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Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Stanford University Department of Art & Art History Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Letter from the Chair

ack in 2014, the Cantor Arts Center received a trove of 3,600 con- B tact sheets and corresponding negatives by Andy Warhol, a gift from the Andy Warhol Foundation for the Visual Arts. In fall 2018, faculty, students, and members of the community have been fortunate to consid- er an important exhibition of this work at the Cantor, next door to the department’s McMurtry Building home, and co-curated by the department’s own Richard Meyer, the Robert and Ruth Halperin Professor of Art History. Professor Alexander Nemerov. Photo by Bob Richman.

Called Contact Warhol: Photography Without End, the exhibition features Andy Warhol (U.S.A., 1928– 1987), Detail from Contact Sheet [Photo Warhol’s images of the celebrities of his era, including Michael Jackson, Liza shoot with Andy Warhol with shad- Minnelli, and Dolly Parton. It includes an in-depth consideration of Warhol’s ow], 1986. Gelatin silver print. Gift of The Andy Warhol Foundation for engagement with photography as a medium, from the contact sheet to the the Visual Arts, Inc., 2014.43.2893. silkscreen painting. A major achievement, the exhibition emphasizes director ©The Andy Warhol Foundation for the Visual Arts, Inc. Susan Dackerman’s wish to bring world-class shows to the Cantor, even as it Cover Images, Left to Right Columns: honors former director Connie Wolf, who secured the Warhol photographs for the museum. Amber Imrie-Situnayake. Photo by Victor Yañez-Lazcano. Contact Warhol speaks more broadly to the exciting work of the depart- Victor Yañez-Lazcano. ment’s professors and students. In these pages I invite you to learn about Photo by Brian Guido. some of these accomplishments and to meet the extraordinary range of Fall Open Studios, Dec 8, 2017. people who contribute—day by day—to making the arts a central part of Photos by Christopher Bennett.. Stanford University. Bibliothèque nationale de France, Paris gr. 510, fol. 239r.

Commencement 2018. Photo by Frank Floyd.

Burt and Deedee McMurtry Alexander Nemerov and Alexander Nemerov at the McMurtry Dedication.

Letter by Samuel Beckett to Radomir Konstantinovic, 1963. Photo courtesy of Stanford University Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Our Achievements

Below are a few of the many achievements of the faculty, students, and staff of the Department of Art & Art History.

Letter by Samuel Beckett

PAVLE LEVI Associate Professor, Film & Media Studies

In the spring of 2018, an international symposium was held at Stanford devoted to the work of the major Yugoslav writer and scholar Radomir Konstantinović. On this occasion, the writer's spouse, Milica Konstantinović, donated to Stanford Libraries a rare and valuable gift: a handwritten 1963 letter from Samuel Beckett to Konstantinović (one of the 26 surviving letters from their years- long correspondence). Professor Pavle Levi and D. Vanessa Kam, Head Librarian of the Bowes Art and Architecture Library, received the gift on behalf of Stanford. The letter was included in the holdings of Special Collections and University Archives at Green Library.

The Price of Everything Letter by Samuel Beckett to Radomir Konstantinovic, 1963. Photo courtesy of Stanford University. ALEXANDER NEMEROV Department Chair & Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities, Art History

Featuring Professor Alexander Nemerov, The Price of Everything is Nathaniel Kahn’s fascinating insiders’ look into the labyrinth of the contemporary art world, revealing the role of art and artistic passion in today’s money-driven, consumer-based society. Featuring collectors, dealers, auctioneers, and a rich range of artists—from current market darlings George Condo, Jeff Koons, Gerhard Richter, and Njideka Akunyili Crosby, to one-time art star Larry Poons—it exposes deep contradictions as it holds a mirror up to contemporary values and times, coaxing out the dynamics at play in pricing the priceless.

The Price of Everything premiered on HBO on November 12, 2018. The film was presented to the Stanford community on December 4, 2018.

Poster. The Price of Everything. New Appointment Courtesy of Debi Wisch.

PETER BLANK Photography Curator, Dept. of Special Collections, Stanford Libraries

As of June 1, Peter Blank, former Senior Librarian of the Bowes Art & Architecture Library, has taken the role of the Stanford Libraries’ first Photography Curator. This position resides under the auspices of the Department of Special Collections in Green Library, and it is a truly exciting development for (at least) two reasons. Firstly, it is an acknowledgement of Peter’s substantial knowledge of and passion for photography. He has developed and cultivated this knowledge and passion, in part, through rigorous academic studies (a BA, MA, and an ABD in art history and photography). In addition, over the years as Senior Librarian at the Bowes Library, he has amassed a collection of notable photobooks, limited edition titles with prints, portfolios, and other rare editions by pivotal photographers working in the US and abroad, all combining to illustrate the rich and ongoing history of photography. Peter is particularly adept at integrating these smartly curated photography collections into the Department of Art & Art History’s photography curriculum, bringing it to life with the resounding power of the image as artifact. Fortunately, Peter’s new role in Green Library will en- Peter Blank. able him to continue to work with Department of Art & Art History Photo by Vanessa Kam. faculty to showcase these spectacular collections to students enrolled in courses this fall quarter. Secondly, the creation of the role of Photography Curator signals the fact that in both quantity and qual- ity, the Stanford Libraries is developing a significant collection of vintage photographic prints in fine art, documentary, and photojournalism genres. Conducting a query in SearchWorks, the Stanford Libraries’ online catalog, yields over 170 archival collections pertaining to photography. The combination of Peter’s academic credentials and practice in photography, his palpable enthusiasm for the content and form of the medium, along with his penchant for incorporating the photographic object into Stanford curricula, make him the perfect person for this role. A hearty congratulations to Peter on his achievement, and all best wishes for his success!

—Vanessa Kam, Head Librarian, Bowes Art & Architecture Library

Untitled No. 2

STANFORD UNDERGRADUATE ART HISTORY AND FILM STUDIES JOURNAL

Previously called Manicule, the Stanford Undergraduate Art History and Film Studies Journal undertook a new name— UNTITLED NO.2 Untitled No. 2—to reflect the open-ended nature of its mission and to reference artists who wish for their work to be evalu- ated on its visual content, not just its title. The team behind the change includes Tabitha Walker, Carlos Valladares, Olivia Rambo, Joshua Wagner, Mac Taylor, Angela Black, Samantha Wassmer, Ali Vaughan, and Dylan Sherman.

The latest issue of Untitled No. 2 features four articles: “Mickey Mouse, BoJack Horseman, and the Visual Language of Decay” by Justin Ross Muchnick, an exploration of the Vitellius manuscript by Laura Marie Feigen, an investigation of the work of Thornton Dial by Naomi Subotnick, and a dissection of STANFORD’S UNDERGRADUATE Wangechi Mutu’s works on paper by Viv Liu. ART HISTORY AND FILM STUDIES JOURNAL

Copies of Untitled No. 2 can be found at the Bowes Art & Untitled No. 2 Front Cover. Architecture Library, McMurtry Building, and online. Students interested in submitting work for the next publication can email [email protected].

Dissertation on Cut Glass and Awards

JOSEPH HAROLD LARNERD Ph.D. candidate, Art History

Joseph’s dissertation, The Makings of Cut Glass in America, 1876 to 1916, develops a social art history of domestic glassware incised with geometric patterns against metal and stone wheels, a once-popular genre of decorative art known as “cut glass.” Over five chapters, he ex- amines how the medium, its much-discussed manufacture, and their representations in popular exhibitions and visual culture intervened in how citizens understood social class, privilege, and mobility, espe- cially as they pertained to the working-class artisans who made the wares and the domestic servants who maintained them in the homes of their employers. The first two chapters reveal how World Fairs and advertisements, respectively, informed cut glass’s cultural meanings. Chapters three and four refract these pervasive discourses through President McKinley’s much-publicized 1898 punch set and a rose bowl that Gustave Ekdahl, a Swedish immigrant, gifted to his newborn son in 1909, respectively. In chapter five, the project returns to the medium’s presence on the national stage by examining the US Navy’s ban of cut glass aboard in 1916. Joseph Harold Larnerd. Photo courtesy of Corning Museum of Glass.

