator, engaging projects in a workshop lasting a day and a half. Dolberg, T

The Institute of Fine Arts Annual 2019 - 2020 38 The Institute of Fine Arts Annual 2019-2020 39 concerned with the ways in which art objects, even human artifacts, texts and archaeological bones have been manipulated, falsified and the misattributed, skewing the history of art and has focused on The project Humanities at large. adjacent how scholars understand forgeries—and works categories like pseudepigrapha, misattributed how we can recover and pseudo-forgeries—and them. In 2019, my co- value and even truth from together 14 Scott McGill, and I brought director, institutions, and a major research speakers from under review, volume based on this work, currently and the Forgery is titled Beyond Deceit: Valuing for Ancient Rome. Desire look at the ways ancient objects have Both projects manipulated and appropriated, been appreciated, the kind of macrohistorical and they represent ancient conundrums that the longue-durée study of prime examples of the ways They are art addresses. in contemporary antiquity continues to find purchase and of important, often personal, debates society, and about cultural heritage, nationalism, colonialism moment that feels for truth in a present the search unmoored. to my work on the In the fall of 2020 I will return and will ancient experience of art and architecture spend the academic year as Elected Member of the I Institute for Advanced Study in Princeton. There will continue work on two monographs, one focused on the cultural multivalence of early Roman art, and as another on the subsurface of Roman architecture a means to examine communities of belonging and othering in the early city. or the past few years, I have been absorbed or the past few years, I have been absorbed categories in the study of two controversial of ancient objects: works that have been

At the same time, I have been leading a think tank In 2016, I helped launch a research and educational In 2016, I helped launch a research the ancient initiative to study objects from the Mediterranean housed in The Menil Collection, home of works collected by the prominent current A unique collaboration between de Menil family. cultural and educational institutions, the project together students, art historians, has brought to and museum professionals archaeologists, to the issues of identify innovative approaches and public display, cultural heritage preservation which shape the efficacy of museums’ permanent acquisitions. This collections and prospective with summer marks the culmination of that work the publication of Object Biographies: Collaborative to Ancient Mediterranean Art, which I Approaches co-edit and contribute to along with my colleagues Sarah Costello, Paul Davis and eleven eminent scholars and curators. The volume sets a new course for museums and academic institutions to to fill work together in an open and purposeful way, out the biographies of objects that have often been their previous (sometimes violently) from divorced lives. looted or collected without a known archaeological looted or collected without a known archaeological context and works that participate in the complex world of art forgery.

John Hopkins of Department of Art History, Associate Professor Art History and the Institute of Fine Arts F Rembrandt van Rijn, Portrait/Tronie of a Young Woman (1632), Woman of a Young Rembrandt van Rijn, Portrait/Tronie Allentown Art Museum. After treatment. Their primary criticism was the perceived absence of Their primary criticism was the perceived distinct brushwork in the face, and they expressed the confusion over the costume. They also found left shoulder - proper inscription – nearby the sitter’s suspect. Since then, no other scholar had reviewed This this painting in person and given their opinion. of issue of the lack perhaps speaks to the greater out-of-reach smaller, scholarly attention towards collections. evaluation of the An impediment to the proper painting was the exceptionally darkened coating varnish – which had been literally of natural resin in 1930 – shortly after onto the picture poured The acquisition by Samuel H. Kress. the panel’s of thickness of coating obliterated the majority The portrait might have subtle brushwork textures. displayed the prized “golden glow” associated varnish the brown with late Rembrandts. However, was rather ill-suited to show off the skilled use of alternating warm and cool hues evident in his that the black early works. It was further revealed passages of the lower part of the costume had by a later intervention. been toned and repainted After cleaning, the delicate brushwork and subtle variations of the flesh tones could be appreciated. is that the signature It also became apparent and not genuine, integral with the pictorial layer, For Rembrandt, especially in this early added later. his marks the thirtieth year of the thirtieth year of the his marks the in Paintings Program Kress longstanding the – established under Conservation

full treatment, technical examination, and technical examination, full treatment, at the studio-classroom documentation. In the students and staff evaluate Conservation Center, that affect Old Master the often-complex problems Shan Kuang Shan and Conservator Assistant H. Kress Samuel Scholar Assistant Research Its provenance includes the collections of the Duc Its provenance d’Orléans in France and Petworth House in England. Despite the fact that the painting had been accepted in the past by all major scholars as Rembrandt, its autograph status was first questioned in 1969 by Project. two members of the Rembrandt Research The painting is an early work, one of a number The painting is an early work, one of a number to as of images by the artist once referred oak It is painted on an oval sister.” “Rembrandt’s panel, fully signed and dated, and in excellent condition. Rather than a portrait, it is a fanciful The elaborate, all-star sketch, known as a tronie. to cast of costume elements is in stark contrast the outfit was assembled. approach the carefree the end of the The lower collar completely askew, the untidy curled edges looped chain hanging free, and of clothing of the lace… these all point to pieces accessories being piled onto the studio model in a whimsical manner – and intentionally so. I had the pleasure of carrying out the research of carrying out the research I had the pleasure of this captivating sketch. Technical and treatment insights into the fresh examination provided some corrected execution and, crucially, painting’s of this the facture regarding prior misinterpretations was completed work. When the two-year project enough evidence and opinions had been gathered the traditional attribution to Rembrandt to reassert himself, rather than a follower. direction of Clinical Professor Dianne Dwyer Dianne Dwyer Professor of Clinical direction students a unique Modestini – which offers in the and unparalleled experience/practice paintings. Since the conservation of Old Master inception in 1989, over 240 artworks program’s have received Collection the dispersed Kress from interventions, and paintings, consider various owners and scholars. In interact with institutional of important a number years, we received recent works that embody these complexities, perhaps so than a painting attributed to none more the Allentown Art Museum. Rembrandt from T

The Institute of Fine Arts Annual 2019 - 2020 40 The Institute of Fine Arts Annual 2019 - 2020 41 constructed an octagonal black frame in keeping constructed an octagonal black frame in keeping with a 17th-century Dutch portrait, which replaced gold frame that was an 18th-century French completely unsuitable both in style and period. undertaken of the study and research As a result – and the opinions of during the restoration – the scholars who have evaluated the new findings Allentown Art Museum felt that they could reassert are the traditional attribution of the painting. They not alone in making this choice: other museums by the have acknowledged judgements reached while still adhering to Project Rembrandt Research their own attributions of paintings in the presence is of differing opinions. Rembrandt scholarship remain complex and constantly evolving. There uncertainties about how the workshop functioned Art 1631-1635. It is in this spirit that the Allentown the painting this September Museum will present in their exhibition Rembrandt Revealed, which will “offer a deep dive into the conservation process” the complexities and uncertainties and “explore and invite the public to of the attribution process the participate in that conversation.” Furthermore, by open access Rembrandt Database – created the Netherlands Institute for Art History – has been updated with new technical documents and reports, which will further enable scholarly evaluation. During varnish removal, showing the dulling and darkening effect of degraded varnishDuring varnish on the left side. removal, I had the opportunity to work in close consultation Mahon (Painting Conservator, with Dorothy Museum of Art), who has great Metropolitan of works by expertise in the study and treatment was Rembrandt. Necessary structural treatment carried out by Alan Miller (Associate Conservator, Museum of Art). Timothy Newbery Metropolitan (independent frame maker and historian) Technical examination of the paint layers indicate Technical this painting is a sketch – rather than a worked-up and competent portrait – but executed by a sure and transparency, hand. A diversity of texture, range color juxtaposition is employed to achieve a of effects. The warm tone of the preparation warm shadows in many is exploited to create neck, passages, such as the jawline, the back of the the eyes, adjusting it with thin scumbles around that blend seamlessly with the highlights. Material particular techniques consistent analysis revealed typical approach. with Rembrandt’s period in Amsterdam, signatures matter. The matter. signatures period in Amsterdam, the inscription ‘RHL~ van Rijn ∙1632∙’ – found on – was only employed during a brief Allentown picture using the monogram transitional period moving from ‘Rembrandt.’ It is a compelling to his full name ‘RHL’ piece of evidence that points to Rembrandt’s involvement with this picture.

and maps, had been finding many of the same and maps, had been finding many of the same things, so we decided to work on the problem In 2016, the Amerasia. calling our project together, won a collaborative NEH grant Amerasia project with to support a book-length study and a website and student contributions. The website is now live also published an article we invite you to it. We’ve . And we’ve that gives an overview of the problem is the book, which been writing chapters towards about 75% drafted. an array of texts, maps, objects, and Through 1700, our study 1492 and between images produced if malleable vision in a coherent immerses the reader was India, North Mexico really of a world where America was an extension of China, and South and America was populated by a variety of biblical What does it mean that ask, further: Asian sites. We at a time the Amerasian world view predominated itself was coming into cultural self- when Europe definition? Our book and website bring into view the of Amerasia—a colorful and multi-faceted presence place dynamic model of the world and of Europe’s the establishment of after in it that was forgotten colonialist worldviews in the eighteenth Eurocentric this history rediscover and nineteenth centuries. To is, we believe, a necessary part of coming to terms of our own global reality polyfocal with the emergent centrality is no longer a Europe’s time, where

bout seven years ago, I began to turn my attention in earnest to “New World” art of the sixteenth in European problems

A Bringing Amerasia back into view Alexander Nagel of Fine Arts Professor and seventeenth centuries. I knew that the term and seventeenth centuries. I knew that the term “Indian” had come into use to describe native Americans because Columbus thought he had landed off the coast of Asia. What surprised of me is that this identification and association America and Asia persisted for the better part and of two centuries. I kept finding that America Asia mingled in the geographical and cultural in maps of the world, in imagination of Europe, peoples, in the way of New World representations regions got classified and the far flung objects from collections, and in the way displayed in European the flora, fauna, and peoples of the various places described in period accounts. Magellan’s were of the globe in 1521-1522 didn’t circumnavigation the issue once and for all; on the contrary, resolve the idea that America and Asia it only reinforced connected and always had been. My strongly were (New Mexico State colleague Elizabeth Horodowich University), a historian specializing in printing culture

The Institute of Fine Arts Annual 2019 - 2020 42 The Institute of Fine Arts Annual 2019-2020 43 T’S ABOUT TIME to spotlight our Time-based T’S ABOUT TIME to spotlight activities now in Media (TBM) Art Conservation launch in 2018. full swing since the program’s Time-based – An Media Art Conservation for NYU Students Introduction The conservation of contemporary art and, more TBM art, attracts students who can specifically, the disciplinary boundaries of computer cross science, material science, media technology, and conservation. engineering, art history, W. The TBM curriculum, supported by the Andrew a highly specialized Mellon Foundation, provides education within art conservation and is unique in the US. Several courses and workshops are other disciplines within open to students from early NYU to foster collaborative decision-making on. Students majoring in Engineering, Museums and Preservation, Studies, Moving Image Archiving with Art Administration, and Art History enroll and conservation students in the class Technology of Art III: Time-based Media of Works Structure to the historical development introduced and are in Fall 2020 for of TBM art. The class, to be offered time, focuses on the complex conservation the third challenges associated with various media including film, slide, video, light, sound, kinetic, interactive installations, as well as born-digital, software-based, various backgrounds and internet art. Students from No Slowing Down: Time-basedNo Slowing Down: Media at the Conservation Art Conservation Center Hannelore Roemich Hannelore Conservation Science; of Conservation Professor Director La Pietra; TBM Program Villa Consultant, Frohnert Christine Modern of Contemporary Art, Conservator Materials, Scholar LLC; Research Bek & Frohnert, and Media, Coordinator and TBM Program Our third student cohort enrolls in Fall 2020, while in student cohort enrolls Our third begun to already advanced students have our more in-person As we shifted from contribute to the field. the teaching to online delivery of various modules, implementation of the specialized TBM curriculum, of our workshops and along with the coordination a broader allowed us to reach public lectures, audience and expand our community. I Amerasia Website Credits Amerasia Website Lead designer: Jason Varone and Development: Sagar Mohite Data Visualization www.ifaresearch.org/amerasia Combining data from the history of art, the history Combining data from the study of early ethnography, of cartography, the history of science, and economic history, the history of collecting, our study reconstructs an imaginary that was also a way of inhabiting the world. A seemingly endless number of early modern paintings, objects, collections, maps, prints, printed books, and manuscripts bring to of life the colorful and multi-faceted presence Amerasia, a geographical and cultural formation ripe for rediscovery. To visualize Amerasia is to affirm the importance visualize To and places we ask, are How, of point of view. within a geographical and peoples configured imaginary? Beyond exploring trade anthropological the movement of luxury goods and objects, routes, and the transmission of technical knowledge—the research— emphasis of much fundamental recent was we want to understand how new information into symbolic economies in particular recruited locations at specific times. These European did speak to one localized as they were, processes, of print, in the medium primarily through another, culture. a “European” the end producing Each of the short 18 chapters of our book focuses short 18 chapters of Each of the or book that artifact, map, image, on a particular a specific visions of Amerasia from illuminates proceed The case studies cultural milieu. European bringing to fashion, chronological in roughly Asia or that was that bordered light a New World yet understood (“India part of a wider Asia not or that was connected to beyond the Ganges”) and cultural powerful genealogical Asia through readers learn why early affiliations. In this book, label Mexico as India, why modern regularly maps named after a race of was the “Amazonas” region how the Pacific (most often Asian female warriors, Sea) was understood as called the South China and manuscripts and why artifacts an archipelago, Indian and Chinese mingled that we now identify as we now label collections with what in European Americana. given and North American children learnChinese American children and North given in school. Past In-Person and In-Person Past Workshops Remote Future - PRESERVATION DIGITAL Digital Art Objects Caring for 2019) (October 11–13, for those working This workshop was conceived with digitized or born-digital collections, audiovisual artworks and explored media, and computer-based associated data, computing relation to digital files in digital systems in which and larger environments, and used. After a consideration rendered they are technology and computing, of the history of digital for long-term strategies and best practices digital art objects were of sustainable preservation back up, restore, including methods to reviewed, and exhibit these works. view, render,

Reinhard Bek sharing conservation details of a Robert Rauschenberg artwork with Tech and Structure III students. and Structure artwork with Tech Bek sharing conservation details of a Robert Rauschenberg Reinhard offers TBM workshops and short courses open to offers TBM workshops Learning and students. professionals mid-career an unprecedented provides alongside professionals to network and connect opportunity for students who face of TBM collections stewards with current Over the course of four years, funded by the Andrew years, funded by the Andrew Over the course of four Mellon Foundation, the Conservation Center W. maintaining and presenting the daily challenges of TBM artworks. IT’S ABOUT TIME! in Time-basedWorkshops Media and expertise contribute to discourse on discourse to contribute and expertise examination, to the acquisition, related issues exhibition, installation, documentation, new and of TBM. In this and conservation and discipline, collaboration quickly evolving research essential to advance are communication and best practices.

The Institute of Fine Arts Annual 2019 - 2020 44 The Institute of Fine Arts Annual 2019-2020 45 Introduction to Programming to Programming Introduction 2020) (June 2 – August 19, by lead was conceived to Programming Introduction instructor Deena Engel, Clinical Professor Institute Department of Computer Science, Courant of Mathematical Sciences, as an online introduction Our to the fundamentals of computer programming. and conservation students have designed, written, and applying these debugged computer programs is used skills to better understand how software works of art; documented and assessed to create and evaluated software-based; works of art that are for practical and implemented programming to conservation tasks such as writing software and obtain of files groups large manage or re-name the web. The course began with a tutorial data from programming on Python, as a means to introduce principles. The course languages and programming basics of web development and also covered Hands- markup languages using HTML5 and CSS3. an opportunity designed to provide are on projects an original to create to experiment with software it for “acquisition”. A work of art and prepare will allow students to participate second project Initiative (MPI) in the ongoing Media Preservation the at The Whitney Museum of American Art on artworks in documentation of software-based their collection. Selected web- based artworks the museums Artport will be used for a close from examination, to perform an applied risk assessment of external dependencies (such as Flash player, which is going to be discontinued this year) and code analysis. source electronic test equipment, such as digital such as equipment, test electronic The and sensors. oscilloscopes, multimeters, eight half- over one month with out course, spread to replace will include new modules day sessions, directed as well as lectures, exercises, hands-on lab conversations with of case studies, and discussions with the core will become familiar artists. Attendees as commonly as well of a computer, components (slide, as projectors equipment such encountered foot lights, microphones, film, video), speakers, sensors, motors, and pads, cameras, motion will guide participants on transformers. The webinar and the development installation techniques proper of for the preservation of sustainable strategies TBM collections. Our participants will continue the webinar in an online format in January 2021. Subjects to be power supplies, electricity, range from covered schematics, and circuit soldering, circuits, capacitors, diodes, components such as resistors, to and transistors, followed by an introduction and the operation of microcontrollers programming Art with a Plug - Introduction to Electricity and Art with a Plug - Introduction first held in 2019, was conceived Electronics, School of Scott Fitzgerald, Tandon by Prof. in-person workshop. Our Engineering, as a four-day this event in May 2020 changed plans to repeat due to the pandemic. Since it was not possible the workshop with all practical to re-design within a few weeks, we designed a exercises two-tier alternative. A one-hour webinar on May to the principles an introduction 28, 2020 provided in the context of of electricity and electronics modern and contemporary art. The online delivery 15 allowed us to extend the audience beyond the to participants selected for the in-person workshop of 23 students and colleagues from include a group continents. The webinar will be available on three for and will serve as an important resource YouTube our community. Art with a Plug - to Electricity and Electronics Introduction (May 2020 and January 2021) The workshop incorporated presentations and presentations The workshop incorporated hands-on lab exercises discussions, as well as computing environments using both Mac and Linux tools used in digital and basic command-line sessions, Due to these practical preservation. was limited in this in-person workshop enrollment days, to thirteen external participants for all three the a list of forty-one applicants from selected from plan to US, Canada, Denmark, and Sweden. We offer the workshop again in late spring 2021. The workshop instructors were selected to cover selected were instructors The workshop library and the from practices and best expertise as well as cutting edge field preservation archive Nicole Martin, the museum world. from case studies Systems at and Digital of Archives Senior Manager Workshop was appointed as Watch Human Rights Amy Brost, selected her co-instructors Leader and of Modern Museum Conservator, Assistant Media Analyst, Preservation Ethan Gates, Software Art, NY; and Jonathan Farbowitz, former University; Yale Art, of Computer-based Fellow in the Conservation Museum, NY. Solomon R. Guggenheim September 18, 2019: Performance Art and the Art Performance 18, 2019: September Documentation and - Definitions of Medium Problem Assistant by Jonah Westerman, in Practice State College, Purchase of Art History, Professor New York; University of 13, 2019: PatternNovember - Recognition by Gloria Art in the Age of Digitality Contemporary of Contemporary Art Sutton, Associate Professor Affiliate Research History at Northeastern University, MIT. Program, Technology in the Art Culture will be lectures Due to the pandemic future of the ability to present online, taking advantage audience. a larger international speakers and reach Thanks to the Andrew W. Mellon Foundation, the Conservation Center is a leader in the education W. Thanks to the Andrew dependency on technologies, TBM art conservators. With our growing and training of future of time-based media art period, the study and research especially during this unprecedented by our development Inspired conservation anticipates the challenges posed by our digital future. to be no slowing down as we transform the classroom will of new online teaching modalities, there a truly global discussion. Stay tuned! create

The general format of invited curators, art historians, The general format of educators as speakers conservators, artists, and and included two continued during Fall 2019 lectures: The Conservation Center also continued its public Center also continued The Conservation in Time-based the Topics through program outreach serves series, which lecture Media Art Conservation field to share for experts in the as an opportunity to the community and to connect their research TBM lectures The receptions. during post-lecture (watch for our video archive have been recorded larger for the a popular resource online) and are national and international community. Topics in Time-based in Media Art Topics Lectures Public Conservation

The Institute of Fine Arts Annual 2019 - 2020 46 The Institute of Fine Arts Annual 2019 - 2020 47 rriving at the Institute immediately after my meeting my studies and undergraduate seemed established peers who already A Kristie Lui, MA 2021 Experiences First Year excited for my first visit. Life on-site, in the small my first visit. Life on-site, excited for is spartan: Internettown of Karima, is functionally dictated are and our daily activities non-existent ways not too of the sun, in some by the movement before millennia forebears the cultural dissimilar from joined We the subject of our research. us who are Sudanese cuisine, our gracious hosts in eating team, and donning cheering on the local soccer with the this active participation, traditional garb. It’s that amplifies our work. people and with the land, in its is just as much rooted Any study of antiquity as with the past. My engagement with the present truth. this experience in Sudan reinforced academics initially left plenty of room for insecurity academics initially left plenty of room about how I could contribute to the academic me at the Institute. Among community around the plethora of forums, journals, and initiatives scholars at of emerging run by the active group the the Institute, I knew I wanted to be a part of that engaged classes and public programs Institute’s with the discourses of diverse strongly more cultures. Joining a meaningful new initiative during my first few weeks as a first year MA student at the Institute was a gratifying experience. I joined Contemporary Asia, a forum that augments IFA long-standing engagement with the Institute’s scholarship on modern and contemporary Asian Art, PhD Candidates Tianyuan Deng after approaching and Eana Kim enthusiastically about contributing to

