department of Art Archaeology & Newsletter fall     Dear students, colleagues, and friends: Inside Welcome to the 2013–14 academic as well, again at the junior level. Although depleted in these areas of our curriculum, we welcome a year! new colleague in Renaissance art and philosophy,  Our most important news is the arrival of Susanna Berger, who comes to us through the Soci- Faculty News Charles Barber, a distinguished Byzantinist, who ety of Fellows in the Liberal Arts. comes to us from the University of Notre Dame, Th e 2012–13 academic year featured another  where he taught since 1996. His Figure and Like- series of stimulating lectures, most of which were Graduate Student News ness (2002) and Contesting the Logic of Painting cosponsored by the Institute for Advanced Study. (2007) are already classics in the fi eld of Byzan- In the fall, the Kurt Weitzmann Lecture was deliv- tine art and aesthetics, and Charlie is at work on ered by the esteemed Byzantinist Anthony Cutler,  two further volumes that will carry his inquiry into who spoke about gift exchange from Late Antiq- Undergraduate News icon and iconoclasm into the 16th century. With uity through Early Islam, and, in the spring, his appointment, Princeton becomes a Sybille Ebert-Schiff erer, director of the  premiere place for Byzantine studies. Bibliotheca Hertziana, lectured on Seminar Study Trips Very gratifying, too, is that Chika Caravaggio as a case study in art- Okeke-Agulu, our Africanist, was historical methodology. Other promoted to tenure, which makes highlights included Jacqueline  permanent this key aspect of our Lichtenstein of the University of Lectures, Conferences, curriculum. More good news is Paris–Sorbonne on 18th-century Workshops the enthusiastic reappointment art theory and David Joselit of of Nathan Arrington, our archae- Yale on “How to Occupy an  ologist of ancient Greece, whose Image.” Th e year was capped Tang Center dig (which has produced a by a lecture by Martin Kemp, popular summer course) is thriv- professor emeritus at Oxford, ing. Our 19th-century expert, on problems of attribution in  Bridget Alsdorf, published her fi rst Leonardo. Our Robert Janson-La Marquand Library book—on the group portraiture Palme Visiting Professor last spring, of Henri Fantin-Latour—to rave Martin also led a graduate seminar  reviews, and our new colleague in on Leonardo. contemporary art, Irene Small, a Like other humanities depart- Visual Resources Latin American specialist, is off to ments, Art and Archaeology faces Collection an excellent start. challenges. In partial response, we We have also had losses. With have simplifi ed distribution require-  the retirement of John Pinto after ments—from six areas to three—and Index of Christian Art 25 years of service, the University loses a fi gure of have reduced course requirements for majors who distinguished scholarship and international reputa- combine art history and studio art. We have also tion, inspired teaching and committed mentoring, revived our basic “History of Architecture” and  compassionate collegiality and utter fair-mind- “Introduction to Archaeology,” which should Excavations edness. Th e Howard Crosby Butler Memorial serve as feeder courses to the department. Further Professor of the History of Architecture since changes in the curriculum will be taken up in  1996, John is irreplaceable; nevertheless, we will an internal review this year. Our plan is to make News from Alumni search for a junior scholar in his fi eld of early certain that the Department of Art and Archaeol- modern art and architecture. Our medievalist, ogy is the epicenter of art history and visual studies Nino Zchomelidse, has also departed, for a post at on campus. Johns Hopkins, and so we will search in this fi eld Hal Foster, acting chair Fellow Men Fantin-Latour and the Problem of the Group Faculty News in Nineteenth-Century French Painting