Fellowships from multiple institutions have supported Joseph’s research and writing this year. After his January colloquium, Joseph spent four months at the Winterthur Museum, Garden, and Library, one month at the Huntington Library, and one month at the American Antiquarian Society. In August he was the David Whitehouse Scholar-in-Residence at the Corning Museum of Glass. He is currently the 2018–19 Douglass Foundation Fellow in American Art at the Metropolitan Museum of Art where he will complete his dissertation.

Prestigious Fellowship

LORA ELLEN WEBB Ph.D. candidate, Art History

Lora Webb has received a Kress Institutional Fellowship to research her dissertation Kosmos Embodied: Eunuchs and Byzantine Art in the Ninth through the Twelfth Centuries at the Bibliotheca Hertziana in Rome starting this fall. Finding a trace of eunuchs—more often reviled than respected—in art re- quires close looking and reading of a broad selection of objects and texts. The Kress will allow her to spend two years in Europe to more fully uncover how court eunuchs—who through proximity to the emperor were often powerful political players—were represented, how they affected the aesthetic presentation of the Constantinopolitan court, and their patronage of artworks.

Bibliothèque nationale de France, Paris gr. 510, fol. 239r.

Documentary Film Explorations

ELLIE WEN MFA candidate, Documentary Film & Video

Ellie Wen is a documentary filmmaker entering her second year in the Documentary Film MFA program. Last fall, she returned to Stanford for graduate school after having worked in the film and television industry in Los Angeles for several years as a producer and development executive. She had previously studied at Stanford for her undergraduate degree and graduated with a BA in drama and minor in sociology.

Ellie Wen on location. Ellie Wen. Photo by Jun Bae. Photo by Brian Zager.

While working in Hollywood, Ellie was fiercely committed to supporting diverse filmmakers and producing projects about underrepresented communi- ties. Now, as a filmmaker herself, she aims to use her voice to include those who rarely see their stories reflected on screen. Since entering the Stanford MFA program, she has made three short documentary films. The first, entitled 25 Hours, was shot on a Bolex Super 16mm film camera and is about a young mother who works as a firefighter in a perennially male-dominated field. The second, entitled Share, was co-directed with her classmate Barna Szász using the Canon C300, and it follows a gay Asian-American teenager struggling with his sexual identity and mental health. The third, entitled On Mother’s Day, was filmed with the Sony F5, and is about an African-American mother who spends Mother’s Day alone because her son is incarcerated.

In all of her films, Ellie represents subjects from diverse backgrounds and tackles broader social issues through a very specific and personal lens. Her work centers around themes of family, identity, and communication. She hopes that her films will foster understanding and spark dialogue that ex- tends long beyond the viewing experience.

DINESH DAS SABU MFA candidate, Documentary Film & Video

First year was quite a change for Dinesh Das Sabu, who had been working in documentary in Chicago for almost a decade before coming to Stanford. Dinesh’s background was in social issue and advocacy filmmaking, working with a number of filmmakers on projects that made it to public broadcasting. Despite having a bit of career experience, Dinesh feels like the Stanford MFA Documentary program is an incredible opportunity to mature as a filmmaker and explore new ideas and ways of filmmaking.

By any measure making three films in ten weeks apiece is lightspeed filmmaking. Dinesh took advantage of the opportunity to challenge himself and make divergent work: a personal documentary in the fall; an experiential, observa- tional film in the winter; and to revisit human rights issue Dinesh Das Sabu on location shooting A Letter from Denka. filmmaking in the spring. All three films were chances to mature artistically, signposts on an ongoing creative journey. He is eagerly submitting them to film festivals now.

In addition to the filmmaking and filmmaking faculty, Dinesh found returning to academic life exhilarating, taking phenomenal classes with professors like Pavle Levi and Marci Kwon. Similarly, he is continually impressed and chal- lenged by his cohort, learning as much from them as the faculty and course- work itself.

In the spring, Dinesh was awarded a Stanford Humanities Center grant for a screening and discussion series around the intersection of race and documentary. This grant will allow him to bring filmmakers to campus to screen work and speak about their filmmaking in the coming academic year.

Dinesh is simultaneously excited and daunted to begin his second year, hop- ing his thesis will live up to the high standards set by previous graduates.

Art Practice Explorations

STEPHANIE SHERRIFF MFA candidate, Art Practice

Stephanie Sherriff is an interdisciplinary performer and media artist entering her second year as an MFA candidate in art practice. She grew up along the swampy coast of South Carolina where the songs of cicadas penetrate the salty air. Devoid of institutionalized art, her small town gave credence to folk art, showcasing resourceful, emotive assemblages of found objects, which inform her practice today. The result is experiential and generally time-based, ephemeral forms employing sound, light, video, and living systems.

Since 2008, Stephanie has been an active member of the Bay Area arts community, leading to long-standing relationships with non-profit arts organizations and artists across the globe. As a first-generation college graduate, she received her BA in studio art from San Francisco State University in 2014, where she won an award for Excellence in Video, the Christine Tamblyn Memorial Scholarship, and Best in Show.

Post-Human Incursion. Site-specific audio/visual Prior to beginning her studies in art practice, Stephanie was the performance at CCRMA. recipient of the Women in Computer Music Scholarship from the Photo by David Kerr. Center for Computer Research in Music and Acoustics (CCRMA). She has since maintained a strong relationship with CCRMA and has been cultivating a series of site-specific works that explore spatialized aural and visual phenomena using a combination of light, sensors, software, hardware, found objects, voice, and field recordings.

Stephanie’s installations, sculptures, and performances often analyze the complexity of human influence on natural landscapes. Artwork featured in the Hi5: Annual First-Year MFA Exhibition showcased living grass contained within manufactured, binding surfaces of fabric and acrylic sheeting. Her work is eerily poetic with conceptual ties to vulnerability, femininity, and nature. Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Highlights

Lectures

J. Fred Weintz and Rosemary Weintz Art Lecture Series Carrie Lambert-Beatty On May 29, 2018, Carrie Lambert-Beatty gave the first talk in our newly endowed J. Fred Weintz and Rosemary Weintz Art Lecture Series, made possible by a generous grant from Fred Weintz and Rosemary Weintz. Lambert-Beatty spoke on “Contemporary Art and Ecologies of Knowledge” to a packed house in Oshman Hall. The talk tracked recent voyages by two artists, one trekking the Arctic Circle and one sailing the Antarctic coast. A professor at Harvard University and an editor of October magazine, Lambert- Beatty is the author of the 2008 book Being Watched: Yvonne Rainer and the 1960s, which began as a Ph.D. dissertation in the Department of Art & Art History at Stanford. We were very fortu-

nate to have her visit the department. Carrie Lambert-Beatty. Photo courtesy of Carrie Lambert-Beatty.