’ve found there are a lot of misconceptions are ’ve found there questions do, from about what archaeologists laced with the thrill-seeking guise of an Indiana

Peter Moore Johnson, MA 2020 Johnson, MA Peter Moore Sudan Excavating in the MA Students Student Student Voices: Art History During the past two winter seasons, I joined the Sanam project, Kathryn Howley’s Professor in Sudan. Having worked in the Project, Temple but never in Sudan, I was eagerly Middle East before In practice, archaeology can be much more can be much more In practice, archaeology is tedious and laborious than meets the eye. It pursuit, guided in interdisciplinary an inherently by the physical sciences, social equal measures sciences and humanities. The deft practitioner must artfully balance these multiple perspectives project. while contending with running a research with these at-times As exciting as I find wrestling for me the most impactful part competing interests, is immersing myself in of participating in a project the local culture. Jones expedition to a mere misinterpretation of misinterpretation Jones expedition to a mere the field with paleontology (as cool as it would close be, I’ve never found a dinosaur or anything the field that this mystery around to it). I think it’s likely what initially sparks public fascination and it’s I’ve ignited mine. When I tell people the projects been fortunate enough to take part in, a common is: I always wanted to be an archaeologist response I did too, and I’ve decided when I was younger. why I am not to let that passion burn That’s out. Fine at the Institute of pursuing my graduate degree Arts. I y second year at the IFA opened with opened at the IFA y second year new learning as well as opportunities the world became challenges as fresh Miao Sizhuang, MA 2020 MA Sizhuang, Miao and Opportunities of Challenges A Year engulfed in the COVID-19 crisis. During the fall the COVID-19 crisis. engulfed in at the with another colleague I worked semester, for the IFA’s protocol Institute to draft a visitor a course at the Taking Chinese painting collection. during the collection care Conservation Center on me to learnsame semester enabled of about some to the handling and storage the concerns related helped me understand of art objects. The course art of different reactions for instance, the different relative and in temperatures mediums to fluctuations of that class included humidity levels. A highlight I was able to lab, where a visit to the conservation and listen to the proximity see art works in close Institute’s experts. The conservation concerns from is a close collaboration with its Conservation Center asset for art history students to gain practical great of art collections. knowledge of taking care I spent the winter term and my last semester the developing my thesis, which explores and a woodcut between the press relationship the print movement that took place in China during Sino-Japanese war (1937-1945). The COVID-19 City in mid- pandemic that shut down New York unique challenges to my work as presented March an art historian, because so much of the research As depends on close examinations of art objects. museums closed their doors and classes moved to to online formats, I found myself resorting kind digital images that might not yield the same to objects. Accesses of information as viewing real also suspended, libraries and physical books were on site. research making it difficult to conduct the staff and faculty members at the Fortunately, this of support during became a crucial source IFA challenging time. Librarians pointed us to online and faculty members made themselves resources me helped available to us. Their support had greatly finish my coursework and thesis on time to graduate this spring. online learning also turned Perhaps unexpectedly, experience for me. out to be a generally productive One class that I took during the spring semester included designing an exhibition plan for the Chinese galleries. Museum of Art’s Metropolitan Although our access to the physical galleries had M

workshop excerpts from their dissertation projects: dissertation projects: their workshop excerpts from Newly on “Liu Xiao Dong’s Tianyuan Deng (IFA) University) on “Xu (Yale Displaced” and Xueli Wang the session We catered Dragonfly Eyes.” Bing’s The second event was “Curators in Conversation”, The second event was “Curators in Conversation”, Senior Curator of featuring Eugenie Tsai, Museum. She Contemporary Art at the Brooklyn exhibitions and spoke about discussed her recent this event presented We as a curator. her growth due to COVID-19. just as NYU enacted a full closure anxiety about the pandemic, Given the widespread of our semester events for the rest our remaining made had to be cancelled. The global pandemic has I scholar. as an emerging my role me re-examine with me now seek to equip myself and those around the necessary tools to understand art in relation rise in to geopolitical topics such as the troubling in the anti-Asian and anti-Asian-American racism impact among US, as well as the virus’ greater concerns about race, Growing people of color. access—all of which have inclusion, and equity, Asia forum’s Contemporary been central to the IFA also now central the beginning—are mission from to how I critically think about platforms that help art deliver meaningful scholarship for and from historians. their events. My own academic specialization is not is not specialization own academic My their events. and modernin contemporary Instead, artworks. in how the Institute with an interest I arrived at systems, and institutions, structures, contemporary art subjects. reify pre-modern and logics define in this was accommodating the forum However, of with the intention as it was founded respect engaging with as possible by being as inclusive geographical on the broad diverse topics. It touches Asia, but that includes not only continental region the Asian diaspora. In spring also Asia Pacific and was two events. The first 2020, I helped organize in February, Scholars Workshop” our “Emerging PhD candidates to for which we invited two discussion among students, to generate energetic as casual setting, and the public in a more faculty, less concerned we believed that these spaces were performativity of with the often-encountered academia.

The Institute of Fine Arts Annual 2019 - 2020 48 The Institute of Fine Arts Annual 2019 - 2020 49 During my time as a graduate student, I co-curated I co-curated student, a graduate my time as During Curatorial of the NYU as part exhibition a group of the on behalf conducted research Collaborative, University of Artists for Oxford Benezit Dictionary in experience archiving gained practical Press, Management department Collections the Archival worked as a of Libraries, and at NYU, Division Holmes Elmer at NYU’s Desk Trainee Reference experiences These opportunities and Bobst Library. as the Digital position my current led me towards the Wildenstein Associate of and Research Archivist (WPI). Plattner Institute, Inc. to school was to seek My objective in returning in art marry my interests ways in which I could digital humanities, special research, history, of The very nature collections, and art conservation. arrange, and conduct is to prepare, role my current materials archival of digital item-level processing cataloguing state-of-the-art, digital using the WPI’s position This platform, called CAT. and archiving and my expertise by creating permits me to share documentation, including maintaining program for interns, manuals, and pedagogical resources York and Paris staff at our New guides for archives offices. As our tech team continues to develop the tool’s I offer guidance on how to improve CAT, and standards functions so that it meets archival best practices. for my While writing and conducting research my final semester at the thesis, during master’s Institute, I began to think critically about the and art history are myriad ways in which archives this concept by I further explored interconnected. Wesselmann integrating components of the Tom collection of the artist’s Papers, a digitized archival at the WPI, as processing papers that I am currently of the a case study in my thesis. This investigation was the culmination intersections of art and archives graduate as a dual-degree tenure of my three-year student. Having to balance multiple jobs, while working was surely degrees earning two master’s toward no walk in the park, but I can wholeheartedly say gratifying to know that your that it was worth it. It’s work can pay off. As I transition investment and hard I want to thank all my to the next steps in my career, mentors, advisors, staff, and friends for a wonderful and enlightening journey. hree years and two master’s degrees later, later, degrees years and two master’s hree I can finally say that I am done—please My decision cue Pomp and Circumstance!

Samantha H. Rowe, MA/MLIS 2020 Samantha H. Rowe, on a Dual Degree Working been cut off due to the COVID-19 related closures, closures, related to the COVID-19 cut off due been by creating our projects to continue able we were a 3D model of experience using a virtual exhibition and Web IFA’s built by Jason Varone, the galleries was Sharing our ideas Manager. Media Electronic of the Zoom feature screen” the “share enhanced by our present allowed us to not only which software, slides, but also using PowerPoint exhibition plans of the exhibitions that we give virtual walk-throughs tool in fact allowed me built. The online modelling the proposals learnto better understand and from very lucky to be able to of my colleagues. I feel in this course thanks experience fewer disruptions staff and faculty IFA’s from to the dedicated help online database of members and the extensive by the Met. artworks made available

to return to academia in 2017 posed itself as one to return we each encounter in of those critical junctures program life. My admittance to the dual-degree at the Institute of Fine Arts, NYU (MA, History of and Palmer School of Library Art and Archeology) & Information Science, LIU (MLIS, Library and Information Science) enabled me to achieve my aspiration of becoming an archivist. T and crannies of the Lower East Side, where Simonds Simonds Side, where Lower East of the and crannies away Washed the 1970s. throughout built them Simonds’s by playing children, by rain or toppled than “fossil”: “action” more were fragile sculptures their presence, enchanting material despite their meaning – was intrinsic to their disappearance by empty lots in a neighborhood marked particularly buildings. and abandoned gone, they themselves are Though the Dwellings in photographs and films, left other traces behind: who saw them, and in in the stories told by people who residents, the imaginations of neighborhood Simonds even where eventually spotted Dwellings art exceeded its physical Simonds’s built any. hadn’t bound up with memory boundaries, becoming I see or a melody. and time – like a performance, work not only as art history, Simonds’s researching By researching but also as a form of preservation. space left by their absence; these works, I fill in the by writing about them, I bring the vanished Dwellings back to life. familiar with Students and faculty of the Institute are which applies the methods “technical art history,” of and tools of conservation science to the study works of art. When it comes to preserving Mental Earth rt historians predominantly concern predominantly rt historians – oil paintings, themselves with the objects bowls, silk wood carvings, ceramic

Charles Simonds’ 2016 Great Hall Exhibition Charles Simonds’ 2016 Great

Yet for archaeologist George Kubler, all art objects all art Kubler, George for archaeologist Yet more pronounced for conservators, for whom an for conservators, for pronounced more with its wholeness is often synonymous artwork’s physical integrity. A Julia Pelta Feldman, PhD 2020 Feldman, PhD Julia Pelta to a Postdoc Forward, Looking PhD Students PhD may all be seen as “fossil actions” – material traces may all be seen as “fossil carving, weaving) that (hammering, of the gestures twentieth- I study them. Unlike Kubler, created has century art, but his focus on action over object of helped me conceptualize the ephemeral artworks Charles Simonds, the subject of my just-completed Dwellings – delicate dissertation. Simonds’s ruins built of bricks a half-inch long – architectural than days or weeks in the nooks lasted more rarely tapestries, cast-iron building façades – bequeathed building tapestries, cast-iron precedence takes the past. Presence to us from on art as material is even over absence. This focus

The Institute of Fine Arts Annual 2019 - 2020 50 The Institute of Fine Arts Annual 2019-2020 51 sculpture? Working in the Department of European of European in the Department Working sculpture? to allowed me Arts has Decorative and Sculpture behind this into the practical issues gain insight Museum might the Metropolitan question. How medieval the highly nuanced begin to describe medieval and of viewing? How might experience in ways that objects be displayed Renaissance devotional, contexts? their original, often recreate be used? Or candles? Now, Might music perhaps course of the Fellowship, I over six months into the to understand what is and am much better placed this regard. what is not possible in deal too about many other I have learned a great to several aspects of curating, especially—thanks the work that goes into tours—about curator-led the and staging an exhibition: from organizing of graphically- the production acquisition of loans, to my benefited hugely from designed labels. I have and I so far, Museum time at the Metropolitan for this am very grateful to Marica and Jan Vilcek opportunity. ast year, I was awarded one of two I was awarded ast year, Curatorial inaugural Marica and Jan Vilcek focuses Fellowships. My doctoral research

Katerina Roberta Harris, PhD 2020 Katerina Roberta Harris, PhD 2020 Inaugural Vilcek Fellow I am fortunate to be able to continue probing to continue probing I am fortunate to be able fall, I will begin a four-year these questions. In the the University of as postdoctoral fellow at tenure “Performance: the Arts in Bern. For the project I will Knowledge,” Conservation, Materiality, team of art historians, work together with a small the lives conservators, and artists to explore as in and afterlives of performance works. Here, into Charles Simonds, the union of my research and action and object – as well as that of material metaphysical – is the key not only to preserving but also its meaning. physical traces, art’s ephemeral sculptures like Simonds’s, or time- like Simonds’s, sculptures ephemeral be necessary it may performances, based of something like “metaphysical to conceive of these – securing the future conservation” material, their not only through intangible works as immaterial traces, such but also their and stories. notes, interviews, documentation, works of time- ever more acquire As museums and historical, the based art, both contemporary for the such works of how to preserve problem and respect reperform, – how to reconstruct, future experiences – becomes such contingent, fleeting complex. increasingly I have long been eager to gain curatorial experience, and to learn about the practices and priorities of curators and curatorial departments. in the question of how I am particularly interested best to display medieval and Renaissance Before going to the Metropolitan Museum, I was a going to the Metropolitan Before Institute in London for two Fellow at the Warburg on years. During these two years, I concentrated in libraries writing my dissertation and researching I applied for the Marica and Jan and archives. Fellowship to pursue my curatorial interests, Vilcek and to think especially about how they coincide with the aims of museums today. on Italian Renaissance art, especially sculpted on Italian Renaissance art, especially sculpted portraits, and I am undertaking the Fellowship and Sculpture in the Department of European Art. Museum of Decorative Arts at the Metropolitan L Still from video documentation of an AR test. The actual wire video documentation of an AR test. The actual wire Still from mobile is at left, and the AR version is at right. I learned how to create a 3D model of the mobile I learned how to create 3D modeling software, an open source in Blender, As I learned an AR interface in Unity. and created Unity, the capabilities and limitations of Blender and and and tested the AR interfaces for functionality the implications of virtual I also considered stability, of artworks. In classes such as Professor re-creation “Picturing the Past: Imaging and Kathryn Howley’s Michele Marincola’s and Professor Archaeology,” Decision Making in Objects “Applying Values-based on how technologies Conservation,” I could reflect how scholars’ and objects, used to represent are museum publics’ understanding of those objects might be impacted by influences that those technologies impart, and how the conservator’s and weighing both material and in recognizing role of immaterial significance can be an active aspect documentation and treatment. at an this research I was invited to share the Digital international colloquium, “Artworks from by Era in Galleries and Museums.” It was organized Kitchen Brno in collaboration with The the Vasulka Brno House of Arts and The National Film Archive the in Prague. With financial support from (NFA) Fund and the Institute of Fine Arts Conference Mellon Foundation, I was able to travel W. Andrew to Brno, Czechia to discuss the potential use of AR the across and meet many new colleagues from also doing cutting-edge research world who are for artworks. Flora Barkóczi, a participant at the of the projects colloquium, published a review The Conservation Center has a small wire mobile wire Center has a small The Conservation in its Study of early Alexander Calder in the style it as a case study and I was able to use Collection, image). (see an AR prototype object to build

n my second year as an MA/MS student n my second year as an Media Conservation specializing in Time-Based that graduate the opportunity I benefited from

school provides to engage in research, as well as in research, to engage school provides the Institute of Fine by as the support provided my ideas. Time-based Arts to develop and share discipline, an emerging media conservation is Augmented Reality as a Augmented Reality Conservation Tool Sasha Llyn Arden, MA/MS Arden, Sasha Llyn Mellon Fellow W. Jonathan Wilf/Andrew Rachel and Media Conservation in Time-Based Student Student Voices: Conservation I wondered whether augmented reality (AR) could be whether augmented reality I wondered a means to bring such works to life again, restoring their performative aspects. AR is a digital interface mostly used on mobile devices to overlay virtual world by using the device’s elements on the real AR is camera and machine vision technology. usually app-based, but can also be run natively in As a developing technology that web browsers. has not yet been widely adopted, I knew that this would be speculative, and that it might research be seen as a radical form of intervention. In time- based media conservation, we often engage in to test whether tools and techniques such exercises outside disciplines can be leveraged for from of complex works documentation or preservation unlike typical material-based objects. And that are in the case of testing AR, all of the experimentation without could be done in the digital realm, risk to the object. introducing called to respond to the complex preservation preservation to the complex called to respond by modern and contemporary challenges presented art. I have always been drawn to material and in mechanics, and the particular issues arising conservation of kinetic artworks. These objects their original their authenticity through retain the actions that they perform, material and through any such as motion, sound, or light sequences (or surpassing combination!). Many kinetic works are fifty years in age, and the attendant degradation have in material integrity and mechanical function not be led to their exhibition as static works. It may possible for them to perform their kinetic aspects, do so. or it has been deemed a risk for damage to In these cases, the artworks’ conceptual integrity as is affected and viewers who experience them miss a significant part of the artist’s static sculptures intention. I

The Institute of Fine Arts Annual 2019 - 2020 52 The Institute of Fine Arts Annual 2019 - 2020 53 . 1 Detail of 3D model wire connections. All images courtesy of Detail of 3D model wire the author. 1 Carbon dioxide is used as a non-toxic tracer gas to detect 1 Carbon dioxide is used as a non-toxic tracer gas to detect for preventive leakage rates in display cases and other enclosures conservation. the use of AR in conservation, perhaps as part of the use of AR in conservation, perhaps as part and a collaborative team to bring in a wider skillset perspectives on the questions involved different I have since shifted my focus to in this activity. topics such as evaluation of LED other research in for incandescent light sources replacements for do-it-yourself artworks, and building prototypes carbon dioxide sensors using microcontrollers There are nearly endless opportunities for research nearly endless opportunities for research are There in time-based media conservation, and I look my TBM colleagues from to learning more forward and each of our interests grows as our program yields new avenues of inquiry.