Bridget Alsdorf published Fellow Men: Fantin- delivered the keynote address, “From the Public Latour and the Problem of the Group in Nineteenth- Cemetery to the Individual Mind: The Memory Century French Painting (Princeton University of the War Dead in Ancient Athens,” at “Spatial Press, 2012). Focusing on the art of Henri Fantin- Interactions: Exploring the Artistic Environment,” Latour and his colleagues Gustave Courbet, Edgar a graduate student conference at the University of Degas, Edouard Manet, Frédéric Bazille, and Pierre- Toronto. After teaching the new summer excavation Bridget Alsdorf Auguste Renoir, the book argues for the importance course, he returns to campus this fall as the Class of of the group as a defining subject of 19th-century 1931 Bicentennial Preceptor. French painting, offering new insights into how Rachael Z. DeLue completed her second book, French painters understood the shifting boundaries Arthur Dove: Mind, Matter, World, forthcoming of their social world and revealing the fragile mascu- from the University of Chicago Press, and began Bridget Alsdorf, Fellow Men: line bonds that made up the avant-garde. Alsdorf work on her third book, tentatively titled At the Fantin-Latour and the Problem of also completed an essay on Félix Vallotton’s prints Limit: Conditions of Picturing in American Art and the Group in Nineteenth-Century for the catalogue of the exhibition The Avant-Gardes French Painting Visual Culture, which will consider the myriad ways of Fin-de-Siècle Paris: Signac, Bonnard, Redon, and that artists and other image-makers from a range of Their Contemporaries at the Peggy Guggenheim disciplines, including the sciences, have confronted Collection in Venice (September 28, 2013–January limits in the production of visual form, including 6, 2014) and continued work on limits of visibility, perception, space, time, medium, a translation of Philippe Lacoue- and species. DeLue taught a graduate/undergrad- Labarthe’s writings on art. She uate seminar on that topic in spring 2013, and she gave several talks, most notably presented portions of her preliminary research at the Robert Rosenblum Memo- Harvard’s Graduate School of Design. She also gave rial Lecture at the Solomon R. lectures on the criterion of simplicity in art and Guggenheim Museum in New mathematics, at the CUNY Graduate Center; on York, where she presented new Samuel F. B. Morse’s iconic painting The Gallery research on Pierre Bonnard and of the Louvre, at the Pennsylvania Academy of the Vallotton. Alsdorf will be on leave Fine Arts; on American landscape painting, at the during the 2013–14 academic Chicago Humanities Festival; and on Arthur Dove year, funded by an Arthur H. and meteorology, at Trinity University in San Anto- Scribner Bicentennial Preceptor- nio, Texas. Two essays by DeLue appeared in the ship. Her research will focus on catalogue of the Museum of Modern Art’s exhi- her second book project: a study bition Inventing Abstraction, 1910–1925: How a of the representation—across Radical Idea Changed Modern Art, and she authored Excavations in progress at Nathan multiple media—of theatrical Arrington’s new summer course in the catalogue essay for Animalicious, an exhibi- audiences and crowds in fin-de-siècle French art. northern Greece tion of work by contemporary artist Mark Steven Nathan Arrington, on sabbatical in 2012–13, Greenfield. She also completed her first year as spent much of the year finalizing permit applica- the reviews editor for The Art Bulletin, and in that tions and laying the groundwork for Princeton’s capacity she commissioned a special series of book new excavation and summer course in northern reviews to celebrate the centennial year of the jour- Greece (see page 31). He also completed his book nal. DeLue also co-taught a new American Studies manuscript, Ashes, Images, and Memories: The Pres- course, “America Then and Now,” with Profes- ence of the War Dead in Ancient Athens, which sors Anne Cheng (English) and Hendrik Hartog is under review at a university press. Arrington (history). This summer, she again participated in the gave talks at the “Potters and Painters III” confer- Freshman Scholars Institute, a program for incom- ence at the College of William and Mary (“Fallen ing Princeton freshmen. She also celebrated the first Vessels and Risen Spirits: The Vision of the Dead birthday of her daughter, Zane Eliza DeLue, and on White-Ground Lekythoi”); at the Sterling and the fifth birthday of her son, Asher. This fall, DeLue Francine Clark Institute (“The Perceptible and completes a two-year appointment as a Behrman Perceiving Dead in Classical Athenian Art”); at Associate Professor in the Humanities and begins Columbia University (“More Than a Name: Private a one-year term as a faculty fellow in Princeton’s Responses to the Public Commemoration of the Society of Fellows in the Liberal Arts. She will also War Dead in Fifth-Century Athens”); at the Rupre- return to her position as the departmental repre- Rachael Z. DeLue et al., Inventing cht-Karls-Universität Heidelberg (“The Emergence sentative, advising undergraduate majors in art and Abstraction, 1910–1925: How a of the Athenian Public Cemetery”); and at a grad- archaeology. In fall 2013, DeLue’s teaching will Radical Idea Changed Modern Art uate seminar at New York University. He also include the methodology seminar for junior majors,