Christensen Distinguished Lecture Qiu Zhijie Our Christensen Distinguished Lecturer for 2017–18 was Professor Qiu Zhijie of the National Academy of Fine Arts in Hangzhou, who also serves as Professor and Dean in the School of Experimental Arts at the Central Academy of Fine Arts in Beijing. Qiu is a distinguished artist in many media, a curator of important exhibitions, an active critic and theorist, and an influential educator. He is a pioneer video and installation artist whose work incor- porates sculpture, photography, digital media, calligraphy, painting, and performance. Qiu is an advocate and practitioner of what has been called “Total Art,” or what is perhaps more accurately termed “Comprehensively Connected Art”—an art practice based on research, critique, and intervention in social life, media, urban- Qiu Zhijie. Photo courtesy of Qiu Zhijie Studio. ism, economy, craft, and labor—and always informed by a spirit of probing inquiry. His projects often involve questions of time and history, sometimes unfolding over years or even decades. The subject of his Christensen lecture was his serial and ongoing Mapping the World project of large-scale wall and scroll paintings that combine conceptual maps, images, and texts to explore and expose relationships in culture, politics, thought, and space in venues around the world. Qiu’s seminar discussion with faculty and students was a wide-ranging exploration of artistic strategies and ethics, conducted with a characteristically lively, probing, and challenging style.

Intersections: Recent Works to Date Pope.L On January 18, 2018 the department welcomed Pope.L who spoke on “A short, concise, bumpy, incomplete survey of recent projects, notions, and life.”

Pope.L is a visual artist and educator whose multidisciplinary practice uses binaries, contraries, and preconceived notions embed- ded within contemporary culture to create art works in various formats; for example, writing, painting, performance, installation, video, and sculpture. Building upon his long history of enacting arduous, provocative, absurdist performances and interventions in public spaces, Pope.L applies some of the same social, formal, and performative strategies to his interests in language, system, gen- Pope.L. der, race, and community. The goals for his work are several: joy, Photo courtesy of Pope.L Studio. money, and uncertainty—not necessarily in that order.

This talk was sponsored by the Millicent Greenwell Clapp Fund for Studio Art and co-sponsored by the Anderson Collection and the Cantor Arts Center.

The Burt and Deedee McMurtry Lecture Judy Chicago in Conversation with Marci Kwon, Assistant Professor of Art History On April 23, 2018, Judy Chicago delivered the 2018 Burt and Deedee McMurtry lecture to a packed house at Stanford’s Bing Concert Hall. Chicago is an artist, author, feminist, educator, and intellectual whose career now spans five decades. She has remained steadfast in her commitment to the power of art as a vehicle for intellectual transformation and social change, as well as to women’s right to engage in the highest level of art production. Professor Marci Kwon shares her experience in conversation with Chicago:

Thanks to the Anderson Collection, I was fortunate enough to have the opportunity to lead the hour-long conversation with this legendary artist, whom I remember study- ing in my own undergraduate art history courses. To write about art is one of the greatest pleasures I can imagine. But there is nothing like meeting an artist to remind one that the history we write about is a living, breathing be- The Burt and Deedee McMurtry Lecture: Judy Chicago, April 23, 2018. ing, in this case one with Photo by Harrison Truong. cotton candy-pink hair and a truly enviable collection of sparkly eyewear. Perhaps the most remarkable thing about Chicago is the way she lives, rather than simply preaches, her feminist convictions. In practice, this meant that our on-stage conversation was just that. Our discussion touched upon a range of issues including her beginnings as an artist, the fine art/craft hierarchy, Emily Dickinson, and sexual and aesthetic pleasure. In each case, she artfully lobbed my own questions back at me, and was genuinely interested in what I had to say. I never thought I would be discussing my great-grandmother’s creation of Korean flags for anti-colonial struggle with Judy Chicago, but within the context of the conversation and her capacious practice, such digressions made sense. As we sat under the hot white lights of the auditorium, I felt the audience melt away into darkness. Suddenly, we were just two women talking about life and art.

Studio Lecture Series Nicola López, Doug Hall & Manuel Rocha Iturbide The Studio Lecture Series, generously funded by the Millicent Greenwell Clapp Fund for Studio Art, welcomed three highly regarded artists in academic year 2017–18. Each artist conducted studio visits with our MFA students to offer critiques and lead discussions, followed by an evening lecture in Oshman Hall, open to the public. Our first guest was Nicola López, who spoke on “Human-built Structures: Giants, Hybrids and (Un)Natural Systems.” Born in Santa Fe, New Mexico, López spoke about her recent work of installations, drawing, and printmaking. Our second guest was Mexican artist and composer Manuel Rocha Iturbide. In his lecture “Sonic Intermedia,” Iturbide talked about his sculpture, installation, and intermedia works, as well as his sound works and conceptual art, focusing his attention on concepts that drive his ideas, such as complexity, deconstruction, emptiness, and chance. Our final guest was American photographer and media artist Doug Hall. His lecture, “Wittgenstein’s Garden and Other Recent Works,” concentrated on four of his recent media installations.

Left to Right:

Nicola López. Photo by Clayton Porter, ©The Magazine.

Doug Hall. Photo courtesy of Doug Hall Studio.

Manuel Rocha Iturbide. Photo courtesy of Manuel Rocha Iturbide Studio.

Exhibitions

Betray the Secret: Humanity in the Age of “Frankenstein” Professor Alexander Nemerov, Art History CANTOR ARTS CENTER

As part of the campus-wide events commemorating the 200th anniversary of the publication of Mary Shelley’s Frankenstein, the Cantor Arts Center mounted an exhibition devoted to images portraying the questionable place of human beings in an age of technology. Curated by Alexander Nemerov and Cantor Arts Center Curator Elizabeth Mitchell, the exhibition featured prints and drawings from Shelley’s own time, as well as photographs and drawings from the 20th century. Wall texts give a sense of the show, which, according to Mitchell, created a vivid response among museum visitors:

The body is the artist’s raw material. Bending it backwards, flaying it, examining the muscles and bones, artists delve into the secrets of life and death. An uncommon honesty governs these direct portrayals. Every phase of human action and human life undergoes a physical test. Every phase is scrutinized. Though the dead do not always stare back, they impress their identities and their questions upon us. Beth Van Hoesen, Stanford (Arnautoff Class), 1945. Graphite The laboratory offers the promise of progress and truth, of greater knowledge and ink on paper. and brighter light in the world. At the same time, the laboratory can be omi- Gift of the Estate of Beth Van Hoesen. nously empty, sinister, and disorienting, a place of unknown outcomes and disfiguring effects.

African-American Automobility: The Dangerous Freedom of the Open Road Assistant Professor Jonathan Calm, Art Practice STANFORD ART GALLERY

In African-American Automobility, Jonathan Calm explores the complex representation of car travel for black Americans from a historical perspective. He gives expression to how people of color experience the dangerous liberties of the open road as a questionable privilege, which belies the myth of unbridled ac- cess to roam the American landscape.

Much of the imagery in this exhibit was inspired by Calm’s first road trip through the American South, traveling from Tallahassee to Ferguson to document the “safe places” listed in the Green Book guide for travelers of color during the last three decades of the Jim Crow era. The photographs in Journey Through the South give a visual impression of these sites, some of which have been commemorated with signs and plaques, while many have disappeared altogether.

Automobility means heightened subjectivity, visibility, and exposure, so there is an organic connection between the technologies of the motor and of the camera. Entitled Double Vision (Recording I), 2016, archival pigment print, Courtesy of Rena Bransten Double Vision, a photograph of the Gallery, San Francisco, Image © Jonathan Calm. artist stretched out on the concrete, Photo Credit: The Artist. staring wide-eyed with a camera lens in his open mouth, suggests how revealing footage of police brutality is often captured and disseminated in the media through recording devices used by fellow travelers of the victims.

In Travel is Fatal to Prejudice, Calm creates a memorial piece that pays sobering homage to the numer- ous black men and women who over the years have been targeted and subjected to excessive—and often lethal—violence by law enforcement for “driving while black” or walking home in the “wrong” neigh- borhood.