Image rendering of a 3D model of the wire mobile used mobile used 3D model of the wire of a Image rendering in AR testing. My AR research laid the groundwork for further laid the groundwork My AR research of AR advanced features more steps to explore object recognition technology such as interactivity, that would trigger the AR virtual layers, or location- sensitive activation. I do hope to continue exploring our work for even on punkt.hu, spreading presented Another talk about my AR research further exposure. to the Time-Based was scheduled to be presented Museum at the Metropolitan Group Media Working 2020, but it has been postponed until of Art in March Thankfully, virtually. another event can be organized will be published a paper summarizing this research Media 6 of the Electronic in the forthcoming Volume the at which gathers papers presented Review, Meetings American Institute for Conservation Annual each year. provenance that it is likely from the Plains region region the Plains from it is likely that provenance made out was The cradleboard America. of North swaddle, which frame with a leather of a wooden extensively textile and decorated was lined with beads arranged with colorful glass on the exterior for me to designs. It was very moving in intricate hours upon hours a mother once spent imagine that beads onto the of tiny individual row stitching each it was cradleboard, the surface. When I received years of storage, and had grimy and flattened from and textile stitches in the beading many broken vulnerable places were stitches lining. These broken could lead to further damage in the construction that future. and loss of design in the was to for this treatment One of my primary goals whenever possible, methods use mechanical repair techniques sympathetic to the more as they are easily more and are used by the original maker on hand to rely I decided in the future. reversible to order sewing techniques rather than adhesives in not material that could avoid the addition of foreign After padding out the swaddling be easily removed. it into its intended form, I proceeded to reshape beading stitches in order the broken with repairing beads would stay that the remaining to ensure stitch, I inserted in place. For each broken securely each bead and sewed a very small needle through into place. The stitches of thread a thin reinforcing and textile lining had also broken the cradleboard’s was Because the lining become lost in several areas. vulnerable to further damage, I decided to carefully the original holes in the lining to re- sew through that I wasn’t the textile in place. This ensured secure I made causing any new damage during the repair. a that my new stitches visually blended from sure identifiable up close and readily distance but were if need be. in the future, could easily be removed beading stitches were Once the vulnerable broken with gently cleaning the I could proceed secured, quite grimy and beads themselves, which were years in storage. As a final step, I from discolored a custom-made interior mounting system created to be fully supported that allowed the cradleboard the while hung vertically on a wall. After treatment, could be safely displayed without any cradleboard risk of further damage occurring and its revitalized that appearance better conveys the skill and care went into its construction. It was truly an honor to work with and stabilize such a personal piece of Native history to be showcased at the Penn it will serve to teach visitors Museum, where vitality of Native about the history and present-day cultures. ne of the most memorable projects I projects ne of the most memorable internshipcompleted during my at the Museum of University of Pennsylvania

Treatment of a 20th-Century Beaded Beaded of a 20th-Century Treatment Cradleboard Gendron Adrienne candidate MA/MS While we don’t know the specific community that While we don’t its we do know from comes from, this cradleboard This particular cradleboard was selected for display was selected for display This particular cradleboard and – Here The People in “Native American Voices: Museum a long-term exhibition at the Penn Now,” that invites visitors to engage with the living The exhibition tapestry of Native American history. North the Museum’s over 200 objects from presents art American collections alongside contemporary community leaders. from and video recordings This juxtaposition of old and new invites visitors stories of Native history as well as their to explore modern-day successes and independence. The the history of museum thoughtfully considered an exhibition display of Native materials to create and that actively challenges negative stereotypes an opportunity for visitors to learn directly presents with Native perspectives. I aimed to proceed from using the same of the cradleboard the treatment that the museum showcased in thoughtful approach developing the exhibition. Archaeology and Anthropology last summer was last and Anthropology Archaeology of a twentieth-century beaded leather the treatment a form of baby carrier are Cradleboards cradleboard. North America used by Native peoples throughout or and worldwide. They generally consist of a leather board, textile swaddling attached to a rigid backing which allows mothers to carry the baby on their a wall. backs as well as to lean the carrier up against for Native peoples have been making cradleboards thousands of years, and the tradition is ongoing highly personal pieces of cultural They are today. in care made with tremendous heritage and are for the birth of a child. preparation O

The Institute of Fine Arts Annual 2019 - 2020 54 The Institute of Fine Arts Annual 2019-2020 55 and the proximity of the Met to NYU exposed me exposed Met to NYU of the proximity and the To possibilities. extensive and its program to the academic for the rigorous my application strengthen I worked classes at the Center study and treatment as an intern Park Service (NPS) at the National of Under the supervision Center. Harpers Ferry David ArnoldObjects Conservators, Fran and of various of objects treatments Ritchie, I completed House collection; metal materials in the Arlington clocks, and plates, gilded porcelain housewares, are taught me there The experience gilded mirrors. that may occur problems multiple ways to solve with different objects. I experimented when treating to test for compatibility mockups adhesives, created objects, and performed of materials with certain metallic surfaces by X Ray instrumental analysis of (XRF). Spectroscopy Fluorescence Harpers Ferry Center fueled my at the Treatments of objects of varied appetite for the conservation me the skills to succeed in materials and provided The program. the Conservation Center dual degree my pre-program knowledge and skills gained from internships allowed me to advance and excel on my path of applying for conservation graduate the schools and becoming a part of the cohort at Conservation Center. onservation has always felt “right” to me- onservation has always I learned the moment -a good fit—from school. The field was about the field in high

From there on I expanded my search for internships on I expanded my search there From that would quench my thirst for the conservation and analysis of ceramic objects, as well as those of objects in general. My mentors encouraged me to apply for conservation graduate school programs It was hard finding opportunities to advance my It was hard and analysis at first, skills in hands-on treatment a conservation science but I was able to create while Project Research Undergraduate related with the Ceramics at SUNY New Paltz. Working and Chemistry departments, my goal was to determine the glaze composition and luminescence blue faience Egyptian of Carl Walters’ properties After graduation, I interned at the sculptures. Conservation Department of the Costume Institute Museum of Art. Under the at the Metropolitan Head Conservator, supervision of Sarah Scaturro, library of natural, a reference I worked on creating synthetic, and animal fibers analyzed by polarized I fell in love with the textile light microscopy. of textiles conservators’ examination and treatment the fibers they obtained. I and garments through in then that I would rather pursue a career realized objects conservation. appealing as I could apply the analytical concepts appealing as I could apply and skills learned in chemistry with the knowledge of an artwork to learn materiality, about its I decided then to construction, and provenance. in conservation with an emphasis pursue a career on the scientific analysis of art, initially as a SUNY New conservation scientist. I graduated from in Paltz in 2018 with a BS in Chemistry and a minor Art History. A Path to Conservation A Path to Ameya Grant Grant Ameya candidate MA/MS C ON DISPLAY

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SPECIAL PROJECTS AT THE INSTITUTE: CONTEMPORARY ART The Institute of Fine Arts Annual 2019 - 2020 57 Xaviera Simmons at the opening for her exhibition “Posture” A panel discussion with the artist, Professor John Professor with the artist, A panel discussion at the Isamu Dakin Hart, Senior Curator Hopkins and December 11th. took place on Noguchi Museum, spring semester the thought-provoking Then in the “Posture” by Xaviera Simmons entitled installation issues as well as the (dealing with topical social society) opened pervasive racism of American exhibition will be on view on February 25th. This the fall 2020 term. through the work of features The Duke House Exhibition geometric abstractionist Colombian-born, New York pieces scale exquisite large Fanny Sanín. Four of her The Critical New York: constitute “Fanny Sanín’s is installed in the Loeb Decade, 1971-1981” which the pieces appear where Hall Room and the Lecture for these elegant precisely to have been painted the spaces. This show will also be on view during Anastassia fall semester and the curators were Chang. This Perfileva, Megan Kincaid and Edward for of an initial class project exhibition was the result the fall 2019 seminar I taught on Curatorial Practice and Museum History. In every case students choose the work together with the artists. They arrange for insurance and and transportation, write labels and a brochure (symposium, panel the programming organize This is discussion) that accompanies the exhibition. an immense learning opportunity and the success and of their work is a testimony to their seriousness aided dedication. The students and their advisor are of by the infinite kindness and patience of Director Development Sarah Higby and Sophie Lo, Manager and Public Events, to whom of Public Programming debt of gratitude is owed. a great he intellectual life of the Institute of Fine he intellectual life of the by the enhanced Arts has been greatly curatorial ago of three initiation several years

Curating at the Institute Edward J. Sullivan Edward Art, in the History of Professor Shepard Helen Gould of Fine Arts and Department The Institute of Art History Exhibitions Exhibitions at the Institute The Great Hall Exhibition series is dedicated to The Great women artists, and for its support and mid-career grateful to IFA extremely ongoing success we are Naopleone, a distinguished member Valeria Board collector based in London. Students apply for three two were or four places on the team. This year there Makenzi shows in this series. The curators were Scout Hutchinson and Juan Deborah Miller, Fricker, The bust length sculptures, Bolívar. Gabriel Ramírez as well as two-dimensional pieces and photographs displayed Sarah Peters were of New York-based Hall and in vitrines in the Marble in both the Great Room beginning on October 15, in a show titled “Glossolalists.” In fall 2019 members of the NYU Curatorial Collaborative worked with the faculty of the at the Department of Art and Arts Professions is art studio program NYU’s School where Steinhardt honors class members housed. The undergraduate given spring semester exhibitions at the 80 are East Galleries at the downtown Square Washington of students works campus. Each student or group curators in fashioning the ideas with the IFA directly it in for their shows, choosing the work and installing A single catalogue is published stating the Gallery. for the the overall curatorial philosophy and themes year. initiatives. They are the Duke House Series, the the Duke initiatives. They are NYU Curatorial Hall Exhibitions and the Great privilege of serving as Collaborative. I have the This opportunity for faculty advisor for all three. formats in different students to curate exhibitions established in 2018, of the enriches the initiative, students IFA Curatorial Track. Jan and Marica Vilcek in hands-on their interest have long expressed utilize programs curatorial experience and the three a dozen MA and PhD the talents of approximately students per year. T Encompassing video, photography, performance, Encompassing video, photography, Simmons’ installation, and sculpture, in the sweeping aesthetic practice is rooted rigorous of formal processes, interconnectedness the concept of social and research, archival for the ramifications of and material reparations colonialism with whiteness at its center. Influenced in part by the Atelier Brancusi, the a studio-like atmosphere create works in “Posture” of the twentieth-century artist’s reminiscent between sculpture attention to the relationship Rather and its placement within an environment. of the Duke than complementing the architecture Simmons’ works comment on the House, however, historical origins, an institutional building building’s of that was once the private home of the president and navigate the Company, the American Tobacco between art objects and the complex relationship exhibited. space in which they are of our circumstances Due to the unprecedented on by the global pandemic, the crisis brought current Institute has had to close its doors for much of the the artist and her gallery However, spring semester. to extend “Posture” have been kind enough to agree the fall of 2020 so that our students and through community can have the opportunity to experience will be this exhibition. Related public programming announced during the summer. Spring 2020 Xaviera Simmons: Posture

ach fall and spring semester, the Great Hall of the historic James B. Duke House Hall of the historic the Great ach fall and spring semester, contemporary women artists. mid-career and by emerging becomes a venue for works support generous the which is made possible through Hall Exhibition Series, The Great

of Valeria Napoleone XX, is an opportunity to present important contemporary art to the IFA contemporary art to the IFA important XX, is an opportunity to present Napoleone of Valeria exhibition cycle was The 2019-2020 at large. community and the New York academic body, ’20), Scout Hutchinson (MA ‘20), Deborah by Institute students Makenzi Fricker (MA organized Bolívar (PhD student). Gabriel Ramírez Miller (MA ’22), and Juan The Great Hall Exhibition Series Hall Exhibition The Great Makenzi Fricker, MA 2020 Fricker, Makenzi 2020 MA Scout Hutchinson, 2022 MA Miller, Deborah PhD student Bolivar, Ramírez Juan Gabriel E

In December 2019, the Institute hosted a panel discussion between the artist Sarah Peters; of Art History and scholar Assistant Professor and of Roman and early Italic art, architecture John Hopkins; and Senior Curator of archaeology the Noguchi Museum, Dakin Hart. The panelists to the Greco- relationship examined the work’s while Roman imagery that Peters’ art recalls situating her practice within contemporary sculpture. The exhibition’s title, “Glossolalists,” was inspired title, “Glossolalists,” was inspired The exhibition’s Representative by an art-work included in the show. to those who speak a of worshippers, it refers state language unknown to them during a trancelike The unique characteristics ecstasy. of religious in these bodiless heads embody and inherent a creating aspects of human nature, address yielding a dialogue between the past and present uncanniness. provocative Sarah Peters’ “Glossolalists” featured mid-size Sarah Peters’ “Glossolalists” featured in the formal plaster busts that evince her interest sculptural practices of distinct historical periods, in a unique ancient to modern, resulting from visual language. These complex, often disquieting such as bear several trademark features, sculptures hollowed eyes that seem to fix the viewer recessed, paradoxical forms of extreme with a cryptic stare, attention to hair. and meticulous symmetry, Fall 2019 Sarah Peters: Glossolalists

The Institute of Fine Arts Annual 2019 - 2020 58 The Institute of Fine Arts Annual 2019 - 2020 59 ” in the fall of 2019. Detail from Sarah Peters’ Great Hall Exhbition “Glossolalists Hall Exhbition Sarah Peters’ Great Detail from ” in the spring of 2020. Hall Exhbition “Posture Xaviera Simmons’ Great Detail from

The Institute of Fine Arts Annual 2019 - 2020 61 Fanny Sanín’s New York: New York: Fanny Sanín’s Installation views from Installation views from The Critical Decade, 1971-1981 By the end of the decade, her compositions compositions decade, her end of the By the achieving complex—while increasingly proved mathematical harmony, symmetry and pure by bolder geometrical electrified they were deliberate and audacious yet arrangements brought This period also color combinations. international in 1976 Sanín received attention: at the Award Year the International Women’s Arts Festival in New York International Women’s Colombia her native and in 1979 she represented in Brazil. Within the at the XV São Paulo Biennial of multicultural atmosphere artistic and intellectual a significant and singular Sanín forged New York, of geometric abstraction. contribution to the story this March, closures Due to the University-wide view for only a month before the exhibition was on doors to students, staff, the Institute closed its the exhibition and visitors. Fortunately, faculty, visitors will have the has been extended and work this opportunity to engage with Sanín’s On the occasion of the coming academic year. this fall, the exhibition brochure show reopening in Spanish. Spring 2021 will will be reprinted to Fanny see the symposium New Approaches Artists and Geometric Abstraction, Sanín: Women featuring a panel of experts in Latin American Sanín’s and contemporary art to reposition the contributions to geometric abstraction within discourse on the idiom. broader The Critical Decade, New York: “Fanny Sanín’s funded by the Institute 1971-1981” is generously for Studies on Latin American Art (ISLAA) Special thanks to the Fanny Sanín www.islaa.org. The exhibition was curated by Legacy Project. Chang, Megan Kincaid, and Anastassia Edward Perfilieva.

n the fall of 2019, the students of Professor students of Professor n the fall of 2019, the to curatorial study seminar, introduction Sullivan’s Practice,” were “Curatorial Study – Curatorial

Megan Kincaid, PhD Candidate PhD Kincaid, Megan Floor Main Duke House The Series Exhibition At the start of the spring 2020 term, “Fanny Sanín’s Sanín’s At the start of the spring 2020 term, “Fanny The Critical Decade, 1971-1981” opened New York: academic and at the Institute, invigorating our shared administrative spaces with four geometric paintings by Sanín that illuminate the expanding scope of her the decade. inquiry across technical and theoretical The works selected for the exhibition enlivened trajectory over the course of these previously Sanín’s the critical shifts understudied ten years, revealing style, and and continuities that manifested her mature positing the 1970s as a time of exceptional artistic development and acclaim for Sanín. In 1971, she established City with an already moved to New York and a signature in Latin America and Europe, career style of linear abstraction. tasked with developing a final curatorial project with a final curatorial project tasked with developing online open-ended possibilities: some students created others software, exhibitions utilizing newly-released video interviews examining a specific object. produced Kincaid, Chang, Megan For graduate students Edward resulted in the remit and Anastassia Perfilieva, this The New York: Duke House Exhibition “Fanny Sanín’s Critical Decade, 1971-1981,” the first comprehensive the Colombian-born artist’s solo exhibition to explore her evolving practice of geometric abstraction during Since City. York first decade living and working in New has its founding, the Duke House Exhibition Series while served as a vital platform for student curation, as also catalyzing community discussion and debate Hall and the the exhibitions occupy both the Lecture on Loeb Room. Since 2019, the Institute for Studies Duke Latin American Art (ISLAA) has supported the of Latin House Exhibition Series to showcase the work American artists. I ONLINE

In this Section

SPECIAL PROJECTS AT THE INSTITUTE: ONLINE The Institute of Fine Arts Annual 2019 - 2020 63 We are sharing highlights from our online activities. sharing highlights from are We Follow @nyuifa on Instagram different place in which to interact as faculty and to interact as faculty place in which different once everyone learnedstudents. But about enough got to the comfortable--and faculty Zoom to feel in full control knew they were they point where well, semester progressed of their classes--the able coordination With the all things considered. of Public Manager of Sophie Lo, the Institute’s public lectures and Special Events, Programming the Zoom held through were also went online, and was public programming webinar function. Online during one online lecture, an unexpected success: larger than 1000 participants--a far more were there ever have accommodated audience than we could hall. Online House lecture in person in the Duke of important continues with reprises programming in earlier months. These lecture recorded lectures to be immensely too, have proved recordings, popular. for the 2020-2021 academic year, As we prepare will all classes held in the Duke and Chan Houses look have Zoom components. The DM/CS staff to helping the community continue to meet forward and to by technology, the challenges presented stay safe while doing so. In addition to thanking and Sophie Lo for transitioning public programs, for his work with accessibility of video Jason Varone due to Joe Rosario special thanks are recordings, of who fielded the hundreds Cintron, and George questions that accompanied this ongoing transition. To be fair, the transition from in-person to online was in-person the transition from be fair, To is a very not always smooth. An online environment DM/CS staff ran in-person workshops in the week DM/CS staff ran in-person workshops in the NYU closed all of our buildings. On-line, before were one-on-one tutorials, specifically for faculty, and held during what would have been spring break tackled the weeks immediately following. Our staff update issues, operating system issues, software issues, telephone call- web camera and microphone in issues, video and audio quality issues, bandwidth issues, wifi issues, and issues with time zone with Some students faced problems differences. local Internet access once the cafes and libraries wifi closed down; DM/CS they depended on for free with central NYU IT and the Office of coordinated technical support to any Student Success to provide student who needed a mifi or the loan of a personal computer. In response to the Coronavirus pandemic, the pandemic, to the Coronavirus In response 2020 that all spring in March University announced be completed online, semester classes would and staff to shelter at allowing students, faculty, in-person to home. Facilitating the transition from challenges online teaching and learning presented to everyone, on both sides of the computer their classes; students Faculty restructured screen. that might otherwise have presentations rethought learnedbeen held in museums or galleries. Everyone platform, video-conferencing to use the University’s an application called Zoom. The Digital Media/ teach Computer Services staff was challenged to they wherever everyone how to use Zoom, from on whatever equipment they had at hand, and were, in-person to online to facilitate the transition from teaching, learning, and public programming. Transitioning to Remote Teaching, Teaching, to Remote Transitioning Learning, and Public Programming Jason Varone Media Manager, and Electronic Web Services Digital Media/Computer Joe Rosario Manager, Services Technical Services Digital Media/Computer Jenni Rodda Manager, Department Services Digital Media/Computer Special Special Projects at The Institute: Online ” is instructional as we look as we look ” is instructional “Lapis The name introduction contained an issue Our first forward. the recent that considered the Editorial Board from In her teeth, remains. a female monk’s discovery of pigment lapis lazuli, that rare found archaeologists had been far to confirm that women that seems of prized art and active in the production more been previously manuscripts than had illuminated for the journal of this narrative known. The relevance as a tool to change Scholarship can serve remains. can reinsert long-held narratives. Scholarship into conversation, and— silenced or missing voices right historical wrong. when done effectively—can support foundational The Institute has provided for the opportunity grateful are for Lapis. We and share opportunities to continue to create and offer considerable thanks innovative scholarship Katherine Provost Christine Poggi and to Director support of the project. E. Fleming for their integral I know firsthand how as managing editor, Finally, (2019–2020: Juan integral the Editorial Board Ferrari, Adrienne Francesca Bolívar, Gabriel Ramírez Emma Kimmel, Peter Anthony Thompson, Gendron, success and faculty editor Alexander Nagel) is in the collaborative, community- of Lapis. They ensure guidance and direction oriented work and provide for the journal. I want to extend deep thanks to them to continuing this look forward for their work. We work and sharing our next issue in the fall.

n 2019, the Institute of Fine Arts launched Institute of Fine Arts n 2019, the JournalLapis: The , the Institute of Fine Arts of journal. a new Open Access, peer-reviewed

Lapis: Journal of the of Fine Arts Institute Conley Lowrance Lowrance Conley Programs of Academic Manager The coming years will pose new challenges for The coming years will pose new challenges of field or discipline, as scholarship, regardless attempt to make sense of our past researchers the rapidly shifting and distant) through (recent committed are Lapis and the Editorial Board present. to using the journal, as a publishing arm of the diversity within the Institute, to foster increased Lapis will continue to develop field of art history. Open Access publishing so its mission towards scholars from that works by scholars of color, and scholars early in backgrounds, marginalized taught, and circulated can be read, their careers widely. were Though these existing issues of Lapis were in years published they were published recently, years before that feel now at a strange remove: to fight forced universities were COVID-19, before for the rights of international to access students the deaths of George and before their resources, brought and countless others Taylor, Floyd, Breonna the inequities and dangers Black Americans of American face on a daily basis to the forefront consciousness. Our first issue appeared in May 2019 and our Our first issue appeared four second in December 2019. Both featured Spanish performance articles on topics ranging from art to depictions of indigeneity in North American the Harlem art, Italian Futurism to prints from published online in a space Renaissance, and were developed to prioritize accessibility and Open Access. From the first meeting of the Editorial Board Editorial Board the first meeting of the From a and a faculty editor, (composed of students, that access in agreement managing editor), we were meant access to career to publishing opportunities too few serious publishing opportunities—and that to graduate attention rigorous venues afforded Lapis, it was decided, scholarship or publication. scholarship and ensure would prioritize early career published. the accessibility of work I

The Institute of Fine Arts Annual 2019 - 2020 64

The Institute of Fine Arts Annual 2019 - 2020 65

hile the current crisis led to the crisis led to hile the current thirteenth cancelling of our planned this summer at excavation campaign W Lecturer in Classical Archaeology, William & Mary William Archaeology, in Classical Lecturer Digital Season Selinunte’s Andrew Farinholt Ward Ward Farinholt Andrew Clemente Marconi Clemente of Greek in the History Professor R. McCredie James Director, University Professor; Art and Archaeology; at Selinunte Excavations The digital season created a solid foundation The digital season created unexpected work, while also revealing for future discoveries, such as a construction inscription on While we did not the sanctuary. tile from a roof we have a chance to travel to Selinunte this year, our deepest gratitude to would still like to express our sponsors, to the Sicilian Ministry of Culture, of the Agrò, Director Bernardo and to Architect Park of Selinunte. Archeological Concerning the work of Institute doctoral effort candidates, Peter Anthony Thompson led the form in consolidating vital information on style and which of pottery, pertaining to over 192,388 sherds quantitative analyses. Dashiell will allow for future creation led the effort in the Trahey and Tara Jordan of a new database of over 560 distinct contexts trace excavated over the past twelve seasons which the Mesolithic on the site from a human presence Meanwhile, Rebecca period to the modern day. site’s Salem compiled a block-by-block list of the B, crucial to a forthcoming monograph on Temple and its immediate environs. the structure Twelve years of continuous excavation has resulted has resulted years of continuous excavation Twelve ancient in a wealth of data about the temples in the thousands of as well as main urban sanctuary, city’s soil layers associated with the finds excavated from sacred construction, life, and abandonment of these an excellent The digital season provided structures. these findings, and interpret opportunity to organize several American, and included participants from Canadian, and Italian institutions working remotely, but collaboratively. the ancient Greek site of Selinunte in Sicily, Institute in Sicily, site of Selinunte the ancient Greek in a month-long digital study students participated professor led by Institute season in June and July, supervisor Andrew and field Clemente Marconi Ward. Chinese Translation of Thomas Crow’s The Rise of the Sixties: of Thomas Crow’s Chinese Translation Art in the Era of Dissent American and Eu-ropean Wang Pu, an associate professor of Chinese of Chinese professor Pu, an associate Wang the discussed Brandeis University, at literature in the political realm. “global sixties” was also at the symposium response The audience was hosted The symposium lively. exceptionally mostly facing platforms, one on two technological general public. and the other facing a academics very active were comments The live-streamed of both event, consisting the three-hour throughout lay audience. opinions from scholarly questions and mark in the Chinese The book has made its symposia the online In community already. academic since attended remotely inside China that I have have noticed an of the book, I the June release of the book and in obvious uptick in quotations Modern in Art viewpoints. Crow’s general Crow’s 1996) Press, University (Yale the Common Culture and published by the was translated into Chinese in 2016. With the arrival of this new same press title, the Chinese audience now has the chance at a to grasp the knowledge and insights of Crow and sympathy level. Crow’s comprehensive more in and the margins commitment to subcultures with many concerns general also seem to resonate of China today.