Student Exhibitions & Film Screenings

The Stanford Art Gallery is a 1,900 square foot exhibition space that is an integral part of the programs, research, and curricula of the department, and provides a dynamic learning and teaching resource for both students and faculty. In 2018, the gallery housed the MFA Thesis Exhibition Where here, curated by Professor Gail Wight, featuring the thesis artwork of graduating art practice MFA students Joe Ferriso, Sean Howe, Amber Imrie-Situnayake, Natani Notah, and Victor Yañez-Lazcano.

The Coulter Art Gallery, located in the McMurtry Building, mounted four student exhibitions: InTransit, the 4th Annual Undergraduate Juried Exhibition, Hi5, the Annual First-Year MFA Exhibition, Knock Before Entering, the Undergraduate Honor’s Thesis Exhibition, and You Are the Universe in Ecstatic Motion, the 2018 Senior Exhibition. Coulter Gallery shows employ best practices for exhibition and curatorial development while allowing for experimentation and innovation.

Open Studios is an afternoon event during which the doors are Left to Right, Top to Bottom: open to otherwise closed studio classrooms to showcase Art Fall Open Studios, Dec 8, 2017. Practice undergraduate work. The department invites students, Photos by Christopher Bennett. staff, faculty, and visitors to Stanford’s campus to wander through Cubberley Auditorium, Eight Thesis Films. Thesis Documentary Film Screening, June 16, 2018. the McMurtry Building and the Stanford Art Gallery where under- Photo by Frank Floyd. graduate work in painting, printmaking, drawing, digital art, photog- Stanford Art Gallery, Where here. Opening raphy, and interdisciplinary arts are on display. Open Studios occurs Reception, May 17, 2018. at the end of both fall and winter quarters and is always a popular Photo by Christina Serruto. event. Coulter Art Gallery, InTransit, 4th Annual Undergraduate Juried Exhibition. Installation view. Photo by Christina Serruto. As in years past, first-year students in the MFA Program in Documentary Film and Video presented their short films with screenings in the fall, winter, and spring quarters. Second-year MFA students in the program presented their thesis films in a screening aptly titled Eight Thesis Films, which was held the Saturday prior to commencement. The MFA documentary film screenings continue to be popular events, filling Cubberley Auditorium. Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Upcoming Events

Lectures

J. Fred Weintz and Rosemary Weintz Art Lecture Series

Made possible by a generous grant from Fred Weintz and Rosemary Weintz.

Malik Gaines: Statues of Limitations Michael Ann Holly: Back of the Painted Thursday, March 14, 2019 Beyond Malik Gaines is the author of Black Performance Thursday, May 2, 2019 on the Outskirts of the Left: A History of the Michael Ann Holly is the Starr Director Emerita of Impossible (NYU Press, 2017) and many essays the Research and Academic Program, Clark Art and articles about art and performance. He per- Institute, and is on the faculty of the Graduate forms with the group My Barbarian and elsewhere, Program of Art History at Williams College. and is Associate Professor of Performance Studies at NYU’s Tisch School of the Arts.

Wes Studi in Conversation with Alexander Nemerov Tuesday, January 29, 2019 Join us for a talk with actor Wes Studi, a member of the Cherokee tribe and one of the stars of Hostiles and Last of the Mohicans.

From small-town Oklahoma native to internationally acclaimed actor and musician, Wes Studi credits his passion and multi-faceted background for his powerful character portrayals that forever changed a Hollywood stereotype. Drawing from his rich life experience, Studi moved audiences with unforgettable performances in Dances with Wolves, The Last of the Mohicans, Geronimo: An American Legend, and Heat, as well as James Cameron’s Avatar and Paul Weitz’s Being Flynn. Most recently Studi starred opposite Christian Bale in the critically acclaimed Hostiles, directed by Scott Cooper, with whom Studi is collaborating on another project this fall. Breaking new ground, he brought fully-developed Native American char- acters to the screen, and then took his craft a step further, highlighting the success of Native Americans in non-traditional roles.

Flight, Diaspora, Identity, & Afterlife: A Symposium on the Art of Michael Richards

Friday, February 8, 2019 Presented in conjunction with the exhibition Michael Richards: Winged, this symposium brings together a preeminent group of artists and Stanford scholars to explore and discuss themes Richards addressed throughout his life and artistic practice, including flight, diaspora, identity, and afterlife, specifically in the context of historic and ongoing social injustice and racial inequity.

Exhibitions

Stanford Art Gallery Coulter Art Gallery Open Studios

The 5th Annual Wherein Waters Rise, A self-guided tour offering the Undergraduate Juried Drought Advances and opportunity to see student art- Exhibiton Migration of Species work in the studios where it was Becomes Inevitable October 2–December 2, 2018 created. October 23–December 2, 2018

Michael Richards: Winged The Annual First-Year MFA Fall: Friday, December 7, 2018 January 22–March 24, 2019 Exhibition Winter: Friday, March 15, 2019 February 5–March 24, 2019 Art Practice MFA Thesis Exhibition Undergraduate Honors Thesis May 14–June 16, 2019 Exhibition April 16–May 5, 2019

Faculty Show: Gail Wight Undergraduate Seniors Show July 16–August 25, 2019 May 28–June 16, 2019

Summer Exhibition July 23–August 25, 2019

Film Screenings

Film Production 114 First-Year MFA Second-Year MFA Documentary Film Documentary Film Films by students enrolled in Film Production 114: Introduction to Films by first-year MFA students Thesis films produced by gradu- Film & Video Production. in the documentary film program. ating second-year MFA students in the documentary film program. Fall: Friday, December 7, 2018 Fall: Tuesday, December 11, 2018 Spring: Friday, June 7, 2019 Winter: Tuesday, March 19, 2019 Saturday, June 15, 2019 Spring: Thursday, June 13, 2019

Subscribe to receive announcements for all upcoming lectures, exhibitions, and film screenings. Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Faculty Projects and Achievements

Fabio Barry Associate Professor, Art History 2017–18 was a busy sabbatical year for Fabio Barry. From September through December he was a Fellow at the Bard Graduate Center in New York. The remainder of the year was mainly spent in Rome, with trips to give lectures at various locations in Europe and the United States. In March, Barry co-organized and presented at Early Modern Intermediality, an international conference at Stanford with a follow-up symposium at the Bibliotheca Hertziana in Rome; an edited volume of the proceedings is in preparation. Barry is currently writing a catalogue, by invitation, for an exhibition of works by the British sculptor Stephen Cox RA at the Kallos Gallery in Mayfair, London. He has also been invited to be a member of the scientific committee and curator of the exhibition on the Italian engraver and architect Giovanni Battista Piranesi, to be held at the Vatican Museums in 2020. He is currently working with a Prague-based independent production company on a documentary series entitled A Room of One’s Own, based on a course he currently teaches at Stanford (AH 142A, 342A: The Architecture of Thought: Artists, Thinkers, Writers Design for Themselves), which investigates homes, hide- aways, studies, and studios that artists and thinkers have designed for themselves, from antiquity until the present day.

Terry Berlier Associate Professor, Art Practice Terry Berlier’s highlights in 2017–18 included teaching the new introductory sophomore seminar class Queer Sculpture. She was invited to present a solo exhibition, Resounding Desire Lines, at the Center for New Music in San Francisco, to the Contemporary Jewish Museum in San Francisco to participate in the Dorothy Saxe Invitational, Sabbath, and to the Play! exhibition at the Palo Alto Art Center. Her collaborative sculpture with Llewellyn Fletcher, The Non-orientable Lavender Menace, was exhibited in Diagonal Resistance at the Northern Arizona University Art Museum in Flagstaff, Arizona, and in Altered States at the Lexington Art League in Lexington, Kentucky. Lectures included the Center for New Music and an artist’s talk at the Cantor Arts Center. She also gave a talk and participated Terry Berlier and Llewellyn Fletcher, The Non-orientable on the panel for Pieces, the Film and Media Studies Lavender Menace. Symposium at Stanford, and was on a panel for the Photo by Terry Berlier. Altered States exhibition at 21C in Lexington, Kentucky. She has an solo exhibition at Contemporary Art and Spirits in Osaka, Japan in November 2018.

Scott Bukatman Professor, Film and Media Studies Scott Bukatman has been circling around projects centered on “photoreal- ist” comics and acting in the cinema, projects that may turn out to be connected. Stay tuned. He is introducing a new course this year called Childish Enthusiasms/Perishable Manias, which is dedicated to the proposition that effective scholarship need not suck the joy from the world. He will also be teaching the Judy Garland Seminar for the second time.

Jonathan Calm Assistant Professor, Art Practice In early 2018, Jonathan Calm had the solo exhibition African-American Automobility at the Stanford Art Gallery. This show, which explores the complex representation of car travel for black Americans, was then invited to Fisk University, where it was on display from April to September. In a lecture at the Museum of Art & Design in New York City, Calm talked about how the imagery in his new work was inspired by ongoing research into the “safe places” listed in the Green Book guide for travelers of color. Calm’s work was also included in a summer group exhibit called The Portrait Show at Rena Bransten Gallery in San Francisco. He further curated the exhibit Academic Practice: Bay Area Photography Now, presented in summer 2018 at the Coulter Art Gallery, a showcase of work by seven Bay Area photographers who also teach photography at various schools in the region.

Enrique Chagoya Professor, Art Practice During his sabbatical leave, Enrique Chagoya had the following solo exhibitions/surveys of his artwork: Aliens Sans Frontiers at SUNY Fredonia in New York, including a published catalog, Enrique Chagoya at the Nevada Museum of Art in Reno, Nevada, and Then and Now: Alien’s Sans Frontieres at George Adams Gallery in New York City. He is a part of two upcoming group exhibitions, including the 40th Gallery Anniversary at George Adams Gallery and the 50th Anniversary exhibition at the Smithsonian National Portrait Gallery. His recent works include a Codex/hand painted book (Then and Now: Aliens San Frontieres), four paintings (Millionaires and Billionaires, Day After, Aliens, and Goya’s Witches Save the Day), and one digital etching on copper (The President’s Nightmare in a Foreign Language). His upcoming monograph, Aliens, will be published by Kelly’s Cove Press (Berkeley, CA).

Enrique Chagoya, Day After, acrylic and water-based Enrique Chagoya, Aliens, acrylic and water-based oil oil on canvas, 2018. on canvas, 2018.

Paul DeMarinis Professor, Art Practice Paul DeMarinis’s recent activities include exhibitions at the Urban Glass Gallery in Brooklyn and the presentation of a new work, Blue Steel Blues (2017), at Contemporary Art and Spirits in Osaka. Recent performances include a soundtrack for the Stephen Petronio Dance Company at the Joyce Theater in New York and the premiere of a new work, Corti (2018), presented at the Kitchen in New York. Public lectures include a keynote for the 20th Anniversary of the ICC Center in Tokyo and the Steven Wilson Memorial Lecture at San Francisco State University.

Shane Denson Assistant Professor, Film & Media Studies In his second year at Stanford, Shane Denson continued to develop courses that combine the theory and practice of media, including The Video Essay (Fall 2017), Game Studies (Winter 2018), and Let’s Make a Monster: Critical Making (co-taught with Paul DeMarinis, Spring 2018). Works from these classes were exhibited in the McMurtry Building and in the Shriram Center for Bioengineering and Chemical Engineering. A further exhibition, Videographic Frankenstein, opened in September; funded with a grant from Stanford’s Frankenstein@200 Initiative, the show assembled newly commissioned video artworks and video essays on the history of Frankenstein films. Denson was selected as one of 12 participants in a two-week NEH- funded Virtual and Augmented Reality Digital Humanities Institute at Duke University. In the coming year, he will be delivering talks and workshops on

Let’s Make a Monster at Shriram Center for Bioengineering and Chemical Engineering. Party, Jackie Langelier.

Let’s Make a Monster at Shriram Center for Bioengineering and Chemical Engineering. Roses, Jackie Langelier.

Frankenstein films, digital images, and videographic scholarship in Australia, Canada, Switzerland, and Norway. Meanwhile, he is hard at work on his next book, Discorrelated Images, which is now under contract with Duke University Press.

Usha Iyer Assistant Professor, Film and Media Studies In 2017–18, Usha Iyer has continued her engagement with film dance and the production of gendered stardom. Her book, tentatively titled The Dancing Heroine: Choreographing Gender in Popular Hindi Cinema, is under contract with Oxford University Press. Her article, “Dance Musicalization: Proposing a Choreomusicological Approach to Hindi Film Song-and-dance Sequences” appeared in South Asian Popular Culture, while forthcoming publications include “A Genealogy of Gestures: Comic Male Dancing from Bhagwan to Bachchan” (The Blackwell Companion to Indian Cinema), “Cine- choreographing the Virtual Space of the Nightclub in 1950s Hindi Cinema” (Seeing Movement, Being Moved: An Exploration of the Moving Camera), and “Bringing Bharatanatyam to Bombay Cinema” (Industrial Networks of Cinemas of India).

In spring 2018, Iyer delivered the keynote lecture at the Stanford Global Studies symposium for community college faculty; her talk was titled, “Teaching Indian Cinema in Trinidad: Rethinking Globalization Paradigms.” She served as Director of Undergraduate Studies (FMS), co-organized the inaugural Film and Media Studies Symposium, Pieces, co-curated the Stanford Colloquium on Dance Studies, served as a member of the ITALIC faculty college, and continues as a core committee member of the Center for South Asia. She will be a faculty research fellow at the Clayman Institute for Gender Research in 2018–19.

Srđan Keča Assistant Professor, Documentary Film and Video Srđan Keča continued production on his feature-length documentary Museum of the Revolution, centered around the remains of a promi- nent unfinished architectural project of socialist Yugoslavia. The project received backing from the Film Center of Serbia and will be presented at the DOK Leipzig Co-production Forum. He has continued his archival work through a collaboration with Penn Museum Archives on Witness to Witchcraft, which appropriates the striking and problematic footage shot by traveler and amateur anthropologist Harry B. Wright. At the inaugural Stanford Film and Media Studies Symposium, he presented his research into the Hague Tribunal video archives. A new course he offered in fall 2017, Archival Cinema: Excavating the Future, mixed film studies and production, and resulted in an exhibition of student video works at the Cantor Arts Center.

Jan Krawitz Sadie Dernham Patek Professor in Humanities, Documentary Film and Video

Jan Krawitz was invited to screen her documentary Perfect Strangers at the DeCamp Ethics lecture series at Princeton University in November. A fall sabbatical enabled her to attend the CILECT meeting of international film schools held at the Zurich University of the Arts. Jan gave talks at two national conferences: “Two Part Harmony: A Filmmaker’s Perspective” at the Sound and Storytelling conference and “The Perils of Personal Storytelling before #MeToo” at the University Film and Video Association national conference. The Caucus for Producers, Writers, and Directors in Los Angeles presented Krawitz with an award for Special Achievement in Educating New Filmmakers in June. She also received the George C. Stoney Documentary Award presented by UFVA. Krawitz is in the early stages of researching a new film that will be created from archival 16mm film footage.