The latter half of the event expanded the theme a Yan, and dealt with politics and dissent. Wang Language University at Beijing Foreign professor at Columbia University in and an adjunct lecturer raised the issue of a public sphere. New York, The first two panels engaged with the issues The first two panels engaged with the issues two angles: the narratorial raised in the book from legacy strategies of the sixties, and the era’s and I, the two on contemporary art. Jiang Wei translators of the book, discussed the book’s detail. Jiang, the translator from content in great at a Chinese China who has become a lecturer the book chapter by university since, reviewed I further discussed how the scholarly chapter. it described. narrative itself participated in the trends M+ Museum, Pi Li, the senior curator at Hongkong’s his position as a insights from also provided practitioner. China greeted the publication of this book with China greeted enthusiasm. An online symposium organized of the book, titled in tandem with the release “The Rise, Fall and ‘Return’ the Sixties,” drew of than 4,500 audience members. This was more to Surplus number according an unprecedented of the event besides the Space, the other organizer one of Fudan University, from Professors publisher. academically the best universities in China, presided panel discussions. and moderated the three The Chinese translation of Professor Thomas translation of Professor The Chinese and the Sixties: American book The Rise of Crow’s was published Art in the Era of Dissent European an Fine Arts Press, this June by Jiangsu Fenghuang focuses on translating in China that academic press The the West. from art historical scholarship Yale was first published by influential book, which Series on Art of the press’ University in 1996, is part includes other titles The Series Theory Research. Other Criteria and Meyer such as Leo Steinberg’s Modernthis book Art. As a co-translator of Shapiro’s to be involved I am honored and an advisee of Crow, and to witness the and promotion, in its production in my it received passionate responses incredibly native country. “The Rise, Fall and ‘Return’“The Rise, of the in Shanghai a Webinar Sixties,” Tianyuan Deng Tianyuan PhD Candidate

The Institute of Fine Arts Annual 2019 - 2020 66 The Institute of Fine Arts Annual 2019 - 2020 67 , hosted by Jiangsu Fenghuang Fine Arts Press and Surplus Space, Poster for the webinar The Rise, Fall and ‘Return’ of the Sixties, hosted by Jiangsu Fenghuang Fine Arts Press Shanghai on July 11th 2020 from broadcast IN THE WORLD

In this Section

SPOTLIGHT ON ALUMNI The Institute of Fine Arts Annual 2018 - 2020 69

Japanese collection and was able to develop it in and was able Japanese collection as painting and contemporary such new directions, to head of the five years I succeeded crafts. After and of three, managing a team East Asia section, delivery of the new as team leader for also took over museum’s the final phase of the East Asia gallery, opened in February 15-year Masterplan, which closer brought 2019. Management responsibilities museum-level policy and involvement in setting and mentor and the chance to guide procedures fulfilling. very junior staff, which proved and vibrancy of North Having missed the buzz I departed for the Royal America, in spring 2019 has a substantial Japanese Ontario Museum, which the start of the 20th century. collection built up since on an exciting period The museum is embarking of the galleries and enjoys a of re-development among base of support for East Asian culture broad it had However, the local community in Toronto. been without a Japan curator for some years, so I put my knowledge of both collections and collections management to use in reorganization of cataloguing. No museum could and improvement digital ever display everything in its collection, but technology is a crucial means to “open the doors” full online access. through me back to Unexpected developments lured to take up the position of Curator, London this year, where Japanese Collections at the British Museum, all those years my curatorial passion was stirred institution ago. Being at an internationally renowned I am brings benefits, opportunities and expectations. of the collections, excited by the quality and breadth scholars the extensive network of collaboration with the world, and the dedication in Japan and across halfway and talent of my colleagues. 2020 is not yet seeing potentially already but we are through and epochal shifts and disruptions, both natural well placed to play a key man-made. Museums are a in societal change, because they provide role pasts, warts on our shared space for us to reflect and all, and to imagine a better future.

lifelong interest in Japan led me to lifelong interest at study first the language and culture the art history level, and then undergraduate A Life after graduation, in three countries Life after graduation, in three Rosina Buckland, PhD 2008 PhD Rosina Buckland, Museum Collections, The British Japanese Curator, Alumni Alumni in the Field for my PhD. Being at the IFA, and living in New York, and living in New York, for my PhD. Being at the IFA, was by turns daunting, stimulating, demanding, in two years’ fieldwork and fun. I went straight from Museum Japan to a fixed contract job at the British the for one year before I’d worked already (where and I managed to finish up my dissertation IFA), was designed to support the The role while there. and curator of pictorial art (prints and paintings) cataloguing and do my main task was to improve photography of the Japanese paintings. However, of the collections database the impending release displacement (and my own inclination towards me to prompted I was ABD!) activities – remember, in other thousands of records work on improving of my media. Ranging in this way beyond areas books, study thus far—ceramics, prints, illustrated metalwork, archaeology, lacquer, calligraphy, textiles, Buddhist art, ethnography—was invaluable. Few curators have the luxury of specializing and, it at the time, this was a realize though I didn’t I was also passed a for the future. sound preparation the oversubscribed curator, from publication project and got the chance to write a “scholarly gift book” art. on Japanese erotic of a permanent position took me away The lure in 2010, but at the National London reluctantly from for the Museum of Scotland I had sole responsibility In this Section ON ALUMNI SPOTLIGHT

audiences, which I had explored in past I had explored which audiences, women powers of on the focusing exhibitions prints and in Curatorial I-era War topos and World in These ideas intersected Studies courses. of Leiden 2019 with the opening September at the Agnes Emerges 1630: Rembrandt circa University, of Queen’s Art Centre Etherington of Curator and Researcher I was Bader where upon the Art for four years. Drawing European in The by Rembrandt and his school treasures in Canadian museums, this Bader Collection and of the 2019 Rembrandt touring exhibition in honor and competition, investigated collaboration Year the art market, and and networks of patronage for the late Alfred the significance of Rembrandt The exhibition sought to position the youth Bader. the works on as an artist on a journey through digital map and short the accompanying view, catalogue. This project film, and the exhibition being without exposure could not have come into which to the spectrum of scholarly questions with I engaged at the Institute. In October 2019, I began my position at the about Art Institute of Chicago. As I learn more this collection and the audiences it serves, I of early again meditate upon the relevance modern Northern art for contemporary European audiences. I am considering new stories that I can tell about beloved artists such as Peter Paul Rubens and Jacob van Ruisdael, which our acquisitions would have the most impact upon equity and existing collection, and how to increase As the diversity within the museum environment. cultural sector pivots in 2020 due to the COVID-19 the museum world with crisis, I am eager to greet and enthusiasm that I first felt when the creativity entering the Institute in 2001.

hen I moved to New York to begin my hen I moved to New York masters at the Institute in August 2001, I could not anticipate the journey on

W Making Meaning for the Old Masters Jacquelyn N. Coutré, PhD 2011 PhD 2011 Coutré, N. Jacquelyn of European Curator Associate Prince Wood Eleanor of 1750, Art Institute before Sculpture Painting and Chicago New York City is an incredible place to learn about City is an incredible New York Dutch and Flemish art, with its rich public and private collections offering unparalleled object- based study opportunities. The faculty at the Institute—Northern like the late Egbert specialists Haverkamp-Begemann but also Renaissance experts like Colin Eisler and Alexander Nagel— nourished a keen sense of curiosity about “objectness” in all its forms. They thus equip students for multidimensional conversations about of the object within contemporary terms. the role of these The wide-ranging scholarly interests about me to think broadly also prepared professors the motivations and potential of the exhibition, individual and institutional collecting stories, and the import of historically distant art for today’s which I was embarking. Knowing no one in the city which I was embarking. Knowing no one in fully into myself and full of Midwestern vim, I threw to find meaning in a changing my studies in order idea of political landscape. Little did I know that the to meaning-making would become so fundamental my work as a curator.

The Institute of Fine Arts Annual 2019 - 2020 70 The Institute of Fine Arts Annual 2018 - 2020 71 we have sixteen members and have published a have published members and sixteen we have I started online. Because histories of oral hundred art, I as a scholar on American career my academic Japanese art, of contemporary had little knowledge I was borneven though It was and raised in Japan. I the oral histories that and the art project through Japanese art. about today’s came to learn more I was involved in projects, While working on these of primary documents in compiling the anthology for the Internationalpostwar Japanese art Program The four at the Museum of Modern Art, New York. cities in Japan and in co-editors, living in different years in selecting three the United States, spent than a thousand more from 85 primary documents discussions via email and candidates. Countless and New in Tokyo meetings Skype as well as real Postwar in the publication of From resulted York, to Postmodern, Art in Japan 1945-1989: Primary of Modern Museum Art, Documents (New York: critical 2012). It deepened my understanding of the II. War context of Japanese art after World immersed me in Japanese This editorial process my work on Color art, although I felt like resuming of four and a half years. Field Painting after a break I started again on January 4, to my diary, According 30, 2011 and finished the final draft on November 2013. I took a bit of detour but I now understand Learning postwar Japanese it was rewarding. art via critical texts as well as artists themselves of how diverse views encompass makes me aware known mostly by their dominant artworks, which are discourse, turning my eyes to diverse discussions and exchanges on Color Field painting, which of my dissertation. became the main argument City University of Arts for two teaching at Kyoto After to teach contemporary years, I went back to Tokyo art history at my alma mater in 2016. I am currently my completing a book on American art based on dissertation and another book on postwar Japanese art. I am also engaged in administrative work at the university’s I serve as a vice director here. a multi-departmental newly established Art Center, on art integrated research that explores organization operations is to provide practices. One of our recent studio art classes to first- and second-year students is rarely which in all fields as a liberal arts program, conducted at a university-level education in Japan. of which I am in charge, If the budget request, of 650 students, about ten percent is approved, the total first- and second-year students at the will be able to participate in the classes. university,

n August 2006, after my eight-year study at the n August 2006, after my eight-year study at Institute of Fine Arts, including a one-year stay at the Smithsonian American Art Museum as

Teaching in Japan Teaching Kenji Kajiya, PhD 2014 PhD 2014 Kajiya, Kenji Cultural of Interdisciplinary Department Professor, University of Tokyo Studies, The I taught contemporary art history in Hiroshima and I taught contemporary art history in Hiroshima an art exhibition Art Project, joined the Hiroshima Yanagi, by colleague and artist Yukinori directed taking place in unused facilities and in the open for four I was involved in the project air in the city. years; I came to be less committed to finishing inclined to work with my PhD. Instead I was more exhibitions of young Japanese artists to organize contemporary art. This intense and unforgettable deepened my view of experience has surely contemporary art. In the meantime, together with five scholars and curators in Japan, I began to collect oral histories of Japanese artists, critics and and launched their archives, other art professionals since 2006. Now for which I have served as director a predoctoral fellow, I returned to Japan, without I returned to Japan, without fellow, a predoctoral position as getting a PhD. I just got a tenured City University. at Hiroshima associate professor Field I wanted to finish my dissertation on Color a painting in the United States even after I had would position, but I had no idea at that time that I years to finish the degree. need eight more I ven though my pathway to my current ven though my pathway to my current position at the Hirshhorn and Museum was rather circuitous, Garden Sculpture I am appreciative of the ways in which my time I am appreciative at the Institute and Conservation Center were that instrumental in allowing me the experiences to conservation by I was introduced led me here. and, though initially drawn to way of archaeology, conservation, spent my time at the archaeological in the field and Institute better defining my interests and exploring new ways of engaging with theory practice. My initial participation in the archaeological way to outdoor gave Turkey exploration of Sardis, conservation projects and lacquer screen sculpture to internships La Pietra, and at MoMA Villa at NYU’s Museum. and the Brooklyn I found myself drawn to the complexities of modern and contemporary art conservation and increasingly sought opportunities to participate in that world, while continuing to act as the conservator for the Bryn Mawr College Excavations at Muweilah, in the United Arab Emirates. My final year internship me well for a Art Museum prepared at the Walters de la céramique fellowship in France at Sevres-Cité (Musée national de céramique), working on 3,000 Briana Feston-Brunet, CC 2011 and Time-based Media, the Conservator of Variable Garden Hirshhorn Museum and Sculpture most fantastic and celebrated minds of minds of celebrated fantastic and most the ICAA’s can find You classicism. contemporary digital content a plethora of free efforts, including at classicist.org. and courses often find me in you can Saturdays, On free on the ships District volunteering the Seaport Seaport Street operated by the South owned and integral to artifacts are Museum. These massive and port, of New York’s understanding the history city itself as a center of indeed the history of the cultural exchange. Helping trade, immigration, and at Pier 16 in effect the ships to maintain and restore City, narrative of New York situates me in the living fail to describe. words which is a feeling that field because of the range Art history is a fascinating to practitioners. My opportunities available of career both physical and has taken me to places, degree of, and much of dreamed intellectual, that I never that is due to my time and training at the Institute. E ince graduating from the Institute in 2018 the Institute in 2018 from ince graduating Roman and concentration on with an MA to work, unique opportunities art, I have had

classics with a contemporary gallery experience. classics with a contemporary Reinhardt, artist Wally Octogenarian and self-taught spent a lifetime has resident, a long-time New York Ovid’s scenes from and recreating interpreting For the past year, I have been very grateful to work For the past year, & Art (ICAA) for the Institute of Classical Architecture a Liaison. The ICAA is as the Chapter and Board dedicated to organization nationwide nonprofit of the and appreciation the practice, preservation, and the allied arts. classical tradition in architecture the its wide array of educational programs, Through thousands of students, practitioners, ICAA reaches With 15 Chapters and and enthusiasts each year. the ICAA is the country, over 2,200 members across some of the of a vibrant organization study, teach, and volunteer at a range of institutions and volunteer at a teach, study, of academia. the realm and communities outside Grey position was at NYU’s My first post-Institute exhibition, I assisted in the recent where Art Gallery, Reinhardt, to Wally According Metamorphoses: Ovid in my background which seamlessly combined was celebrated in a solo Metamorphoses, and Ovid and Art: A with NYU’s exhibition in conjunction of the Symposium, marking the 2,000th anniversary with entries written by death. The catalogue, poet’s is myself and Institute PhD candidate Marlee Miller, available online. In 2019, fellow Institute MA alumna and dear friend Quinn R. Bolte and I founded Art History and HQ, a tutoring and editing service for students enthusiasts of every age and educational level, and mission social media presence with a strong to make global art history accessible and enjoyable current to all. Our services have been employed by art Institute students and alumni, independent with no prior experience historians, and retirees in the art and museum world. Our love of art, into a has evolved and architecture archaeology, can follow You small business with worldwide reach. us on social media @arthistory.hq! Many careers after graduation after Many careers Hannah Kate Simon, MA 2018 Simon, Kate Hannah S

The Institute of Fine Arts Annual 2019 - 2020 72 The Institute of Fine Arts Annual 2018 - 2020 73

GET ON THE MAP! GET The Institute maintains an interactive map of all active alumni on our website them. and unique space that seeks to allow artists the to allow artists that seeks space and unique and contemporary political to the to respond scope both as well as to our space—distinctive landscape on the National presence and its architecturally I manage, which Interview Program, Mall. Our Artist to maintain active us the opportunity provides the idea with artists and emphasizes conversations artists is not of the work of living that conservation but an evolving and of a constant, the preservation the variability of mirrors shifting practice that often the works themselves. excited to I am and a supervisor, as a mentor Now, conservation internsperiodically welcome Institute them to the to the Hirshhorn and to introduce at the Smithsonian time-based media community that has been such an important and in Washington development. Working part of my own professional in the practice with interns and fellows interested art conservation and theory of contemporary my and of time-based media has only underlined of my mentors and professors deep appreciation at the Institute and during my own fellowships. parts of working at the One of the most rewarding Hirshhorn has been the opportunity to engage in in mentorship, and having the opportunity to bring our new voices, seeking to make the space within put on walls as dynamic and galvanizing as what we Conservation of the art of our time has been dynamic and enriching, especially in an active As the first permanent time-based media conservator at the Hirshhorn,I have had the approach opportunity to help shape our institution’s of time-based to the collection and preservation media, both within the Hirshhorn and at the When I began five years Smithsonian generally. had of such artworks ago, foundations for the care been laid, and the time-based media community It was at the Smithsonian was small, but mighty. a privilege to work closely with colleagues on for developing new systems and methodologies of the diverse range of materials in our preservation collections. Collaborating with the Smithsonian’s team in the IT department has digital preservation of expanded and transformed my understanding methodologies. In and preservation repositories my time at the Hirshhorn, pulled together a I have our TBMA media lab, allowing us to view and treat the accessibility holdings on site, and increasing of our collection. Redefining our workflows, for new documentation and procedures creating our time-based media, and integrating them into for collections database in a way that is functional process. all stakeholders has been an interesting As the museum continues to collect media works numbers as one of its collecting in increasing priorities, we have been able to build upon this solid and conservation of these foundation for the care works, expanding our ability to engage in research necessary for a holistic the resources and to provide to long term preservation. approach ceramic works shattered in bombardment of the in bombardment works shattered ceramic ranged objects Though the in WWII. museum the 16th to the 19th century, the in date from tell—was modern; the story they now damage—and touched on of these works the conservation and how these oral histories, lived experiences, of this part of the with the significance intertwined at the In leaving Paris for a fellowship collection. I would Angeles—where Getty Museum in Los work on modern and objects, a bit of furniture, solidified my dedication time-based media—I had to modernand contemporary conservation and the working with living concepts that define provoking artists and new media. sun and my beloved west After soaking up the LA half, I accepted my current coast for a year and a and variable media position as the time-based conservator at the Hirshhorn Museum and Sculpture DC. in Washington, Garden ART HISTORY ARCHAEOLOGY CONSERVATION

In this Section

STUDY AT THE INSTITUTE The Institute of Fine Arts Annual 2019 - 2020 75 Master of Science in Conservation/ Master of Science Art History Master of Art in Conservation Center is dedicated The Institute’s to the technical study and conservation of works of art and historic artifacts. The Center prepares a in conservation through students for careers combines that program dual-degree four-year, practical experience in conservation with art curatorial, and scientific historical, archaeological, works studies of the materials and construction of of art. Students gain extensive conservation experience projects a multitude of hands-on research through and and laboratory work, scientific investigation analysis, advanced fieldwork, and a nine-month to encouraged capstone Internship. They are obtain additional conservation experience during excavations or other summer archaeological The Center also provides formal work projects. courses in connoisseurship and technical art history for those pursuing studies in art history, and curatorial practice; these archaeology, courses acquaint students with the physical of works of art, and the need for structure as well as the possibilities and preservation, limitations of conservation practice. Classes are distinguished full- and part- taught by the Center’s many of whom serve as conservators time faculty, prestigious City’s and scientists at New York museums. he Institute of Fine Arts is dedicated to graduate teaching and advanced research in the history of in the history of and advanced research to graduate teaching of Fine Arts is dedicated he Institute encourages of works of art. The Institute and technical study and the conservation art, archaeology, in close visual as well as develop skills material investigation excel in historical and students to

Master of Arts is intended for students MA program The Institute’s their art historical knowledge who wish to strengthen pursuing experience before and gain further relevant in the a PhD, as well as for students with an interest visual arts who wish to earn advanced degree an The without the commitment to a doctoral program. useful to students interested will prove MA degree in art museums, galleries, auction houses, in careers site cultural centers, arts foundations, archaeological management and development, art conservation, or eventual doctoral work in art history or archaeology. two years of full-time study requires The program years of part-time study for those with or three who wish to continue careers established professional working while attending the Institute. The Institute’s PhD program prepares students to prepares PhD program The Institute’s execute ambitious and conceptualize, plan, and and to make contributions projects original research is designed for six years to scholarship. The program in of full-time study for students without a Masters students Art History or five years of full-time study for exposed Students are with a Masters in Art History. through to a wide range of questions and approaches major a combination of courses that both introduce historical issues and allow students to specialize Students have by conducting in-depth research. opportunities to pursue their studies in museum and teaching settings and in fieldwork. Research-led and close mentoring equip students to work critically in their fields and to take a sophisticated creatively of art historical inquiry. areas to broader approach Doctor of Philosophy Study Study at the Institute

examination and critical thinking. The degree programs provide a focused and rigorous experience experience and rigorous a focused provide programs The degree and critical thinking. examination conservators, museums, curators, York’s with leading scholars, and access to New supported by interaction offer a course of at the Institute The PhD and MA programs Global Network. sites, and NYU’s archaeological detailed, through of the visual arts in culture who wish to investigate the role study designed for individuals MS/MA The dual-degree interpretation. as well as historical and theoretical object-based examination, history is the only one of its kind in the nation. in conservation and art program T In this Section THE INSTITUTE AT STUDY An introductory seminar, taught by Edward J. J. by Edward taught seminar, An introductory and practice on curatorial focused Sullivan, open to all Institute This course, collection history. dialogues in-class discussions, students, combines other museum and curators, directors, with museum of institutions at a wide variety staff members are students As a final project, the City. throughout either real to create groups,” “research divided into all necessary tools, or virtual exhibitions utilizing on which curators both intellectual and practical, depend for their work. delighted to announce we are In the coming year, will lead Wolk-Simon Linda that visiting professor further look We curatorial seminar. the introductory (Metropolitan to welcoming Mark McDonald forward co-teach a seminar on Museum of Art), who will and Roger Wieck J. Sullivan, Goya with Edward Library), who will help students study (Morgan impressive using the Morgan’s medieval manuscripts collection. Curatorial Program The Marica and Jan Vilcek full-time curatorial two year-long, also provides fellowships for advanced PhD students, one fellowship to be held each year at The Metropolitan or Museum of Art, and the other at any museum collection.

e are delighted to report on the second delighted to report e are Marica and Jan Vilcek year of the Owing to the Curatorial Program.

Installation of the Duke House Exhibition in 2019.

W Marica and Jan Vilcek and Marica Program Curatorial In fall 2019, our curator-taught courses included two In fall 2019, our curator-taught taught seminars: one on Japanese decorative arts Museum of Art) by Monika Bincsik (Metropolitan and another on Renaissance etchings by Nadine Museum Spira (Metropolitan and Freyda Orenstein alumna and of Art). In the spring, Susan Galassi (IFA on Curator Emerita at the Frick) taught a seminar Claude Monet. generosity and vision of Marica Vilcek, Chair of our Chair of Marica Vilcek, and vision generosity her husband, the renowned and of Trustees, Board the Institute has Vilcek, biomedical scientist Jan and in curatorial practice a program created nearby curators from At least three museum history. will teach a seminar museums and collections enhancing our thereby at the Institute each year, of the complex research students’ understanding an that go into organizing and practical planning set of galleries, developing exhibition, installing a associated with and other events the programming and caring for and acquiring a curatorial project, works of art.

The Institute of Fine Arts Annual 2019 - 2020 76 The Institute of Fine Arts Annual 2019 - 2020 77 hours, and navigating through our various scholarly our through and navigating hours, Internet and the databases students with to help and finishing up for coursework their research some instances, dissertation writing. In theses and our offsite facility requests with filling we have been of Fine Arts the Institute from to scan materials for researchers. Library collection to our new adapting Even our students were to speak by scheduling appointments environment liaison not only by email with me as their library consultations available research but also through patiently While faculty video conference. through visits and final their syllabi for class reworked technologies by some embraced these projects, in the online meetings, including guest speakers to uncover giving students the chance therefore and following in research, distinct opportunities in fall 2020, and for in the field. Finally, trends current will all library materials for courses the first time ever, be available electronically. in their The Institute of Fine Arts Library collections locations have many possibilities. Seeing respective show how the library is expanding, we continue to not just a unique and valuable why libraries are to learn spaces and grow. but are resource able Although we may find frustration in not being in the library to discover materials serendipitously Avenue, stacks of the luxurious interiors off of 5th or why an important bulletin has yet to be digitized, diverse collections the library strives to provide and services physically and online for exploration as the and collaboration—two qualities that serve cornerstone for for teaching and the inspiration both the faculty and the scholarship that reflects these experiences, Through students it represents. you the library will continue to find ways to serve better. Queens College, her MLS from Lori Salmon received an MA in Art History from the City of New York, and a BS in Business University, Stony Brook Marymount Manhattan College. Management from Public She has held positions at the New York and the Arts Library, School of the Visual Library, Museum of Modern Art Library. ast year I had the pleasure of joining the of joining the pleasure ast year I had Fine Arts. With the library’s Institute of including Daniel Biddle staff, extraordinary

A Year at The Institute at A Year Lori Salmon Lori Library of Fine Arts The Institute Head, NYU Libraries negotiated an emergency temporary NYU Libraries negotiated an emergency forty access service that permitted approximately of our in-copyright print collection through percent Digital Library because of involuntary the HathiTrust disruption to normal operations. Also, the Institute of Fine Arts Library staff have been answering business email during our regular questions through Most recently, we have all made adjustments to Most recently, moment with the COVID-19 this unprecedented pandemic occurring in the middle of the academic 16, 2020, for the safety of the On March year. library staff made Institute of Fine Arts community, while our physical the change to working remotely closed. spaces were Additionally, we held ten library events, including Additionally, giving students the opportunity to sign up for and to visit the Public Library cards, New York Thomas J. Watson Museum of Art’s Metropolitan digitized Library to learn about their most recent also publications and their special collections. We how hosted a series of workshops that included management tools to help you to use reference citations, and what manage, and format organize, and why we use them. catalogues raisonnés are A few projects we have been improving this year we have been improving A few projects and offering user-friendly include making materials Now in NYU a variety of library programming. you can set filters to see Libraries’ online catalog, in our two locations. available what materials are makes it easier to understand what in This feature the collection is offsite and to anticipate appropriate the NYU can also browse turnaround times. You guides organized research Libraries website to find you with by staff on subject-specific topics to help your research. in the Conservation Center Library, and Kimberly and Library, in the Conservation Center in the Stephen Chan Hannah and Abigail Walker working together to are Library of Fine Arts, we accessible and services more make library materials to our community. L range of intellectual interests and from diverse diverse from and interests of intellectual range backgrounds. again, I began to turnWhen, once my attention with workshops and conversations to scheduling as a was emerging students, COVID-19 current of increasingly After a month full-blown pandemic. jocular then several days of conversations, fretful into a spate of meetings, elbow bumping, we rushed online, to plan for the first in person and then month developing unknown. I spent the next (for course assessments, flexible online protocols and dissertation language exams, prospectus colleagues at the Institute defenses), conferring with NYU, and learning about what our and across of the With the spread experiencing. students were of its severity— awareness disease and increased unforeseen York—came New in horrifically clear here Like to unfold today. consequences that continue faced challenges of everyone else, our students home-schooling children, moving unexpectedly, as falling ill, and caring for ill or at-risk loved ones, well as unavoidable interruptions of professional and financial arrangements and of their academic even as these experiences work. They persevered tried to offer We their graduate careers. jeopardized as the semester support, however not until late May, ended, could we begin to mitigate their financial disbursement of the newly through emergencies Fund. (Please Discretionary established Director’s the offered donate.) Our virtual graduation ceremony of coming together in opportunity and pleasure rare celebration. As the pandemic ebbed, we began to learn more about the disease, including its disproportionate impact on Black and other people of color and At the same time, racist disenfranchised groups. incidents and information about them increased, of entrenched awareness along with broader of systems of racism that ultimately set off waves Racist incidents of solidarity. and gestures protests continue as I write this and anti-racism protests the to to returning in mid-June. I do look forward At the same time, I am comfort of expected routines. thinking furiously about how to exploit the welling diversify to efforts enhance to right is what do to zeal and how to foster the and support our student body, on our academic practices that sustained reflection changes will be vital to devising the programmatic we need. y first year as Director of Graduate Studies of Graduate Studies as Director y first year as expected—with the began much the each time I entered exception that

Thelma K. Thomas Thelma Studies; of Graduate Director of Fine Arts Associate Professor

Academic Office I thrilled to the warm welcome I thrilled to the Academic Office Assistant), who had Hope Spence (Academic from when I was a graduate welcomed me to the Institute unfolded at a steady pace that student. The fall term (Manager of Academic allowed Conley Lowrance (Academic Advisor), and Stone Vanessa Programs), begin compiling a list of me to meet weekly and during the relative to address issues that we planned quiet of a summer retreat. with the help the start of the term and Before several I had organized of Conley and Vanessa, workshops. Most had the informal, extra-curricular the same topics as same format and addressed DGSes. I did initiate workshops hosted by previous for a few changes: trying to publish the schedule the fall term workshops well in advance so that inviting students had time to plan their attendance, University for of Brown Barbara Tannenbaum Prof. workshop on public speaking, a much-appreciated surveys and at the end of each workshop circulating the schedule, that elicited useful ideas for revising the range of topics and activities. As and enlarging my biggest time commitment for my predecessors, during the fall was meeting with doctoral students. open- I had grand plans to meet with all of them for for ended conversations about their expectations and somehow and experiences in the program, before managed to meet with the first four cohorts bright spots Those meetings were the Winter Break. the in my week as I enjoyed getting glimpses of students’ distinctive personalities and learning about at the Institute and careers their intellectual interests and beyond. Admissions season began in earnest in early of concentrated January with intensive rounds and discussion of applications. The reading season lasted longer than usual due to scheduling when we complications, until late February, completed interviews and admissions committee the results meetings, then the next week presented for confirmation by the faculty and sent off the letters to the applicants. The acceptances fulfilled our hopes: this coming fall we will welcome a large class of excellent doctoral students with a wide M

The Institute of Fine Arts Annual 2019 - 2020 78 The Institute of Fine Arts Annual 2019 - 2020 79 while avoiding the previous troubles of unequal of troubles previous avoiding the while thin and spotty its that outweighed support to important Equally if not more fellowships. of the revision has been the the new curriculum PhD of MA studies (the requirements offerings and was also updated). while less affected, curriculum, range of involving a wide “methods” courses, Two MA by the entire now taken are faculty participation, Foundations I: Practices cohort in their first year: and and Foundations II: Materials of Art History, faculty. by conservation offered Techniques, distribution of for the Rationalized requirements allow students to effectively coursework more while acquiring interests emphasize their particular art historical knowledge. broad instituted under were While many of these guidelines Robert Lubar as DMS, Professors my predecessors in my first I realized Welch, Messeri and Katherine that some further year in this office (2016-2017) resolving problems fine-tuning might be useful in in that had gradually become evident, particularly to facilitate of the MA thesis. In order the production and the conceptualization, research the process, writing of the MA thesis now begins in the second formulation semester of study with initial topic area and consultation with possible advisers, followed form in the final year by a series of markers in the to ensure detailed thesis proposals of increasingly Of particular its completion. toward progress orderly Writing the Thesis are benefit to this process during the student’s offered that are Workshops thesis writers under of small groups final semester, from of workshop leaders recruited the direction PhD students (this year Annika Finne, Marlee current and Louisa Raitt) for whom Alexis Monroe, Miller, fosters the development of their own the program teaching skills. that all of it needs to be affirmed here Finally, discussion and involved far more these measures that paperwork than anyone might imagine, and the none of them would have materialized without high dedication and capabilities of the administrative staff of the Academic Office: Conley Lowrance, Stone, and Hope Spence. They have not Vanessa facilitated but literally made possible my merely of Masters Studies for four highly work as Director years. rewarding ot all current students or members of the or members of the students ot all current may be fully large Institute community at of Masters program that the current aware

The solution, adopted after much faculty discussion The solution, adopted after much faculty discussion was to and consultation with the student body, separate studies at the Institute into two distinct each with its own goals, procedures, programs, and financial arrangements. Although all Institute students may take the same classes with the of the the goals and requirements same faculty, now sharply distinct. Gone is are two programs murky student aid policy which aided the previous and caused so much ill will. few in the MA program the number of PhD candidates Sharply restricting now allows a uniformly high level of full fellowship support comparable or bettering other institutions. practice Self-funding of all MA students brings IFA elsewhere, into alignment with most MA programs Studies at the Institute was initiated only in 2010 in Studies at the Institute structure. pedagogical of its entire revision a broad back to the founding a curriculum going Previously in largely had remained of the Institute in the 1930s basically functioned program place, in which the MA – or disqualification-- for as training and qualification level. It was burdened admission to the doctoral Rivalry among by a number of stubborn problems. a faculty not only to secure students was intense, to PhD studies but also sponsor for promotion at financial support, as only a limited few students even partial fellowships. The the MA level received of favoritism was rampant, and student perception while the MA accordingly, morale often suffered or thesis itself tended to be a less than well defined too often involving protracted page-limited project, Although with less than optimal results. research went on many participants in this regimen a great to and ultimately successfully to the PhD program not to mention the widely distinguished careers, in the known success of so many Institute MA’s, new millennium it became clear that the Institute’s unique among American art history program, degree graduate departments, was no longer pedagogically tenable, ethically justifiable, or financially large sustainable. especially given the exceptionally PhD cohorts it tended to produce. The “new” Institute Master’s Program Program Institute Master’s The “new” Years at Ten? Marvin Trachtenberg Marvin Edith Kitzmiller Studies; of Masters Director of Fine Arts of the History Professor N IN THE FIELD The Institute offers a unique experience to its students through a range of sponsored archaeological projects. Students of any discipline are invited to participate in annual excavation seasons, to enhance their historical studies with object-based research.

Photo by Wendy Doyon for the North Abydos Project Instagram: @digabydos Facebook: Abydos Archaeology Website: abydos.org We are now at work on Samothrace Volume 8,I, Volume on Samothrace now at work are We centers Nike, which of the Vicinity in the Monuments around heart of the Sanctuary on the performative 2018 Our and Nike Precinct. Stoa, the Theater, new entirely of the theater led to an excavation building and its relationship of that reconstruction formed by the Court and central ravine to the Altar Our intensive the sanctuary. that bisects torrent building blocks of study of the 1400+ surviving 1000 fragments of its the Stoa, along with over thousands of many more system and terracotta roof document the decoration of plaster fragments that new insights to this brought its interior walls, have the westernbuilding, which dominates plateau. In Monument, we continue to working with the Nike to gain a at the Louvre collaborate with colleagues situation of the statue in better sense of the original the Sanctuary. emphasis on passage and In conjunction with our we focused our 2019 movement in the Sanctuary, of the excavations on tracing the ancient position and on determining how ancient central torrent in the the Stoa. Trenches visitors may have reached that the original of the central ravine revealed area to position of the ancient channel was considerably The violent walls. the west of the modern retaining walls that collapse of the ancient Roman concrete originally lined the channel was eerily reminiscent of the destruction we witnessed in the catastrophic storm that devastated the sanctuary in September in the dining the west of the central torrent, 2017. To that of a staircase we excavated the remains area, in may once have led to the Stoa, but met its end a massive collapse of boulders that once again that dominate highlighted the powerful natural forces the rugged island landscape. to the south of the Stoa and Nike area, In a third that into structures Monument, we began research likely belong to the late Roman or early medieval period. In all of our work, the use of 3D modeling and the photogrammetry to document and reconstruct in both fixed dynamic platforms, Sanctuary digitally, tool to understand has served as a potent forensic between landscape, the powerful interconnections development, and the actions and architectural experiences of participants in the cult.

Samothrace, Greece Samothrace, Greece Since 1938, the Institute has worked in the Gods on the island of Sanctuary of the Great Samothrace. The Sanctuary is not only home to one of the most significant mystery cults of the most the Hellenistic era, but it also features of the period, gifted by innovative architecture and seminal in the formation of Hellenistic royalty ideas. Hellenistic and Roman architectural Aphrodisias,Turkey is one of the most important Aphrodisias and Roman sites of the Greek archaeological major and has been one of NYU’s periods in Turkey since 1961. The city was projects archaeological and for famous in antiquity for its cult of Aphrodite It enjoyed a long, prosperous its marble sculptures. the the second century BCE through existence from sixth century CE, and its buildings, marble sculpture, well remarkably and public inscriptions are excavation focuses on the The current preserved. excavated and conservation of previously recording for monuments, establishing permanent systems documentation and conservation, new targeted and publication. research excavations, and scientific The Institute, in partnership with Princeton in partnership with The Institute, is and Archaeology, Department of Art University’s archaeological an ambitious, long-term engaged in of Abydos in of the important site investigation southern is known as the burial Egypt. Abydos and as the home of first kings place of Egypt’s ruler of the Land of the the cult of the god Osiris, place. most sacred Egypt’s Dead. It was arguably aims to build a its fieldwork, the project Through of the ancient core understanding comprehensive of the site, how patterns of practice and meaning of Abydos to the relationship evolved over time, and history and culture. context of Egyptian the broader is working to foster project At the same time, the modernconnections between local communities initiatives (in outreach and the heritage site through authorities), to broaden collaboration with Egyptian and importance of the nature public understanding of the project’s of Abydos, and to make the results accessible to students, readily work much more scholars, and the public. Abydos, Egypt Abydos,

The Institute of Fine Arts Annual 2019 - 2020 82 The Institute of Fine Arts Annual 2019 - 2020 83 Located in Western Sicily, Selinunte was famous Selinunte Sicily, Located in Western the Classical world for the richness of throughout Greek its farmland and monumental temples. The the existence from colony enjoyed a prosperous the second half of the seventh century BCE through end of the fifth century BCE, and its sanctuaries, well temples, fortifications, and houses are began its investigations In 2007, the IFA preserved. of Selinunte, focusing on the area on the acropolis The excavations of the main urban sanctuary. and art of an ancient religion document the history, city in unusually fine detail. Fieldwork to date Greek important evidence concerning the has provided history of Selinunte prior to the arrival of the Greek to the related settlers, as well as significant finds colony and the life of the foundation of the Greek and Classical periods. sanctuary in the Archaic Selinunte, Sicily This dark brown resin still smelt when heated, and resin This dark brown allowed the team to experience the atmosphere have of the temple as a Kushite worshipper would originally done two and a half millennia ago! The Sanam Temple Project team in Sudan this February. Follow @Sanam Temple Project on Facebook. Project Follow @Sanam Temple team in Sudan this February. Project The Sanam Temple The Temple of Sanam, located in northern Sudan, The Temple was built in the 7th Century BCE by the Kushite Nubian who also a native Taharqo, king Taharqo. an ruled over Egypt, constructed the temple in Egyptian style and dedicated it to the god Amun; distinctive nevertheless, many traces of the king’s still to be found at the site. are Kushite culture is investigating not only how the The project this temple was used by Kushite kings but what monument might have meant to the local Nubian it. The 2020 season’s population living around of investigation included a monumental mud areas from brick building to the north west of the temple by the the early first millennium BCE, discovered that, even team last year: this building is so large after uncovering 14.5m of central wall and parts of rooms, we still have not found at least 5 different any external corners to ascertain its full extent. inside the temple continued to deliver small Work finds that teach us much about ritual activity at the figurines of the god Osiris. temple, including bronze Perhaps the most unusual and sensorially exciting was a quantity of ancient incense. find, however, Sanam, Sudan FASHION STATEMENTS: CLOTHING AND CLOTHING AND STATEMENTS: FASHION FRANCE, ACCESSORIES IN ITALY, 1500 - 1800 AND SPAIN, William Hood Emeritus, C. Jay Professor Mildred Professor; Visiting Oberlin College in painted portraits reliably Clothing and accessories location in the rapidly changing index the sitters’ social of early modern environment economic and political the In his History of Italy (1537-1540), Europe. illustrated the ancient Francesco Guicciardini Florentine capitulation to the Holy Roman Emperor republic’s Charles V by contrasting the garments worn in a de’ Medici (d. 1492), the republican portrait of Lorenzo de’ gentleman par excellence, to those of Alessandro was who Medici (d. 1537), the first Duke of Florence, great-grandson. vassal and Lorenzo’s both Charles V’s whose husband Cosimo replaced Eleonora da Toledo, brought as the Medici Duke of Florence, Lorenzo was one of whose features Spanish fashion to Italy, as the the color black, the most expensive of all dyes, In portraits of the period, for court dress. hue preferred unnoticed details such as color and cut which might go laden with political or economic frequently were today, significance. Vecellio’s evident than in Cesare is that more Nowhere and illustrated guide to old and new fashions (Ancient World), Parts of the Different Modern Clothing from published in 1590. The sumptuary laws of Italian the public display of luxury city-states regulated fabrics, furs, and jewels as a means of controlling the ambitions of powerful families or individuals. has Weber as Caroline By the eighteenth century, demonstrated, clothing could become a flash-point in an unsettled popularion. Her book, Queen of Fashion: the Revolution (2006) to What Marie Antoinette Wore power of the propagandistic that persuasively argues fashionable clothing contributed to the 1789 downfall Ancien Régime. of France’s and Spanish portraits, With a focus on Italian, French, the seminar will study how the clothes and accessories worn by the sitters amplified and confirmed the identity. subject’s