Marci Kwon Assistant Professor, Art History This past year, Marci Kwon presented new research at the Association for the Study of the Arts of the Present Annual Conference, the American Studies Association Annual Conference, and the Modernist Studies Association Annual Conference. She also gave invited talks at the Detroit Institute of Arts, UC Berkeley, the Berkeley Art Museum, the Bill Lane Center for the American West at Stanford, the Metropolitan Museum of Art, the Center for Advanced Studies in the Visual Arts, and the Princeton American Studies Workshop. The topics of these papers included the history of folk art, scale and the global modern, Japanese internment crafts, anthropology and cybernetics, and photography in San Francisco Chinatown, as well as the painter Martin Wong and the fashion designer Kaisik Wong. Her article on Isamu Noguchi’s Appalachian Spring was published in Modernism/modernity Print+, and an essay on the intersection of folk art and Surrealism is forthcoming in the volume MoMA: The First 20 Years. Kwon also continued work on her book manuscript Enchantments: The Art of Joseph Cornell, under contract with Princeton University Press. In addition, she developed two new courses, the lecture class Migration and Diaspora in American Art, and a graduate seminar on theories of objecthood.

Pavle Levi Associate Professor, Film and Media Studies During the 2017–18 academic year, Pavle Levi continued to serve as the Area Head of the Department’s Film and Media Studies Program and as the Faculty Director of Stanford’s Center for Russian, East European, and Eurasian Studies (CREEES). His latest book, Jolted Images (Unbound Analytic), was published in the winter by Amsterdam University Press. Montage Fever, the educational film Levi co-authored with fellow Stanford professor Srđan Keča, was featured in the Cantor Arts Center’s exhibition, The Crown Under the Hammer, commemorating the 100th anniversary of the October Revolution. Levi curated a number of film programs and gave many invited lectures in the US and abroad, including the Museum of Modern Art, New York, Columbia University, University of Wisconsin- Madison, the Museum of Contemporary Art, Belgrade, and more.

Jody Maxmin Associate Professor, Art History Jody Maxmin’s new seminars have attracted exceptional students, three of whom achieved distinction in the past year. Kutay Serova (CS and Linguistics) was one of nine freshmen to receive an Introductory Seminar Excellence Award. Josh Lappen (BA in Classics, MS in Atmosphere/Energy Engineering) was one of nine seniors to win the Deans’ Award for Academic Excellence; Josh will continue his studies at Oxford as a Marshall Scholar. Christina Smith (Classics and Art History) received an MLitt from the University of Glasgow, with distinction, and the First Marquis of Montrose Award given to the top dissertation in Scottish studies. She was offered full scholarships from Cambridge University and Durham University. She will begin her doctoral studies at Durham in the autumn.

Jamie Meltzer Associate Professor, Documentary Film and Video Jamie Meltzer spent the spring quarter teaching in the Stanford in New York City Program. He taught a hybrid production and film studies course, Documenting New York, where students watched classic and contemporary documentary films made in the city, as well as creating their own short films exploring parts of the city. His most recent film, True Conviction, broadcast nationally on PBS’s Independent Lens in April. The film premiered at Tribeca Film Festival in April 2017, earning a Special Jury Mention in the Best Documentary Feature category. The film has screened at 15 festivals, garnering awards at the Oak Cliff Film Festival (Best Documentary Award), SF DocFest (NonFiction Vanguard Award), Newburyport Documentary Film Festival (Special Jury Mention), and Heartland Truly Moving Pictures (Best Documentary Feature Nominee).

This coming academic year he will teaching a new arts intensive course exploring virtual reality as a “storytelling” tool (Expanded Cinema: Experiments in Virtual Reality), and a new production course with Adam Tobin called Script to Screen, where students develop several screenwriting assignments into short films.

Richard Meyer Robert and Ruth Halperin Professor in Art History, Art History In the 2017–18 academic year, Richard Meyer was a fellow in residence at the Stanford Humanities Center. During this time, he worked on two major projects. Contact Warhol: Photography Without End, is a book and exhibition that draws on the Cantor Arts Center’s recently acquired collection of over 3,000 contact sheets representing every black and white photograph taken by Andy Warhol between 1976 and his unexpected death in 1987. Meyer and co-curator/co-editor Peggy Phelan approached the contact sheets as the sources, most previously unseen, on which Warhol drew to create photographs, silkscreen prints, and full-scale paintings during the last decade of his life. The exhibit opened on September 28, 2018 at the Cantor Arts Center and will be on view through January 6, 2019. The accompanying book was published jointly by the Cantor and MIT Press. Meyer is currently teaching an undergraduate course titled Warhol’s World in which students approach the exhibition as a laboratory for research and close visual analysis.

The second project that Meyer worked on (and continues to do so) is the first book-length study of the self- taught painter Morris Hirshfield. A Brooklyn tailor and slipper manufacturer who took up art at the age of 65, Hirshfield created wildly stylized paintings of animals, landscapes, and often-nude female figures. He attracted a great deal of attention, both positive and negative, during his relatively brief artistic career in the 1940s but has been largely forgotten since. A major break-

through that occurred during Meyer’s year at SHC was Morris Hirshfield, Untitled (View), oil on canvas, 1945. an invitation from the Peggy Guggenheim Collection in Venice to curate a major show of Hirshfield’s paintings to open in 2021. The invitation was based directly on research accomplished this year including locating several heretofore unknown works by the artist and delving into the history of his interactions with the Museum of Modern Art in the 1940s.

Alexander Nemerov

Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities, Art History In 2017 Alexander Nemerov published three books: Summoning Pearl Harbor (David Zwirner Books), a meditation on historical recollection and the presence of the past, Ralph Eugene Meatyard: American Mystic (Fraenkel Gallery), a study of the American photographer Ralph Eugene Meatyard (1925-1972), and Experience, a volume he edited for the Terra Foundation series on American Art. He also published an essay in Representations (“The Destruction of Hood’s Ordnance Train: A Love Story”) and—in various cata- logues—on the artists Wayne Thiebaud, Martha Ann Honeywell, and Manuel Neri. Nemerov taught lecture courses on the History of Western Art and on American Photography Since 1960, as well as Sisters, a freshman seminar on the sister arts of poetry and painting, with Professor Nicholas Jenkins of the English Department, and a graduate seminar called The Days, about writing the history of single days. In 2017–18 Nemerov completed his third year as chair and agreed to serve a second three-year term commencing in 2018-19.

Karla Oeler Associate Professor, Film & Media Studies Karla Oeler’s essay, “Nikolai Cherkasov in Ivan the Terrible,” was published in Close-Up: Great Cinematic Performances Volume 2: International, ed. Murray Pomerance and Kyle Stevens (Edinburgh UP, 2018). “Of Cats and Men: Eisenstein, Art and Thinking,” was published in The Flying Carpet: Studies on Eisenstein and Russian Cinema in Honor of Naum Kleiman, ed. Joan Neuberger and Antonio Somaini, Éditions Mimésis (2017). Her review of Sharon Cameron’s The Bond of the Furthest Apart: Essays on Tolstoy, Dostoevsky, Bresson, and Kafka appeared in Modern Language Notes (2017). A new article on the use of sound in poetic cinema is forthcoming in Screen. Oeler gave two invited talks in spring 2018: “Cinema and Soliloquy,” the opening keynote of Interiorities: Reflecting Subjectivity and Sociality, the Duke-Stanford Graduate Student Conference, and “Eisenstein’s Dostoevsky” at the Novel Dostoevsky Conference at Stanford’s Center for the Study of the Novel. As Faculty Director of ITALIC, Stanford’s residential arts-immersion program, Oeler convened faculty to further develop ITALIC’s rich curriculum and successfully applied for a VPTL experimental grant to develop an ITALIC Arts podcast.

Bissera Pentcheva Associate Professor, Art History This past year Bissera V. Pentcheva received the American Academy of Rome fellowship and a Guggenheim grant. With these funds and residence in Rome, she embarked on a new research project focusing on the liturgy of the Exultet in Lazio e Campania, exploring the interaction between the melodic structure of the music sung and the geometric designs of the interior decor. She has presented the results of this research at the Biblioteca Hertziana and Palazzo Gaetani in Rome, the Stanford BOSP program in Florence, Utrecht University in the Netherlands, and the University of Brno, Czech Republic. She has continued her research on the acoustics and aesthetics of Hagia Sophia and gave invited talks regarding her new research at UCLA, University of Sofia, Bulgaria, and Università La Sapienza in Rome. She also completed as a producer the documentary film directed and edited by Duygu Erucman, The Voice of Hagia Sophia, now playing at festivals.

Adam Tobin Senior Lecturer, Film and Media Studies In 2018, Adam Tobin was commissioned to adapt Chelsea Clinton’s children’s book, She Persisted: 13 American Women Who Changed the World, into a musical for the Bay Area Children’s Theatre. It will debut in Berkeley in February 2019. Tobin’s winter courses, Adaptation and Writing the TV Pilot, hosted guest Kira Snyder (’92), co-executive producer of Hulu’s The Handmaid’s Tale; the spring Screenwriting course featured Lisa Joy (’00), co-creator and executive producer of HBO’s Westworld. Along with Professor Jamie Meltzer, Tobin will offer a hybrid writing/production course in the coming year called Script to Screen.

Camille Utterback Assistant Professor, Art Practice Camille Utterback spent the last academic year on Junior Faculty Leave. During this time, she learned a wide variety of kiln-forming glass techniques at her residency at Bullseye Glass Projects in Emeryville, California. She continues to experiment with creating combinations of custom glass and computer generated animations, and hopes to complete some larger scale versions of this work by the end of the year. She exhibited a new interactive installation, Precarious, at the National Portrait Gallery’s Black Out— Silhouettes Then and Now exhibition curated by Asma Naeem. The scholarly exhibition catalog was published by Princeton University Press. Utterback gave artist talks at the National Portrait Gallery and Bullseye Projects, and participated on a panel discussion at San Francisco’s Contemporary Jewish Museum. She looks forward to returning to campus this year where she will be teaching a new undergraduate art practice course making artwork using virtual reality systems.

Camille Utterback examining a glass piece after taking it out of the Camille Utterback, screen detail of Precarious kiln during her residency at Bullseye Studios in Emeryville, CA. interactive installation, 2018. Photo courtesy of Bullseye Projects. Photo by Brett Bowman.

Richard Vinograd Christensen Professor in Asian Art, Art History Richard Vinograd’s major project this year was organizing the Cantor exhibition Ink Worlds: Contemporary Chinese Paintings from the Collection of Akiko Yamazaki and Jerry Yang (May– September 2018). The exhibition was accompanied by a fully illustrated catalogue with the same title, published by Stanford University Press, which includes several of his the- matic essays. Vinograd also contributed an essay, “Composite Identities: Chen Hongshou’s Portraits,” to Repentant Monk: Illusion and Disillusion in the Art of Chen Hongshou, the catalogue of an exhibition at the Berkeley Art Museum, and lectured there as part of a related lecture series. He also delivered the keynote address, “Chinese Portraits in Intercultural Richard Vinograd. Contexts,” at the international symposium on Faces of Photo courtesy of Richard Vinograd. China: Portrait Painting of the Ming and Qing Dynasties at the Kulturforum in Berlin, Germany. In late May he presented a paper at the International Symposium on the Daitokuji 500 Luohans at Kyushu University in Fukuoka, Japan, that will be published as part of the conference proceedings.

Gail Wight Associate Professor, Art Practice This was a busy year for Gail Wight, with two solo exhibits (Scenic Overlook at Patricia Sweetow Gallery in San Francisco and Homage to the Wind at Plexus Projects in New York City) and six group exhibits, including the first stop of the traveling exhibit Machines Are Not Alone at Chronus Art Center in Shanghai. She is continuing her work inspired by Northern California’s Pacific coast, and Scenic Overlook showcased a new series of videos based on tide pools and their otherworldly sense of time and space. The Pacific coast also inspired a new permanent installation for the lobby of Stanford’s new Bass Biology Building. This new work is a large mural covering both solid and glass walls and doors, and offers a unique view of the ocean inspired by literati paintings, titled Pacific Cadence. Along with a busy studio year, she was honored to receive the Silicon Valley Laureate award from SVCreates this past spring.

Scenic Overlook at Patricia Sweetow Gallery, San Francisco (Pacific Falls, Copepodilia, and The Fix). Photos by Gail Wight.

Xiaoze Xie Paul L. and Phyllis Wattis Professor in Art, Art Practice Xiaoze Xie staged several solo exhibitions: Eyes On: Xiaoze Xie at the Denver Art Museum in Denver, Colorado, Confrontation and Disruption at the Stanford in Washington Art Gallery in Washington, DC, Traces at Shantou University Art Gallery in Guangdong, China, and Nocturnes at Anglim Gilbert Gallery in San Francisco. He was invited to give talks at the Asian Art Archives in New York and the San Francisco Asian Art Museum about works-in-progress from his 2017 residency at the Mogao Grottoes in Dunhuang. Xie was the faculty director for the exhibition Image-Script: Selected Works from the Collection of Guangdong Museum of Art at the Stanford Art Gallery in the summer of 2018, part of an exhibition program sponsored by the Zeng Ming Family Fund for Contemporary Chinese Art, which he helped to initiate for the department. Xie also continued to serve as the Director of Graduate Studies in Art Practice.

Eyes On: Xiaoze Xie at the Denver Art Museum, Dec 3 2017–July 8, Eyes On: Xiaoze Xie at the Denver Art Museum, Dec 3, 2017–July 8, 2018, installation view of Fusebox. Photo courtesy of Xiaoze Xie. 2018, installation view of the Logan Gallery. Photo courtesy of Xiaoze Xie. Photo courtesy of Xiaoze Xie. Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information New Faculty

Rose G. Salseda Acting Assistant Professor, Art History Rose G. Salseda is a fourth generation Los Angeleno whose scholarship and advocacy centers the cultural production of African American and Latinx artists. In 2018, she completed her Ph.D. in art history at the University of Texas at Austin. Her dissertation, The Visual Art Legacy of the 1992 Los Angeles Riots, includes the visual analyses of works by two generations of artists who have addressed the videotaped police beating of Rodney King, the acquittal of the officers who assaulted him, and the resulting unrest. She is currently working on her book manuscript, which foregrounds unrest as a response to the injustices of state violence. Through the close reading of visual art, she argues that unrest is an act of the bereaved that makes Photo by Sam Romero. the intergenerational experiences of violence and loss visible within a landscape. In addition, Salseda is a co-founder of the U.S. Latinx Art Forum (USLAF), which champions artists and art professionals engaged in research, studio practice, pedagogy, and writing. As the assistant director of USLAF, she develops initiatives to ensure equity for the field of Latinx art within academic and art institutions. She is also a core organizer of at land’s edge, a pedagogical and public programs platform based in Los Angeles that nurtures the voices of cultural producers who are committed to social justice. Salseda’s work has been supported by the Ford Foundation, the American Association of University Women, and the Huntington Library, Art Collections and Botanical Gardens, among many others.