In April 2020, the Institute of Fine Arts will host In April 2020, the Institute of Fine Arts will host an international symposium on the theme of pilgrimage to Santiago de Compostela. The turns theme on how pilgrimage symposium’s psychically mapped, was imagined, dreamed, and embodied. Those notions form the drawing on historical, focus of this seminar, as hagiographic, and historiographic sources, well as the methodological positions that come Naturally the seminar also considers the to bear. the material monuments themselves that provided stage for pilgrimage. The seminar examines closely the cathedral of Santiago itself—home of of the tomb of St. James and the end-point Jacobean pilgrimage—but also monuments principally in Spain and France along the way, Puenta la Reina, Jaca, Toulouse, (León, Burgos, Saint-Guilhem-le-Désert, Saint-Gilles-du-Gard, among others), and with some attention to Italian, that funneled into the German, and English routes one Spanish camino. Reading ability in at least Students language is required. modern European to the their term-long research will present and as a final paper, class, submit that research assignments shorter reading/presentation prepare the semester. throughout Robert A. Maxwell Arts of Fine Professor Sherman Fairchild PILGRIMAGE TO SANTIAGO DE PILGRIMAGE TO SANTIAGO COMPOSTELA Fall 2019 Art History Course Highlights Art History Course The Institute’s curriculum is vibrant and varied. Below are highlights of the 2018-2019 course listings, and 2018-2019 course highlights of the are vibrant and varied. Below curriculum is The Institute’s be found on the Institute’s can and present list of courses past offerings. A full of the 2019-2020 a preview link] web site. [insert Course Course Highlights

The Institute of Fine Arts Annual 2019 - 2020 84 The Institute of Fine Arts Annual 2019 - 2020 85 Fall 2020 OF MAGIC: FROM LATE THE MATERIALS ANTIQUITY TO ISLAM Finbarr Barry Flood Silsila: Center for Material Histories; William Director, The of the Humanities, Professor R. Kenan, Jr., History Institute of Fine Arts and Department of Art to Magic – a range of diverse practices that aim influence the outcome of things, to bring about it, by the a certain state of affairs or to prevent In manipulation of natural or supernatural forces. such the post-Enlightenment world, the history of practices has often been confined to the margins of – seen as folkish superstition or the persistence (the rabbit the absurd the irrational that ranged from and pulled out of a hat) to the malign (curses, spells pin-stuck dolls). And yet as some of the certainties of the Enlightenment legacy come under scrutiny, as a the history of such practices has emerged The seminar will explore serious subject of study. the evidence for magical practices and techniques in the eastern Mediterranean and Middle East from of Islam around the emergence the centuries before 630 CE to ca. 1500 CE. Although the major focus is the Islamic world, we will assume a on materials from comparative perspective, including materials from THE MANY FACES OF CONTEXT MANY FACES THE Montebello Philippe de in the History and Professor Fiske Kimball of Museums Culture the different is intended to show how This course shown of art are ways in which works places and as well as their response materially affect our classes in an introductory meaning. Four to five a framework will provide format interactive lecture not topics include but are for these issues. Major in displacement from limited to change of meaning and other context to original political, religious context in collections and ‘neutral’, aestheticized installations vs. temporary museums; permanent of museum architecture; role exhibitions; the indexical such as attempts of historical contexts recreation installation issues (both and multiple periods rooms, The grade will be based on intellectual and physical). on museum class participation and on student reports and other site visits. Now one of art history’s most vibrant subfields, most vibrant subfields, Now one of art history’s has played a key role the eighteenth century global turn and in re-thinking in the discipline’s and of art, empire conventional histories circulation the increased Orientalism. By tracing parts of the in different of people and objects on this period have world, scholars working highlighted new conceptions of knowledge, Furthermore, aesthetics, power and sociability. that formerly devalued they have ensured concepts tied to eighteenth-century practices pleasure, – among them luxury, and patrons hybridity, wonder, sensuality, femininity, leisure, Yet and consumption – be taken seriously. while the physical exchanges of eighteenth- century artworks, peoples, and things from the globe has been the subject of recent around less attention has been paid to scholarly inquiry, conceptual affinities – notably a mutual emphasis and decline – that existed between on pleasure For disparate geographical and cultural locales. instance, how might we enrich or complicate the story of eighteenth-century art and culture by putting Indian or Chinese paintings of palace fêtes galantes? in dialogue with French gardens Our contention is that these kinds of global comparisons will not only yield a richer formal of and conceptual understanding of each type artwork, but will also enable us to ask larger and methodological questions related theoretical By examining they share. to the common grounds and power how intertwined histories of pleasure or local, trans-regional, mediated across were contexts, we hope also to contribute intercultural to scholarly debates beyond art history and to and teaching projects encourage new research agendas. Meredith Martin Meredith of Department of Art History, Associate Professor Art History EMPIRES OF PLEASURE ACROSS OF PLEASURE ACROSS EMPIRES CULTURES EIGHTEENTH-CENTURY Dipti Khera Department of of Art History, Associate Professor Art History Spring 2020 Spring Laura McCann Conservation Librarian, Barbara Goldsmith and Conservation Department, New Preservation Libraries University York Conservation is critical to the success of different libraries. Students functions in academic research observations, lectures, through will be introduced, of conservation in to the role and readings, cataloging, processing, accessioning, archival exhibiting, loaning, and digitizing workflows. The demand for conservation to support growing activities will also be teaching and research discussed. conservation activities specific to Preventive holdings archival libraries with large research in the course include iterative housing addressed Conservation Course Highlights Fall 2019 CONSERVING IN CONTEXT: CONSERVATION IN MATERIALS 19TH AND 20TH-CENTURY ACADEMIC RESEARCH LIBRARIES of class struggle among a range of players -- of players among a range struggle of class socialists and communists military, the republicans, Dada to the nascent in relation -- is discussed and the rise of Neue Sachlichkeit. movement Republic the strife that rocked The economic rise of as is the is chronicled, in its early days among to the crisis responses socially-engaged exchanges Bauhaus. German/Soviet artists of the to the International discussed in relation are and its social agenda. The Constructivist movement is analyzed, in Weimar position of women artists in science, the development breakthroughs as are of technological modernism, and the formation Responses to shifts of new visual technologies.. of cultural and social in the identity and meaning modernityby members of the Frankfurt School and Sigfried Kracauer) are Benjamin (Walter rise of fascist ideology in depth, as is the considered cultural and political the 1920s and the throughout The final lectures gambits of National Socialism. the focus on the Entartete Kunst exhibition and condition of suffering and exile among avant-garde artists and social theorists.

This course is a general survey of art and culture This course is a general survey of art and culture Republic (1918-1933). It begins during the Weimar with the declaration of the Republic in the wake One and the so-called “End of War of World The combative environment Expressionism.” Robert Lubar Messeri of of Masters Studies; Associate Professor Director Fine Arts ART IN GERMANY BETWEEN THE ART WORLD WARS pre-Islamic cultures as well as from the other from as well as cultures pre-Islamic Christianity. and of Judaism traditions monotheistic had an uneasy monotheism have often Magic and the nature In fact, debates about coexistence. might cause of such practices and permissibility magic, in the utility of the term us to question pejorative applications and often light of its broad the history Relevant studies on connotations. lands have tended to of magic in the Islamic approach. textual or philological assume a purely expand the frame to consider the extant will We what it can tell us about material evidence and of knowledge, between systems the relationship and technologies. material mediation, techniques mass- gamut from Surviving objects run the unique talismans amulets to gems and produced elites. They range from for pre-modern produced images to artifacts and schematic hand-drawn rough ornamented, carefully skillfully crafted and that were aesthetics and between highlighting a relationship across efficacy that is often counterintuitive. Seen for the longue durée, such objects offer evidence that continuities, transformations and innovations constitute the complex temporalities of “magical” artifacts. This temporal dimension often includes attempts the moment of making, reflecting with sympathetic relationships to orchestrate and auspicious conjunctions of the planets, stars orchestration zodiac. In addition to their careful relationships between time, matter, of efficacious had image, and inscription, many “magical” objects designed They were to the body. a close relationship not simply to be seen, but also touched, tasted multiple intersections and even ingested, reflecting between the theory and practice of magic and of medicine. Such practices challenge the primacy with vision and the disembodied modes of engaging artifacts and images canonized in and as modernity, the with implications for how we moderns approach objects of our study.

The Institute of Fine Arts Annual 2019 - 2020 86 The Institute of Fine Arts Annual 2019 - 2020 87 INSTRUMENTAL ANALYSIS II ANALYSIS INSTRUMENTAL Leona Marco Dr. The Metropolitan David H. Koch Scientist in Charge, Museum of Art The course is a continuation of Instrumental a fundamental background Analysis I and provides number of for the understanding of the increasing analytical methods that find application in the field of conservation. The course focuses on methods of instrumental analysis used for the study of organic on the specific techniques are materials. Lectures accompanied by hands-on demonstrations and developing aimed toward laboratory exercises student capability for independent use. Spring 2020 This course will focus on treatments of damaged of damaged This course will focus on treatments and painted surfaces and will consider both canvas glass, solid supports including wood, metal, plastic, part of the semester and other substrates. A large will be dedicated to consolidating and securing will include unstable paint films. Other topics covered humidification and surface cleaning, tear repair, students In the course of the semester, treatments. will gain familiarity with both historical and modern aesthetic conservation materials, as well as related of issues. This course is required and theoretical students paintings conservation students, but open to of all specialties. Julie Barten Senior Paintings Conservator and Associate of Conservation Affairs, Solomon R. Director Guggenheim Museum EASEL PAINTINGS II: PAINTED SURFACES SURFACES II: PAINTED EASEL PAINTINGS ON SOLID SUPPORTS Lena Stringari and Chief Conservator, Deputy Director Solomon R. Guggenheim Museum Students refine their planning, documentation, Students refine skills focusing on and book and paper treatment 19th and 20th-century materials. The treatment in the of brittle paper is a special topic covered is course. Batch conservation skill development and emphasized to meet the needs of archival digitization workflows. In the Barbara Goldsmith students will survey, Conservation Laboratory, and house NYU Libraries Special document, treat, may Collection materials. Objects to be treated documents, ledger include scrapbooks, archival bindings, books, newspapers, sets of publisher’s and pamphlets. methodologies and IPM strategies. In addition to methodologies and IPM strategies. In addition conservation on preventive and readings lectures students will participate in libraries, in research materials archival acquired inspections of recently and consultation with archivists. MAJOR TOPICS IN RARE BOOK CONSERVATION Alexis Hagadorn Head of Conservation, Columbia University Libraries and selected literature of relevant review Through the student will become familiar projects, treatment strategies, and ethical with common approaches, of conservation treatment considerations regarding books. With the goal of contextualizing paper rare when applied to bound formats, guided treatments may and treatments will be considered readings sewing include washing, sizing, mending, guarding, discussion the textblock and binding. Weekly in a sessions will augment time for treatment conservation lab. library’s research Fall 2020 Fall OF WORKS & STRUCTURE TECHNOLOGY MATERIALS I: ORGANIC OF ART Marincola Michele Coordinator: of Distinguished Professor Sherman Fairchild Conservation faculty and consultants with Conservation Center conservation first-year The course introduces materials and the methods students to inorganic and archaeological works of art, used to produce and other historical artifacts, ethnographic objects, their deterioration and as well as to aspects of is placed on the histories. Emphasis treatment of materials and description accurate identification and evaluation of techniques, the identification of subsequent alterations, and an understanding As much as is practical history. of treatment and possible, students learn looking at and by Each student is required examining objects directly. per semester on objects oral reports to give three in the study collection and at The Metropolitan of Museum of Art. Classes may be a combination and laboratory. lecture

This course will educate time-based media art will educate time-based This course and theory, students in the history, conservation and conservation practice of the preservation student will trace the of audiovisual art. The evolution of sound and technological and artistic looking at specific moving images as a medium formats and carriers. film, video, and audio historical be paid to relevant Particular attention will and their effect on artistic developments in industry and thought. Complementing practice, display, and technological in the historical this grounding medium, the student evolution of each audiovisual to assessment, treatment, will apply this knowledge in practical, and conservation decision-making hands-on settings. The student will learn how to used inspect, assess, and play back most formats in audiovisual artmaking practice. This will involve film material, working inspecting and projecting various analog with audio and video reproducers, and digital monitors, oscilloscopes, and related among other and software, audiovisual hardware the student will work activities. In the digital realm, tools to expose and document technical with software digital audio analyze metadata, learn how to properly using a and video playback, and perform treatments tools and commands. The student host of different and document provenance will conduct research; migration, exhibition history; perform analog to digital both independently and with vendors; transcode files for exhibition purposes; and analyze display The equipment of time-based artworks in collections. in the student a foundation objective is to provide of the technological history and significant properties to well equipped audiovisual formats so that they are media art. work with diverse collections of time-based THE CONSERVATION OF AUDIOVISUAL ART AUDIOVISUAL OF CONSERVATION THE Peter Oleksik Museum of The Conservator, Associate Media Modern Art

The Institute of Fine Arts Annual 2019 - 2020 88 2019-2020 GRADUATES Sense and Sensibility: The Museum of Conceptual Experiment in San Art and the Counterculture Francisco, 1968-1970 Advisor: Thomas Crow Sizhuang Miao and the Movement The Chinese Woodcut during the Sino-Japanese War, Newspaper Press 1937-1945 Advisor: Jonathan Hay Kasalina Maliamu Nabakooza Excavating the Museum: Buganda Collections in the United Kingdom, 1898 – 2020 Advisor: Christine Poggi Nicholas J. Nguyen Ken Li Zen, and Beyond Miró and Japan: Wabi-Sabi, Advisor: Robert Lubar Messeri Lipsman Claire and the Mode à la Mode: Fashion Dolls, Dress, Living Body in the Early Modern Era Advisor: William Hood Chloe Lovelace of Memory: Spolia and the Little The Architecture Metropolis Advisor: Thelma K. Thomas Peter Moore Johnson Peter Moore of Identity in Royal and the Construction Archaism Kushite Stone Sculpture Advisor: Kathryn Howley Angelika Klein At Peace II Memorial: War The National World Memorial Between Monument and Advisor: Jean-Louis Cohen Damasia Lacroze of Liliana Maresca Party and Revolt: The Early Works in Post-Dictatorship Argentina J. Sullivan Advisor: Edward Scout Hutchinson the Red Power Space: Land Art and Occupying c. 1965–1978 Movement, Slifkin Advisor: Robert

Juliet Huang as a Epistles of the Heroines Louise of Savoy’s Fashion Statement Advisors: Alexander Nagel and Colin Eisler Visual Representations of Modern Dance through the the of Modern Dance through Representations Visual and Carlos Mérida of José Clemente Orozco Work J. Sullivan Advisor: Edward Emireth Herrera Valdés Herrera Emireth Marisa Kate Henthorn Reclaiming Nectanebo II: The Legacy of an Egyptian Pharaoh Advisor: Kathryn Howley Jiahui He Nusrati’s Reimagining is a Garden: The World an of Love) Through Gulshan-i ‘Ishq (Rose Garden Eighteenth-century Deccani Illuminated Manuscript Advisor: Dipti Khera Andrés González Ontology That or Which Monument: A Nonrestrictive Pavilion, 1929/86 in the Barcelona of Reproduction Advisor: Jean-Louis Cohen Spatial Poems/Spatial Politics: An Aesthetics of Spatial Poems/Spatial Politics: An Aesthetics Precarios Resistance in Cecilia Vicuña’s Advisor: Robert Slifkin Makenzi Fricker Danarenae Donato Danarenae Castello Paintings for the Chapel of the Mantegna’s and Reinterpreted Reconfigured di San Giorgio Advisor: Alexander Nagel Mariano Fortuny y Marsal: Perceptions of Orient and Perceptions Mariano Fortuny y Marsal: of Culture Other at the Crossroads Messeri Advisor: Robert Lubar Maria del Carmen Barney Kiki Madeline BarnesKiki Madeline Postmodernism, Post-Humanity, Back to the Future: work of Nix and Gerber and the Sublime in the Advisor: Robert Slifkin May 2020 Master of Arts Graduates Master of Arts May 2020 Titles and Thesis Institute Institute Graduates

The Institute of Fine Arts Annual 2019 - 2020 90 The Institute of Fine Arts Annual 2019 - 2020 91 IFA Contemporary Asia organizing committee clockwise from left): committee clockwise from Contemporary Asia organizing IFA Cindy Qian, Kristie Lui, Eric Goh, Eana Kim and Titi Deng. Sihan Zhang Relation Between The Troubled Gustave Moreau: and the Complex Enigma of Androgyne Sexes Two Advisor: Thomas Crow Jenni Zhang China in of Tropical The Overrepresentation Eighteenth-century Meissen Chinoiserie: The Territorial Expansion, European Influence of Chinese in Southern China, and Early Occidental Presence Sinological Publications on Meissen Iconography Advisor: Colin Eisler Fang Gina Xu of Dunhuang Clay Sculptures Unfired Shen Advisor: Hsueh-man Zambrano Andrea in the Mexican Story: The Murals The Female Voice Swann at Raull, and Valetta of Fanny Rabel, Regina 1963-1964 Antropología, the Museo Nacional de J. Sullivan Advisor: Edward Shelly Zhang Zan’s The Social and the Ritual: Reconsidering Ni Painting and Inscription Advisor: Jonathan Hay Yinxue Wu Yinxue Artist A Female Bal Bullier: Delaunay’s Sonia the Tango Rendering Poggi Advisor: Christine Wu Ashley Nga-sai Coast on the West Artistic Practices Buddhism and Crow Advisor: Thomas Xiaofan Wu Art in Post-Sense Video At the Crossroads: Sensibility: Alien Bodies and Delusion Advisor: Jonathan Hay Les regnars traversans and Its Models: Allegory, traversans and Its Models: Allegory, Les regnars the Printed and Mutable Identity from Iconography, to the Painted Page Advisor: Robert Maxwell Grace Walsh Lauren Vaccaro Lauren Accessorizing Identity: Fashion and Self- in Surrealism representation Advisor: Christine Poggi It’s About Time: The Display and Integration About Time: The It’s of Contemporary Art(ists) at Historic Sites and Museums Traditional Martin Advisor: Meredith Emily B. Stein Anastasia Skoybedo Current” Life in Art: Aleksandr Labas and the “Third of Soviet Art Advisor: Jean-Louis Cohen Samantha H. Rowe Between Ephemera and Art: Reevaluating and Material in the Museum Reassessing Archival Context Advisor: Robert Slifkin The Ingenuity, Virtuosity, and Functionality of Virtuosity, The Ingenuity, and his by Guercino Fictive Drawings in Paintings Predecessors Advisor: Linda Wolk-Simon Sarah Poisner Amanda Pina Reflecting on Female A Renaissance of Nymphs: Prints of the Sexuality in the Sixteenth-century School of Fontainebleau Advisor: Colin Eisler Theatricality, Painting, and Politics at Český Painting, and Politics Theatricality, Masquerade Hall Krumlov’s Martin Advisor: Meredith Anastassia Perfilieva Anastassia Jiayuan Peng Jiayuan 1821 Belzoni’s Showmanship: and Adventure the Egyptian Hall Exhibition at Howley Advisor: Kathryn Elizabeth Frasco Artists of the New Deal and American Women Mexico, 1934-1943 J. Sullivan Advisor: Edward Madeleine Glennon and Sensorial Medusa in Context: Mythological Connections of the Gorgon Advisor: Clemente Marconi Jordan Famularo Jordan 1450-ca. 1550 Art, ca. of Italian and the Media Gems Nagel Advisor: Alexander Feldman Julia Pelta and the 1970s Charles Simonds Crow Advisor: Thomas

Benjamin Carlos Clifford Painting After Modernism: Rethinking Historical Change Advisor: Robert Slifkin Grace Chuang Master Cabinetmaker in Bernard (II) Vanrisamburgh, Eighteenth-century Paris Advisor: Thomas Crow Rachel Boate Embodied Abstraction: The Crisis of Representation in 1930s France Advisor: Robert Lubar Messeri Specters of Fascism in Post-Conceptual Art, Specters of Fascism in Post-Conceptual Art, 1974 - 1984 Advisor: Robert Slifkin Alexander Bigman Brian Bentley 1960s Brazilian Pop Artists of Underdevelopment: New Objectivity J. Sullivan Advisor: Edward Performance and Video Work of Bruce Nauman, Paul Work Performance and Video McCarthy and Mike Kelley Advisor: Thomas Crow May 2020 PhD Graduates and Thesis Titles Emily Bauman Andrew Wolf Andrew Experimentation in the “Wild Grammar”: Linguistic of James Castle Works Text-based Advisor: Kent Minturn Transcription de l’Egypte: Drawings, Prints, and Transcription de l’Egypte in the Description Representation Holben Ellis Advisor: Margaret Joan Mitchell: Drawings by a “Painter’s Painter” Drawings by a “Painter’s Joan Mitchell: Ellis Holben Advisor: Margaret Katherine Parks Rachel Mochon May 2020 Master of Arts and Master Master Arts and of 2020 Master May Graduates Dual-Degree of Science Titles and Thesis

The Institute of Fine Arts Annual 2019 - 2020 92 IN DISCUSSION

In this Section

PUBLIC PROGRAMMING AT THE INSTITUTE Pixy Liao Isca Greenfield-Sanders Paul Chan Artists at the Institute in one location advantage of the Institute’s Taking leading art centers, the Graduate of the world’s artists to discuss their Student Association invites in 1983, these talks are work at the Institute. Begun gift in memory of Institute now funded by a generous the series. who inspired Kirk Varnedoe, professor Kiki Barnes, were The 2019-2020 Coordinators Wu. Yinxue Blake Oetting, and Herrera, Emireth 2019-2020 Artists Paul Chan Isca Greenfield-Sanders Pixy Liao

, by Bonna Wescoat was presented This lecture of Art History, Samuel Candler Dobbs Professor of Emory University and Emory University; Director Gods, NYU Excavations, Sanctuary of the Great Samothrace. Archaeological Research Research Archaeological at Samothrace , by Clemente Marconi was presented This lecture in the History of Greek Professor James R. McCredie The Institute of Fine Arts, NYU; Art and Archaeology, of Excavations at Selinunte. Director Project Archaeological Research Research Archaeological at Selinunte This annual lecture brings together members of brings together This annual lecture to discuss their excavation team the Aphrodisias recent their most results from research findings and trip to the site. by Roland R. R. was presented The fall 2019 lecture of Classical Archaeology Smith, Lincoln Professor of NYU Director and Art, University of Oxford; , ; and Katherine Welch Excavations at Aphrodisias of Fine Arts, The Institute of Associate Professor at Aphrodisias. Fine Arts, NYU; Deputy Director Archaeological Research Research Archaeological at Aphrodisias

Annual Lecture Series, Annual Lecture Consortia Colloquia, and This list includes events held between September 1, 2019 and June 31, 2020. Due to COVID-19 and with Due to COVID-19 and and June 31, 2020. September 1, 2019 events held between This list includes or cancelled this spring were our annual lectures in mind, many of safety of our community the health and about events at information For more moved to an online format. were Other public programs postponed. on our website. archive please see the events the Institute, Public Public Programming Highlights

The Institute of Fine Arts Annual 2019 - 2020 94 The Institute of Fine Arts Annual 2019 - 2020 95 China Project Workshop Project China and Judith LernerAnnette Juliano , Institute New York of the Ancient World, for the Study exhibition on discussed an upcoming University, moderated by The discussion was Inner Mongolia. Museum). (Asia Society Adriana Proser Peng, Department of Art, American Ying-chen on her latest research presented University, the Fifteenth- “Ryuku Kingdom and project, in East Asia.” The Century Maritime Trade by Buyun Chen discussion was moderated College). (Swarthmore Thomas Kelly, Department of East Asian University, Harvard Languages and Civilizations, practices and on Huizhou merchants presented late Ming China. The of inscribing objects in discussion was moderated by Michele Matteini and The Institute of (Department of Art History, University). Fine Arts, New York , Department of Religious Studies, Jason Protass spoke on digital humanities and University, Brown “Buddhist Rituals across his GIS-inflected project of China, 1065-1130.” The Social Topography Chou discussion was moderated by Wen-shing (Hunter College). Jessica Harrison-Hall, Department of Asia, The British Museum, discussed an upcoming British Museum exhibition on nineteenth-century China. The discussion was moderated by Jonathan Hay University). (The Institute of Fine Arts, New York Brooklyn Museum Senior Curator of Contemporary Art, Brooklyn John and Barbara Vogelstein Eugenie Tsai, Eugenie Tsai, John and Barbara Vogelstein Senior , John and Barbara Vogelstein Eugenie Tsai Museum Curator of Contemporary Art, Brooklyn Director, Grey Art Grey Gumpert, Director, Moderated by Lynn NYU Gallery, Curators in Conversation Professor of Art History, UCLA of Art History, Saloni Mathur, Professor , Curator of Modern and Contemporary Beth Citron Art, Rubin Museum of Art Curating South Asian Modernism Sean Anderson, Associate Curator of Architecture and Design, The Museum of Modern Art The 2019-2020 organizing committee were Eana Kim, Eana Kim, committee were The 2019-2020 organizing Goh, and Cindy Qian. Titi Deng, Kristie Lui, Eric IFA Contemporary Asia invites distinguished Asia invites Contemporary IFA to speak at artists, and writers scholars, curators, understanding to foster greater in order the Institute of modern and contemporary Asian and recognition at the by students Organized the world. art around as faculty Jonathan Hay Professor Institute with long- this forum augments the Institute’s advisor, with Asia by highlighting standing engagement on modernnew and dynamic scholarship and The series will consider Asian contemporary Asian art. Pacific, and the Asian continental Asia, Asia art from vital the forum will address diaspora. In doing so, the as well as promote issues of cultural exchange, study of local artistic initiatives. IFA Asian Contemporary Art Forum Contemporary Asian IFA Yvonne Shashoua Yvonne Lucy Commoner Judith Praska Distinguished VisitingJudith Praska Distinguished and in Conservation Professors Studies Lecture Technical established by an This visiting professorship, named in honor of the anonymous donor and a prominent welcomes grandmother, donor’s who is advancing new areas conservator or scientist to the and teaching in art conservation for research Institute each semester. Shashoa Yvonne Professor Judith Praska Distinguished Visiting (Fall 2019) Title: Plastic - a witness to our time Lucy Commoner Professor Judith Praska Distinguished Visiting (Spring 2020) Title: Outside In: Museum Conservators Collaborating with Guest Curators The Paul Lott Lecture Paul Lott The Koeppe Wolfram The Metropolitan Curator, French Marina Kellen Art Museum of Splendor at the Marvels: Science and Title: Making Courts of Europe

Madeline Murphy Turner PhD Candidate,The Institute of Fine Arts Title: Shifting Priorities: Mexican Muralism Revisited Dr. Lynda Klich Lynda Dr. Hunter College, of Art History, Assistant Professor CUNY Edward J. Sullivan Edward in the History of Art; Professor Helen Gould Shepard The Institute of Fine Arts Deputy Director, Title: Brazilian Modern: Art of Roberto The Living Burle Marx Anna Indych-López Dr. of Latin American and Latinx Art, The Professor Graduate Center and The City College of New York, CUNY Isabela Ono Marx Institute, Rio Roberto Burle Executive Director, de Janeiro Cristóbal Jácome-Moreno Museum of Art Metropolitan Fellow, Research Whiting Tyrone Newark, NJ of Music, Grace Church, Director Title: Musical Homage to Roberto Burle Marx Joanna Groarke of Public Engagement and Library Director Exhibitions Curator Latin American Forum Sponsored Forum Sponsored Latin American for Studies on Latin by the Institute American Art (ISLAA) Dr. Zainab Bahrani Zainab Dr. New York Columbia University, Babylonian Paradigm: towards Title: Aby Warburg’s irrational in the “Bilder Atlas” an epistemology of the The Walter W.S. Cook Alumni Lecture Series Series Cook Alumni Lecture W.S. The Walter of the in 1959 on the occasion was inaugurated mansion, the of the James B. Duke dedication The series, Institute of Fine Arts. home of the current in honor alumni to speak prominent which invites Alumni by the Institute’s Cook, is organized of Dr. Association. Walter W.S. Cook Annual Lecture Annual Cook W.S. Walter

The Institute of Fine Arts Annual 2019 - 2020 96 The Institute of Fine Arts Annual 2019 - 2020 97 Daniel H. Silberberg Lecture Series Daniel H. Silberberg Lecture series at The Institute The longest running lecture invites art historians, of Fine Arts, this program and conservators, specializing in a archaeologists, their latest to share variety of periods and genres with the Institute community and the general research Peter were public. The 2019-2020 Coordinators Johnson, Rebecca Salem, and Shannah Rose. Philip Sapirstein The University of of Art History, Assistant Professor Nebraska-Lincoln at of Hera Title: Digital Autopsy and the Temple Olympia: Rethinking the Beginnings of Greek Monumental Architecture Lia Markey of the Center for Renaissance Studies, Director Newberry Library Dudley’s Title: Mapping Brazil in Medici Florence: (1646-1647) del Mare Arcano Rune Nyord Dr. Emory University Assistant Professor, Inhabiting Title: Ancient Egyptian Living Statues: From than Representation Souls to More art. Distinguished scholars from abroad present about present abroad from scholars art. Distinguished Students year. academic in a typical the papers half of to attend these invited of Fine Arts are of the Institute Doctoral participate in the discussions. meetings and their papers describing have presented candidates comments and advice and received doctoral research scholars of international renown. from Evi Margaritis in Science and Technology Assistant Professor, The Center, Research and Culture Archaeology Cyprus Institute Aegean Landscapes of the Title: Farming the Marginal in the Cycladic Age: The Site of Dhaskalio Bronze Archipelago Watrous L. Vance of Art, University at Buffalo, Department Professor, SUNY Cities of Two Title: Gournia: A Tale New York Aegean Bronze Age Aegean Bronze New York Colloquium Age Colloquium, Aegean Bronze The New York founded in 1974, is celebrating its 46th year at the Institute. The Colloquium is internationally new venue for presenting as a premier recognized Age discoveries and ideas in the Aegean Bronze and Eastern Mediterranean prehistory and related Jerrilynn Dodds of Harlequin Adair Dammann Chair in the History College Art at Sarah Lawrence Title: Mozarabic and Romanesque Isabelle Marchesin Université de Poitiers & de conférences, Maître de Institut national d’histoire Advisor, Research l’art, Paris Gospels: Giving Form and Title: Early Carolingian Word Substance to God’s Charlotte Denoë Department of Manuscripts, Chief Curator, Bibliothèque nationale de France Sacramentary: New Perspectives Title: The Drogo on its Ivory Plaques Medieval Art Forum Aaron Hyman Aaron Johns Hopkins University in Bits and Pieces, Title: Reforming the Baroque, Latin America from Eleanor Harvey American Art Museum Senior Curator Smithsonian and the United Title: Alexander von Humboldt and Culture states: Art, Nature, Amanda Wunder York City University of New Associate Professor, Graduate Center Lehman College and The Making Spanish Title: A Couturier at Court: Velázquez Fashion in the Age of The Roberta and Richard Huber Huber and Richard Roberta The Visual and on the Arts Colloquium and of Spain Culture Americas the Colonial Time-Based Media Lectures Jonah Westerman Purchase SUNY: of Art History, Assistant Professor College of Medium- Title: Performance Art and the Problem Definitions and Documentation in Practice Gloria Sutton of Contemporary Art History at Associate Professor Affiliate in Northeastern University and a Research at MIT Program Technology the Art Culture Title: Pattern Recognition: Contemporary Art in the Age of Digitality methodological approaches, including, but not but including, approaches, methodological proposals and geographic to, temporal limited this lens, South Through nature. of an innovative further to foster and strengthen & About! seek communities via creative within interconnections exchanges. intellectual Amalia Cross Pontificia Universidad PhD Student in History, Research Chile. Visiting Católica de Santiago, Scholar at CUNY. of Revolution Taken Title: The Museum in Times Over by Red Muses Mia Curran CUNY Center, PhD Student at the Graduate Markets’: The Newspaper Title: ‘Highlights of the Ramos Martínez of Alfredo Works Chagas Elise Y. Princeton University PhD Student in Art History, the Atlantic: Architectonic Title: Axonometry Across Arte Madí Luisa Valle The Graduate Center, PhD Candidate in Art History, CUNY the Modernist Curve: Mary Vieira’s Title: Twisting Polyvolume: Meeting Point, 1960-1970.

South & About! With the aims of opening informal communication channels among graduate students of the New to the arts of focusing on topics related Area York Latin America Latin America and the Caribbean, IFA South & About! This workshop series has created as a student-run initiative striving to is structured open a casual space for dialogue and peer-to-peer of emerging feedback on the work in progress thematic focus scholars in our field. South & About’s and welcomes interdisciplinary is broad Janet DeLaine College, Oxford Wolfson Emeritus Fellow, Dilemma: Exploring the Title: The Patron’s Economics of Roman Imperial Architecture Verity Platt Verity Cornell University Professor, Divine Framing the Title: Bodies, Bases and Borders: Antiquity in Greco-Roman Paul Stephenson University of London Lincoln Title: Late Roman Lead Caskets from Ellen Morris Barnard College, Columbia University Professor, of social Title: Exploring the reverberations material in times of famine in Egypt’s revolution worlds and cultural memory The Seminar on Ancient Art and Archaeology invites on Ancient Art and Archaeology The Seminar with the research their current share scholars to Institute of Fine Arts and community at The research with and to meet and talk area, in the metropolitan of Ancient Art and students. The study graduate IFA in its development. is at a critical stage Archaeology been characterized by years, this field has In recent under the of approaches, range an ever-increasing such as sociology, influence of various disciplines reception anthropology, semiotics, gender theory, and hermeneutics. The scope of this theory, aspects of ancient art and key Seminar is to explore state of the and to assess the current archaeology, subjecting its current and discipline by reviewing implications, methodologies, and theoretical larger to critical scrutiny. of research directions Seminar on Ancient Art and Art and Ancient on Seminar Archaeology

The Institute of Fine Arts Annual 2019 - 2020 98 The Institute of Fine Arts Annual 2019 - 2020 99 The Institute of Fine Arts hosted an evening of jazz The Institute of Fine Arts hosted an evening NYU’s at the Duke House featuring students from Jazz Program. Steinhardt The New Monuments and the End of Man The Institute hosted a discussion between Robert Robert Slifkin and Martha Rosler on Professor new book The New Monuments and the End Slifkin’s and Peace, Between War of Man: U.S. Sculpture 1945-1975. Special Engagements by The Art of Music: Concerts Strings NYU Steinhardt classical concerts The Institute hosted several Department of Steinhardt’s featuring students from Arts. Music and Performing Jazz Studies NYU Steinhardt Chika Okeke-Agulu Chika Professor Visiting Varnedoe 2020 Kirk Spring Scale Triumphant Title: El Anatsui: Elizabeth Lee PhD Candidate the and Buddhas, Travellers, Title: Stone Korea Landscape of Medieval Constructed series. In Progrss Works Alexander Bigman in the

Robert Slifkin of Fine Arts Associate Professor at Day Job: Chauncey Hare Title: Quitting Your Oil Standard Shelley Rice Arts Professor Evolutions?: Reflections or Creative Title: Frozen and Aging Imaging Notes on Women, Alexander Bigman PhD Candidate in Gretchen and Transcendence Title: Terror Theater Electronic Bender’s The Works In Progress series was initiated in 2013 series In Progress The Works a to create Student Association by the Graduate doctoral faculty and advanced where collegial forum and ongoing research. current present students can the series students and faculty, Open to current the conversations beyond to facilitate aspires about and research, about methodologies classroom issues. The and interdisciplinary specific projects talks augment the rich intellectual In Progress Works and and faculty, exchange between students the Institute of Fine Arts. The among colleagues, of Allen, Phoebe Sam were 2019-20120 coordinators Summer Sloane-Britt, and Herland, Rebecca Salem, Peter Thompson. Marvin Trachtenberg of the History of Fine Arts Edith Kitzmiller Professor splendidly Title: A false start: Brunelleschi’s dysfunctional Innocenti project Works in Progress Works Edward J. Sullivan Edward in the History of Art; Professor Helen Gould Shepard at The Institute of Fine Arts Deputy Director Series Summer Projects A series of informal talks by conservation students La at Villa about their summer work projects excavations, and in Pietra, Institute-sponsored private and museum laboratories, libraries, archives, conservation studios. Finbarr Barry Flood of the Humanities, Professor William R. Kenan Jr. and the Institute of Fine Arts and College of Arts University; Founder-Director Sciences, New York York of Silsila: Center for Material Histories, New University Landscapes of Construction and Extinction: Art and Ecology in the Americas Healing Dust and Printed Cures: Healing Dust and Printed Cures: in of Protection Technologies Medieval Islam

Assistant Professor for Contemporary Art History, for Contemporary Art History, Assistant Professor Louisiana State University Allison Young Ana María Reyes in the History of Latin American Assistant Professor Boston University art and architecture, Sohl Lee in Modern and Contemporary Assistant Professor East Asian Art History and Criticism, Stony Brook University Adrienne Edwards Engell Speyer Family Curator and Curator of Art Performance, Whitney Museum of American Prajna Desai Fellow in the Global Research Asia Research Initiative at the Museum of Modern Art, New York Assistant Professor of African Art History, Rutgers of African Art History, Assistant Professor University Sandrine Colard The Institute hosted a conference which addressed which addressed The Institute hosted a conference and the ways various issues impact the making exhibition of contemporary global art, and the display and ownership of the art of formerly colonized peoples. Representation and Reparation in Representation Global Contemporary Art

The Institute of Fine Arts Annual 2019 - 2020 100 The Institute of Fine Arts Annual 2019 - 2020 101 La Dolce Villa! Conservation Projects Villa!La Dolce Projects Conservation Pietra at La Sasha Arden Hershman for Lynn Prototypes Flash Migration SFMoMA “Agent Ruby,” Leeson’s Sarah Montonchaikul Blu Camera from treatment Armorial Tapestry ‘82 Deborah Trupin Consultant & Supervisor: Montonchaikul Celeste Mahoney & Sarah gardens the Villa from statues Treating Wheeler ‘81 George Consultant & Supervisor: Hamilton Nicole Feldman & Tess cleaning of polychrome Stabilization and surface and “St. Jerome” including “St. John” sculpture, Sala a Saint” from Sala Rossa, and “Bust of from Crocifisso ‘79 Consultant & Supervisor: Jack Soultanian, Jr. & Natasha Kung Hamilton Tess the from of 18th-century Medici prints Treatment Corridoio technico Consultant & Supervisor: Rachel Danzing ‘92 Lintala Nicole Feldman, Emma Kimmel & Derek Stabilization and toning of paintings in the Camera panel) and panels; one Greek Blu (two Cretan the Corridor “Landscape with Ferry on a River” from ‘96 Consultant & Supervisor: Jean Dommermuth ‘15 Soon Kai Poh ‘19 & Melissa Tan conservation Preventive Roemich Consultant & Supervisor: Hannelore Adrienne Gendron of a maiolica pharmacy jar Conservation treatment Consultant & Supervisor: Pam Hatchfield ‘86 Kristin Holder Museo Nacional del Prado, Madrid, Spain Emma Kimmel Austria Kunsthistorisches Museum, Vienna, CONSERVATION PAINTINGS Shaoyi Qian Shanghai Museum, Shanghai, China PAPER, BOOK, AND PHOTO CONSERVATION PAPER, Catherine Stephens NY New York, Public Library, New York