Emanuele Lugli Assistant Professor, Art History Emanuele Lugli researches and writes about late medieval and early modern art, with a particular emphasis on trade, technology, and trans-regional intellectual connections. His theoretical concerns include questions of scale and labor, the history of measurements, conceptualizations of precision, vagueness, smallness, and the reach of cultural networks. His first book, Unità di misura: breve storia del metro in Italia, was published by Il Mulino in 2014. His second monograph, The Making of Measure and the Promise of Sameness, will come out in 2019 for the University of Chicago Press. In between, he edited the volume To Scale with Professor Joan Kee (University of Michigan). His essays and articles—on the scientific knowledge entailed Photo by Michal Sokolowski. in stigmatization miracles, on the ways trading tools shaped the building of cathedrals, and on Leonardo da Vinci’s obses- sion with hair—have appeared in journals and magazines ranging from Art History to Vogue.

Lugli studied at the Università degli studi di Bologna, the Warburg Institute in London, and the Institute of Fine Arts in New York, where he completed his Ph.D. in 2009. He then moved to Florence’s Kunsthistorisches Institut/Max Planck Institut to join the Getty-funded project “Art, Space and Mobility in the Early Ages of Globalization.” From 2012, and before Stanford, he taught at the University of York in the United Kingdom.

He has been the recipient of a British Academy fellowship and a Weiss-Brown Publication Award from the Newberry Library in Chicago. He was visiting professor at the Universität zu Köln in 2016 and the 2017 Hanna Kiel Fellow at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies. Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Our Staff

Christopher J. Bennett Assistant Manager Christopher has been with the department since April 2015. He manages the administration of faculty research and grant funding, adjunct faculty appointments, and financial analysis projects. In addition to his work at Stanford, he helps out at fundraising events for the American Beethoven Society and sings in three choral groups in the San Jose area.

Lauren Douglas Experimental Media Studio Manager Lauren has been with the department since 2014, where she oversees the operations of the Experimental Media Studios, Prototyping Lab, and Large Format Digital Printing Studio. She offers equipment demonstrations and skills training to students during the academic year while maintain- ing the various equipment—including laser cutters, 3D printers, and large format inkjet printers—available for student use. She also researches and implements new technology for the Experimental Media Studios and the Equipment Checkout area. Her studio practice focuses on photography and video installation. She holds an MFA from Mills College.

Gabriel Harrison Exhibitions Manager Trained as a traditional architect, Gabriel works at the intersection between art, installation, and exhibition design. In addition to teaching design and working with city agencies to integrate art into public spaces, Gabriel has designed exhibitions for both regional and international museums. It is this role that brought him to Stanford, where he works with faculty and students to shepherd talented, emerging artists through the final execution of their work.

Elis Imboden Director of Operations Elis oversees all operational, financial, and administrative functions of the department. She supervises the staff, serves as an advisor and colleague to the faculty, and represents the department’s business and academic operations within the school and university. Her background is in non-profit administration, having held directorial positions with the California League of Conservation Voters Education Fund and San Jose Repertory Theater prior to her arrival at Stanford in 2005.

Joe Lewis Facilities Manager Joe oversees facility operations and staff for seven department buildings, including the McMurtry Building, Stanford Art Gallery, the Bleeker studio complex, and the Loughlin Artist Studios. Joe executes, coordinates, and problem-solves a number of activities to support the operations, mainte- nance, repair, upkeep, inventory, and refurbishments relating to the physical environment and building systems of the department. Away from work, Joe enjoys Marvel movies and being entertained by his South African mastiff, Zeus.

Paul Meyers Film & Media Studies Technologist Paul joined the Art & Art History team in the fall of 2016. He continues to work closely with students in the department’s film production courses, pro- viding technical guidance and instruction ranging from equipment training to editing system support.

Regina Miller Student Services Manager Regina joined the department in August 2014 and has over 10 years of student services experience at Stanford. She oversees all aspects of student services and academic affairs in the department, with special focus on the graduate programs. She works closely with graduate students and faculty, and supports the graduate programs including advising students, degree progress, curriculum planning, student funding, graduation, and admissions.

Jeff Stevens Preparator and Production Assistant Jeff joined the Art & Art History team in July 2015 as a preparator and production assistant to help with exhibitions and events at the McMurtry Building and the Stanford Art Gallery. Jeff assists students, faculty, and visiting artists to install and deinstall artwork in various exhibition spaces on the Stanford campus. Prior to Stanford, Jeff served for fifteen years as a museum preparator and production supervisor at the San Francisco International Airport Museum. In this role he was responsible for the installation and de- installation of exhibitions as well as matting and framing of photography shows. Jeff graduated from San Francisco State University in 2012 with a dual bachelors degree in art history and studio arts.

Dan TiffanyStudio & Sculpture Lab Manager Based in the sculpture shop, Dan has been a member of the team since 2007. He also oversees operations in the painting, drawing, printmaking, and honors studios. He provides safety and skills training in the shops for graduate and undergraduate students, and advises a wide range of classes on material safety matters. Ever up for a challenge, Dan has the most fun help- ing students find a way to give form to their ideas.

Mark Urbanek Film & Media Studies Technical Manager Mark oversees all technical and facilities requirements of the Documentary Film Program and manages the Film & Media Studies operational budget. He is responsible for instructional needs, class film screenings, and the quar- terly student film screenings—including the annual thesis screening. He also serves as liaison to program alumni and is in charge of social media out- reach.

Sommer Wood Photography Lab Manager Sommer joined the Photography Lab in January after extensive experience as a photography instructor and lab technician in South Florida. She has quickly settled into her new role overseeing daily operations in the department’s analog and digital photography labs and managing a large student staff. In her free time, she enjoys outdoor activities with her three energetic Labrador Retrievers. Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information New Staff

Frank Floyd Art Media Technologist Frank supports the art-specific technology needs of the department, serving as an expert technician and consultant to the department’s staff, faculty, and students. Frank’s education includes graduating from the renowned Boston Latin School, then attending the College of Engineering at Boston University, and finally Massachusetts College of Art. Frank has continually uti- lized both his art and science backgrounds, working for several years at MassArt supporting their film studios and technology. His career has included producing/editing for TV (SundanceTV, Discovery Channel, History Channel) as well as producing/directing independent documenta- ries. Frank is also is an accomplished film/video artist and classically-trained pianist.

Yuri Hobart Events and Communications Manager Yuri joined the department in October 2018. She earned her BA in communication studies from UCLA and moved to the Bay Area soon after to join AmeriCorps and work for the literacy nonprofit Reading Partners. She has since worked in events and communications at UC Berkeley and the Book Club of California in San Francisco. She enjoys reading, writing, and working on her longtime blog, bookswept.com.

Brandace Moore Finance Associate Brandace served as the major gifts development coordi- nator at Stanford Law School for three years before join- ing the department in May 2018. Prior to that, she served for fifteen years as the office administrator of her family’s health and wellness business. As the finance associate, Brandace oversees many of the accounts payable trans- actions for the department’s faculty and staff. Outside of Stanford, Brandace enjoys working behind the scenes as a photographer, producer, writer, editor, and occasionally, as the on-camera talent.

Linh Tran Student Services Specialist Linh is passionate about supporting the arts and arts education. As undergraduate student services specialist, Linh works closely with faculty and supports four undergraduate programs. She advises students on degree requirements, monitors their progress, and en- sures they are on track for graduation. She also assists with curriculum planning, financial aid, and admission. Linh joined the department in December 2017 from the Department of Music, where she served as the orches- tra studies program administrator for over six years.

Photos by Sommer Wood. Letter from the Chair Our Achievements Highlights Upcoming Events Faculty Projects and Achievements New Faculty Our Staff New Staff Contact Information Stanford University Department of Art & Art History

McMurtry Building (650) 723 3404 [email protected] 355 Roth Way art.stanford.edu Stanford, CA 94305 facebook.com/StanfordART

Donations to the Department of Art & Art History can be made online at giving.stanford.edu/goto/artdepartmentgift or via our website.

Staff Team Building Trip. Winchester Mystery House, 2018.