TIME-BASED MEDIA Healy Taylor The Scottish National Gallery of Modern Art, UK Edinburgh,

OBJECTS CONSERVATION Adrienne Gendron University of Pennsylvania Museum of Archaeology Philadelphia, PA and Anthropology, Celeste Mahoney of Rosa Lowinger Associates to: RLA Conservation Art + Architecture

, The Archaeological , The Archaeological Sarah Montonchaikul Turkey Exploration of Sardis, Conservation in the Looking Closer: Museum , Selinunte Lintala Nicole Feldman and Derek Excavations, Sicily Archaeological , Archaeological Excavations in Excavations Hamilton, Archaeological Tess Greece Samothrace, , Aphrodisias Excavations, Turkey Excavations, , Aphrodisias Natasha Kung Digging Deeper: Conservation Conservation Deeper: Digging Field In the Spring 2019: Fanny Sanín’s New York: The New York: Spring 2019: Fanny Sanín’s Critical Decade, 1971-1981 The Critical Decade, New York: Fanny Sanín’s evolving practice of the artist’s 1971-1981 explores geometric abstraction during her first decade living City after a successful and working in New York in Colombia, in London, and in Monterrey, career Mexico. It also coincides with the publication of monograph of the artist multi-authored the major, Language of Color and Fanny Sanín: The Concrete Structure. Duke House Main Floor Exhibition Series Duke Duke House Main Floor Exhibition Series The art to House Exhibition Series brings contemporary House. the walls of the landmarked James B. Duke of The work is displayed in the Gilded Age interior juxtaposing of the Duke family, the former residence the historic with the contemporary and inviting future viewers to engage with both the past and the The Critical New York: of the Institute. Fanny Sanín’s funded by the Decade, 1971-1981 is generously Institute of Studies on Latin American Art (ISLAA). The spring 2020 exhibition was curated by Edward Chang, Megan Kincaid, and Anastassia Perfilieva. Spring 2020: Xaviera Simmons: Posture Simmons: Posture Spring 2020: Xaviera performance, photography, Encompassing video, Simmons’ installation, and sculpture, in the is rooted sweeping aesthetic practice rigorous of formal processes, interconnectedness the concept of social and research, archival for the ramifications of and material reparations colonialism with whiteness as its center.

her exhibtiion in the Duke House. Fanny Sanin greeting a school group from The College of Mount Saint Vincent’s printmaking program during the opening of during the opening printmaking program The College of Mount Saint Vincent’s from a school group Fanny Sanin greeting

Great Hall Exhibitions Great Dakin Hart The Noguchi Museum Senior Curator, Panel Discussion with Sarah Peters John Hopkins Department of of Art History, Assistant Professor Fine Arts, and the Institute of Fine Arts, NYU Fall 2019: Sarah Peters: Glossolalists her from Sarah Peters’ figurative art emerges in the formal sculptural practices of distinct interest ancient to modern, resulting historical periods, from a dialogue in a unique visual language creating Set within the between the past and the present. Peters’ mid-size beaux-arts interior, Institute’s aspects embody and address plaster sculptures with the Great while resonating of human nature details, and iron marble floors, gilded wrought Hall’s Neoclassical statues. There are two Great Hall Exhibitions per year Hall Exhibitions per year two Great are There artists. Taking contemporary showcasing prominent place in the fall and spring semesters, the expansive Hall of the Duke House, a historic landmark Great setting for an impressive building, provides displaying seminal contemporary art in the center academic home and community. of the Institute’s Authorized Personnel was made possible through Napoleone XX. The support of Valeria the generous organized Hall Exhibitions were 2019-2020 Great Scout by Institute students Makenzi Fricker, and Juan Gabriel Hutchinson, Deborah Miller, Bolívar. Ramírez

The Institute of Fine Arts Annual 2019 - 2020 102 SUPPORT US

Photo by Wendy Doyon for the North Abydos Project Instagram: @digabydos Executive Committee Stephen R. Beckwith, Chair William L. Bernhard Anne Hoene Hoy Huber Richard Lois Severini Marica Vilcek Alicia Volk Christine Poggi (ex-officio) conversations to keep us connected with curators, conversations to keep us connected with curators, conservators, and art historians. Past in-person of “The Last Knight: events include a Private Tour and Ambition of Maximilian I” The Art, Armor, Arthur Terjanian, exhibition at The Met with Pierre Department Curator in Charge, Ochs Sulzberger of “Pan y Circo: of Arts and Armor; a Private Tour Brodsky’s Appease, Distract, Disruptat” at Estrellita and a day trip to The New York ANOTHER SPACE; Deputy Director, to visit the IFA Botanical Garden exhibition, “Brazilian Modern: The Sullivan’s Edward expand Living Art of Roberto Burle Marx”. Programs City as well with domestic day- beyond New York trips and global experiences. call about the Connoisseurs Circle, learn more To us at (212) 992-5804 or visit our website and click “Support Us.”

Members also receive invitations to exclusive art Members also receive designed especially for their world events that are artist studio visits to faculty- and benefit. From some of New exhibition tours, to visits to curator-led finest private collections, the Connoisseurs York’s Due to offers something for every interest. Circle exclusive organizing currently the pandemic, we are a series of online special events through Special Events Course Auditing the privilege of auditing Institute Members receive courses that cover a range of topics within art Recent and archaeology. conservation, history, The courses include Philippe de Montebello’s, History and Meaning of Museums; Christine Poggi’s Holben Ellis’ ; Margaret Jasper Johns and His Circle of Art on Connoisseurship of Works The Technical Ancient Egyptian Art I: Paper; and Kathryn Howley’s to the Second Intermediate Period. The Predynastic Membership to the Institute of Fine Arts’ patron Membership to the Institute of Fine Arts’ patron offers unparalleled the Connoisseurs Circle group renowned access to our rich academic program, City and and to the art world in New York faculty, beyond. The Connoisseurs Circle Support Support Us

The Institute of Fine Arts Annual 2019 - 2020 104 Legacy Society Corporate Patron Program

The Legacy Society is a group of special alumni, The Corporate Patron Program provides the faculty, and friends who have recognized the opportunity for corporations and small businesses importance of planning their philanthropy by to align their philanthropy with their business and providing for the Institute through their wills and marketing objectives. Our institutional supporters estates, or other gift planning arrangements, such as receive an array of significant benefits in addition gifts that pay income to the donor. We are pleased to the unique ability to entertain at our historic to honor the generosity of our Legacy Society landmark building, the James B. Duke House. members. Their loyalty to the Institute will further art history, conservation, and archaeology scholarship To learn more about the program, and discovery for years to come. please contact us at (212) 992-5812.

To start planning your gift to the Institute or to alert us that you have done so already, please contact the Institutional Supporters Development Office at (212) 992-5869.

Legacy Society Members

Corrine Barsky Patricia and Stephen R. Beckwith Ruth A. Butler* Anne* and Joel Ehrenkranz Margaret Holben Ellis* Maria Fera* Shelley Fletcher* Paul Lott Michele D. Marincola* Dianne Dwyer Modestini Ann Wood Norton* David T. Owsley* Debra Pincus* Anne L. Poulet* James D. Roberts* Allen Rosenbaum* Virginia St. George Smith Stephanie Stokes* Harriet Stratis* Dorothy Ko and Marvin L. Trachtenberg* Joan Troccoli* Phoebe Dent Weil* Eric M. Zafran* Anonymous (9)

*Institute Alumnus/a and conservation studies, and a summer who have secured internship in an art museum of international standing Elizabeth A. Josephson Fellowship assistance for doctoral Tuition candidates Donald S. Gray Fellowship For student travel Fellowship The Harriet Griffin assistance to Master’s Tuition students who demonstrate financial need and academic merit Julia A. Harwood Scholarship Support for doctoral candidates The Egbert Haverkamp- Begemann Student Fund Travel funding for travel provide To Institute of Fine Arts students and Rudolf Lore Heinemann Fund Support for curatorial and and scholarly travel, research conservation of 14th-19th century paintings and drawings Summer Internship Fund IFA For students studying modern and contemporary art with a curatorial, focus on photography, Larry Gagosian Fellowship in Fellowship in Larry Gagosian Modern Art candidates studying For doctoral Modern art Fellowship J. Paul Getty Trust For internships in conservation Robert Goldwater Fellowship doctoral Support for outstanding candidates Shelley Fletcher Scholarship Fund For Conservation Center underrepresented students from communities Helen Frankenthaler Fellowship Fund annual fund one or more To fellowships to a student enrolled of Art History in the PhD program given with preference at the IFA, to those concentrating on the history of modern art Robert H. Ellsworth Doctoral Fellowship Fund in Asian Art For doctoral fellowships in the field of Asian art and Fellowship in Greek Roman Art and Archaeology For an outstanding doctoral candidate in the field Maria and Bri Fera Fellowship Fund For students who demonstrate academic merit and financial need Walter W.S. Cook W.S. Walter Scholarship Fund the study of For study in Spain, or Medieval art and architecture Cook Payer Fellowship Cook W.S. In memory of Walter Elkow-Muller Fellowship of Spain, For the study of the arts within and Portugal, and Eurasia beyond the Peninsula, 1400-1900 Classical Art or Archaeology Art or Archaeology Classical in Honor of Fellowship and Shelby White Leon Levy candidates studying For doctoral and archaeology classical art

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

The Institute of Fine Arts Annual 2019 - 2020 106 The Institute of Fine Arts Annual 2019 - 2020 107 Valeria Napoleone Fellowship Valeria support students specializing To in the fields of conservation and/ or curatorial students with a focus in contemporary art National Endowment for the Humanities Fellowship For the study of conservation James R. McCredie James R. McCredie Summer Grant For student summer travel to excavations in archaeological classical lands Foundation Mellon W. Andrew Fellowships For the study of conservation Support for fellowship funding in ancient art For students showing promise For students showing promise of making distinguished contributions to the field Leon Levy and Shelby White Fellowship For internships in the field of conservation Paul Lott Fellowship support for Institute Tuition students McAfee Liberal Arts Scholarship Fund Robert Lehman Fellowships for Graduate Study in the Fine Arts Nancy Lee Fellowship Support for outstanding doctoral students For a distinguished student working in one of Professor fields of interest Krautheimer’s Richard Krautheimer Richard Fellowship Antoinette King Fellowship Support for Institute students in paper conservation To support a student who support To evidence of creativity presents and initiative Florence and Samuel Karlan Florence Memorial Fellowship Eric Zafran Memorial Fellowship Fund in Art Baroque European For students specializing in art Baroque European Florance Waterbury Florance Waterbury Fellowship in For students specializing the Asian art and the art of western hemisphere Fund for Phoebe Dent Weil Art Conservation Education training and research support To in art conservation programs Martin and Edith Fund Travel Weinberger For travel and general scholarly purposes Rachel and Jonathan Wilf Fellowship in Conservation For a graduate student enrolled Conservation Center in the IFA’s Willner Family Fellowship For scholarly purposes, including travel to Israel and work at the Israel Museum, Jerusalem Marica and Jan Vilcek Vilcek and Jan Marica History in Art Fellowship doctoral support outstanding To students Jan Vilcek Marica and in Conservation Fellowship support conservation To students Lila Acheson Wallace Fellowship Egyptian, For students studying Modern, Near East, Ancient and Roman art Greek For students specializing in to Asian art with a preference those studying Japanese art Marica and Jan Vilcek Curatorial Fellowship in the form of Awards curatorial fellowships for two matriculated PhD students who will be placed at collaborating museums for a 12-month fellowship Stockman Family Foundation Art Conservation Fellowship conservation support To students Stephanie Stokes Student Fund Travel stipends for students Travel with a focus on Asian, and Middle Eastern European, the 20th century art through Fellowship Ko Tokikuni Fund in Asian Art Stein Family Fellowship Support for outstanding doctoral candidates Judy and Michael Steinhardt Fellowship Support for doctoral candidates of the Director at the discretion Beatrice Stocker Fellowship assistance for doctoral Tuition candidates Roslyn Scheinman Scheinman Roslyn Fellowship tuition assistance provide To students who to Institute academic merit demonstrate Fellowship Starr Foundation of Asian art For the study

For doctoral candidates who are For doctoral candidates who are for considering museum careers, in the travel and study abroad painting field European Theodore Rousseau Theodore Scholarship Fund An endowment in support of the study of Medieval and history Renaissance architectural at the Institute of Fine Arts For student summer travel Anne-Marie Sankovitch Fellowship Jean B. Rosenwald Memorial Fund Khalil R. Rizk Travel Khalil R. Rizk Travel Fellowship For student travel in Italy To establish an endowed student establish To travel fellowship For student summer travel Joe Pincus Fellowship for and Italy in Venice Travel Eleanor H. Pearson Travel Travel Eleanor H. Pearson Fellowship Tuition assistance with a Tuition for students preference specializing in Iranian, and particularly Sasanian, iconographic studies Dorothy Shepherd Payer Shepherd Dorothy Endowed Fellowship Maddalena Paggi and Maddalena Mincione Fellowship Raffaele in the For students with a focus study of ancient world Ann Wood Norton Ann Wood Fund Scholarship for students assistance Tuition on those who are with a focus aspect of Asian art studying an

The Institute of Fine Arts Annual 2019 - 2020 108 The Institute of Fine Arts Annual 2019 - 2020 109 Shelby White and Leon Levy Grants Travel support student summer travel To Zerilli-Marimo Baroness Fund Travel support student travel and To in Italy research Support for conservation students Support for conservation Deanie and Jay Stein Fund Dissertation Travel travel stipend support for provide To PhD students conducting dissertation research Carl & Marilynn Thoma Art Foundation Time-based Media Conservation Fellowship for a student at support provide To the Conservation Center in the field of time-based media art conservation Fund for Trustee PhD Stipends support by the stipend provide To Arts to of the Institute of Fine Trustees Institute Ph.D. students. Rachel and Jonathan Wilf Fellowship in Time-based Media Art Conservation to one inaugural support provide To student in the Institute of Fine Arts four-year Conservation Center’s in time-based media training program art conservation National Endowment for the for Endowment National Fellowship Humanities conservation students Support for Stipends La Pietra Conservation students support conservation To La Pietra Villa traveling to Ida and William Rosenthal Foundation Fellowship incoming For the support of an student at the Institute The Selz Foundation Conservation Fellowship To support paintings To conservation students Pierre and Tana Matisse and Tana Pierre Foundation Fellowship for the stipends increase To doctoral students Mellon W. Andrew Foundation Fellowships Support for conservation students Mario Modestini Fellowship in Paintings Conservation For a conservation student studying traditional easel paintings Foundation Samuel H. Kress Fellowship Fellowship support for a student specializing in painting conservation Fellowship John L. Loeb, Sr. first- and second- support To year students at the Institute Donald P. Hansen Student Hansen Student Donald P. Fund Travel support student travel To in Ancient Near and research Eastern Mediterranean art and and archaeology Huber Roberta and Richard Fellowship support students working To in fields prior to modern and contemporary art Institute of Fine Arts Fellowship in Painting Conservation Elisabeth Hackspiel- Elisabeth in Scholarship Mikosch Arts Decorative of the encourage the study To the arts, in particular, decorative arts or cultural study of textile history of dress Friends of the Institute PhD Students support travel for doctoral To candidates To be used for scholarship be used To in memory of Gala Jane awards Ebin Cohn Ima N. Ebin Scholarship Fund for Graduate Students of the Institute of Fine Arts The Gladys Krieble Delmas Fellowship in Conservation a student in the support To technical examination and documentation of Venetian works of art belonging to Villa La Pietra Support for a third-year Support for a third-year conservation student Dedalus Foundation Fellowship in Conservation Decorative Arts Prize For outstanding essays by MA students on the topic of the decorative arts Support for outstanding Support for outstanding doctoral candidates Rachel Davidson and Rachel Davidson and Mark Fisch Fellowship Connoisseurs Circle Connoisseurs Circle Fellowship Support for outstanding doctoral candidates Baer Fund for Norbert S. Student Support in student support provide To Conservation honor of retiring member Norbert Center faculty S. Baer Annual Fellowships Annual

The Rockefeller Foundation The Rockefeller Bonnie Sacerdote Rachel Salzmann Schneider T. Fredric Smith St. George Virginia Jennifer Russell* Eliot B. Stewart Paula J. Volent* and Mariët Westermann* II Charles H. Pardoe, Helena Xuan Anonymous (2) This List includes commitments July 1, 2019 to from received July 1, 2020. *Institute Alumnus/a

Mary Lee Baranger* William L. Bernhard Janet Hester Gerrish Julie E. Herzig* and Robert J. Desnick E. Howard* Loretta Michael Kohn Gallery* Mandelbaum Beth Andrea Svetlik Mann* Claire Meeker Rom Family Foundation Lucio A. Noto Mary Ellen Oldenburg Barbara Pine Hampton Pivar* Larimore Leon Polsky Jonathan D. Rabinowitz Elizabeth B. Richards Lois Severini* and Enrique Foster Gittes Judy and Michael H. Steinhardt Alice M. and Thomas J. Tisch Foundation Vilcek Alicia and Norman Volk Anonymous (4) $5,000-$9,999 Gini and Randy Barbato Patricia and Stephen Beckwith Suzanne Deal Booth* Ildiko and Gilbert Butler Mark B. Cohn Trust Riley de Havenon and Georgia Michael de Havenon Huber Roberta and Richard J. M. Kaplan Fund, Inc. Amanda D. Lister Newhouse Victoria Cynthia Hazen Polsky and $10,000-$24,999

Foundation Anonymous Carl & Marilynn Thoma Art Foundation Malcolm Hewitt Wiener Foundation Stephen S. Lash Harriet K. Stratis* Berkley Saunders* Lauren Dedalus Foundation Larry Gagosian The Gladys Krieble Delmas $25,000-$49,999 Mary Braman Buchan* and Dennis S. Buchan Estate of Katherine F. Brush Estate of Katherine F. $50,000-$99,999 Sheldon H. Solow Leon Levy Foundation Maddalena Paggi-Mincione* and Mincione Raffaele Napoleone and Gregorio Valeria Debra Pincus* Rachel* and Jonathan Wilf Eric M. Zafran* Alison and Boniface A. Zaino Anonymous (3) Nancy Chang Lee* Anne* and Joel Ehrenkranz Anne* and Joel Ehrenkranz Helen Frankenthaler Foundation Institute for Studies on (ISLAA) Latin American Art Foundation Samuel H. Kress $100,000-$999,999 $1,000,000-$6,000,000 Estate of Robert H. Ellsworth and Marica Vilcek Jan T. Graeme Whitelaw Philanthropy plays an essential role in fulfilling the Institute’s mission to educate future generations of art generations of future mission to educate the Institute’s in fulfilling an essential role plays Philanthropy of our supporters. acknowledge the generosity gratefully We and archaeologists. historians, conservators, Annual Annual Donors to the Institute

The Institute of Fine Arts Annual 2019 - 2020 110 Contributors Photo

Matthew Adams Credits Sasha Llyn Arden Lisa Banner Tim Forbes Dan Biddle Kunj Karia Juan Gabriel Ramírez Bolivar Louisa M. Raitt Rosina Buckland Nitalee Roberts Edward Chang Jason Varone Jacquelyn Coutré Kaitlin Vervoort Tianyuan Deng Julia Pelta Feldman Briana Feston-Brunet Makenzi Fricker Christine Frohnert Adrienne Gendron Design and Ameya Natae Grant Katerina Roberta Harris Graphics Jonathan Hay Sarah Higby Jason Varone John Hopkins Kathryn Howley Scout Hutchinson Peter Moore Johnson Compiling Kenji Kajiya Megan Kincaid Editor Shan Kuang Kirstie Liu Jenni Rodda Sophie Lo Conley Lowrance Clemente Marconi Kevin Martin Miao Sizhuang Deborah Miller Joseph Moffett Alexander Nagel Anastassia Perfilieva Christine Poggi Jenni Rodda Hannelore Roemich Joe Rosario Samantha Rowe Lori Salmon Brenda P. Shrobe Hannah Kate Simon Roland R. R. Smith Edward J. Sullivan Thelma K. Thomas Marvin Trachtenberg Jason Varone Marica Vilcek Andrew Farinholt Ward Bonna Westcoat