2 fall   1 3 Department faculty 2012–13. Front row, left to right: Anne McCauley, Bridget Alsdorf, Christopher Heuer, Hal Foster and Rem Koolhaas, Hal Foster, Rachael DeLue, Irene Small; middle row, left to right: Kate Liszka, Christina Halperin, Joanna Smith, Junkspace with Running Room Esther da Costa Meyer; back row, left to right: Thomas DaCosta Kaufmann, Jerome Silbergeld, John Pinto, Michael Koortbojian, Brigid Doherty, Andrew Watsky, Cary Liu (not pictured: Nathan Arrington, Robert Bagley, Thomas Leisten, Lia Markey, Katherine Marsengill, Chika Okeke-Agulu, James Steward, Nino Zchomelidse) as well as a graduate seminar inspired by the centen- on world art history at a conference cosponsored by nial of the 1913 Armory Show. the École Normale Supérieure, Paris, and Purdue Hal Foster received the 2013 Frank Jewett Mather University; at an international conference on new Award from the College Art Association. Specif- directions in Latin American art history at the ically citing his recent books The Art-Architecture University of Hamburg; and at a symposium at the Complex (Verso, 2011) and The First Pop Age Schloss in Dresden. Kaufmann delivered the Nina (Princeton University Press, 2012), the award Maria Gorrissen Lecture “Reflections on World Art recognized him as an influential and theoreti- History” at the American Academy in Berlin, and cally sophisticated critic and theorist of modern he spoke on the same topic at the Adam Mickiewicz and contemporary art, whose many publica- University in Poznań, Poland, and at the Univer- tions set a high standard for serious inquiry into sity of Greifswald. He lectured on the “Spirit of the art and culture of our time. With Rem Kool- the Place” at the University of Göttingen and the Technical University, Berlin. Kaufmann also gave haas, he published Junkspace with Running Room Thomas DaCosta Kaufmann et al., three invited lectures at the Palacký University in (Notting Hill Editions, 2013), which pairs an Des Kaisers Kulturhauptstadt: Linz updated version of Koolhaas’s celebrated 2001 Olomouc, Czech Republic. um 1600 manifesto “Junkspace” with Foster’s fresh response, During the 2012–13 academic year, Kaufmann “Running Room.” He also contributed essays to published “Linz: Des Kaisers Kulturhauptstadt the exhibition catalogues Matt Mullican: Subject um 1600? Ein Escorial in Oberösterreich?” in Des Element Sign Frame World (Skira Rizzoli, 2013) and Kaisers Kulturhauptstadt: Linz um 1600 (Bibliothek English Magic, Jeremy Deller’s 2013 Venice Bien- der Provinz, 2012), the catalogue of an exhibition nale exhibition. Other catalogue essays on Richard at the Oberösterreichisches Landesmuseum in Linz; Hamilton, Louise Lawler, and Richard Serra are “ADSIT: Vistas for Rudolfine Research,” in Hans forthcoming. In spring 2013, Foster taught a semi- von Aachen in Context, edited by Lubomír Konečný nar based on the Museum of Modern Art’s show and Štěpán Vácha (Artefactum, 2012); “Centres or Inventing Abstraction, and he is currently collabo- Periphery? Art and Architecture in the Empire,” in rating on the Gauguin exhibition that will open at The Holy Roman Empire, 1495–1806: A European MoMA in 2014. He lectured this year at the Tate Perspective, edited by R. J. W. Evans and Peter H. Modern in London and the Louisiana Museum in Wilson (Brill, 2012); “Un empire d’art: L’Europe Copenhagen, among other places. centrale aux alentours de 1550–1630,” in Dürer et son temps: De la Réforme à la Guerre de Trente Ans; Thomas DaCosta Kaufmann, who was on leave in Dessins allemands de l’École des Beaux Arts, edited by spring 2013, was the Nina Maria Gorrissen Fellow Emmanuelle Brugerolles et al. (Beaux-Arts de Paris, in History at the American Academy in Berlin from 2012); “Le génie du lieu: Réflexions critiques,” in January–May. In June, he was the director’s visitor Le génie du lieu: La réception du langage classique at the German Art Historical Institute in Florence, en Europe (1540–1650): Sélection, interprétation, Thomas DaCosta Kaufmann et where he collaborated on global art history projects invention, edited by Monique Chatenet and Claude al., The Holy Roman Empire, 1495– 1806: A European Perspective and conducted seminars. He gave keynote lectures Mignot (Picard, 2013); and “Historiography of Art fall   1 3 3 History (Western Traditions),” in the Oxford Bibli- Essays on Nigerian Art & Architecture; A Festschrift ography of the History of Art (online launch 2013), in Honour of Demas Nwoko (Goldline & Jacobs, of which he is editor-in-chief. He also published 2012), and he contributed the essay “The Zaria book reviews in Renaissance Quarterly (fall 2012 Art School: From Wangboje to Okpe.” His other and summer 2013) and the American Historical publications this year include: “Ibrahim El-Salahi Review (April 2013). and Postcolonial Modernism in the Independence In addition to serving on various Ameri- Decade,” in Ibrahim El-Salahi: A Visionary Modern- can and European fellowship and appointment ist, edited by Salah M. Hassan (Museum for African committees, Kaufmann continued to serve as an Art, 2012); “Globalization, Art History, and the adviser to the Fellowship Committee of the Euro- Specter of Difference,” in Contemporary Art: 1989 pean Research Council. He also was a member of to the Present, edited by Alexander Dumbadze and an external committee that evaluated part of the Suzanne Hudson *06 (Wiley-Blackwell, 2013); University of Leiden, Netherlands. “Contemporary African Artists and the Pan-African Michael Koortbojian published “The Mythology Imaginary: Skunder Boghossian, Kwabena Ampofo- Anti, and Victor Ekpuk,” in Diaspora Dialogue: Anne McCauley et al., Impression- of Everyday Life,” in Iconographie funéraire romaine Art of Kwabena Ampofo-Anti, Alexander “Skunder” ism, Fashion, & Modernity et société: Corpus antique, approches nouvelles?, edited by Martin Galinier and François Baratte (Presses Boghossian, and Victor Ekpuk (University of Mary- Universitaires de Perpignan, 2013), as well as a land University College, 2013); “Rethinking Mbari review article, “Recent Sarcophagus Studies,” in the Mbayo: Osogbo Workshops in the 1960s, Nigeria,” in African Art and Agency in the Workshop, edited by

EZUMEEZU EZUMEEZU Journal of Roman Archaeology (2012), and reviews of

Ezumeezu, edited by Obiora Udechukwu and Chika Okeke-Agulu, is Sidney L. Kasfir and Till Förster (Indiana Univer- a festschrift for Demas Nwoko, the influential Nigerian artist, architect, recent books in Classical Philology (October 2012) designer and politician. It is an unprecedented compilation of essays by important art critics, historians, artists, writers and scholars on the work sity Press, 2013); “Ghada Amer: Baisers #1,” in of Demas Nwoko, and on Nigerian art, architecture, literature and art EZUMEEZU administration. and Classical Journal Online (May 2013).

Obiora Udechukwu is an artist, poet and the Charles A. Dana Professor of Fine Arts at MuMO: Le musée mobile (Presses du Réel, 2013); St. Lawrence University. He is the author of What the Madman Said. Chika Okeke-Agulu, an artist and art historian, is co-editor of Nka: Journal of ESSAYS ON NIGERIAN Anne McCauley saw the publication of several Contemporary African Art and Assistant Professor of Art History and African American A FESTSCHRIFT IN HONOUR OF DEMAS NWOKO ESSAYS ON NIGERIAN ART & ARCHITECTURE and “Happy Survival!: Highlife, Photography, and Studies, Princeton University. He is co-author of Contemporrary African Art Since 1980. ART & ARCHITECTURE A FESTSCHRIFT IN HONOUR OF Over the last two decades the constitutive history of modernism has irrevocably expand- essays this year, including “Photography, Fashion, ed, and so have names of the artists who have defined its multifarious contours. These DEMAS NWOKO the Postcolonial Condition,” in Distance and Desire: changes did not come about through a change of heart in narrow art history, but out of an intervention from inside the practice of art by experimental artists and thinkers like Demas Nwoko, whose visionary, uncompromising avant-gardism, like Corbusier’s, defies and the Cult of Appearances,” in Impressionism, the dichotomy between artist and architect. Demas Nwoko is a unique figure, in his Encounters with the African Archive—African Photog- expansive modernism and distinctive contemporaneity. The contributions in Ezumeezu demonstrate the richness of his storied career. This is a book anyone serious about the study of modern art must have on the shelf. Fashion, & Modernity, the catalogue of an exhi- Okwui Enwezor raphy from the Walther Collection, edited by Tamar Director, Haus der Kunst, Munich A proper homage to a well-deserving African modernist. Written by leading scholars, bition at the Musée d’Orsay, the Metropolitan this collection of essays offers a comprehensive perspective on Nigerian modernism and Garb (Steidl, 2013). Okeke-Agulu presented papers its evolution. It fills a serious gap in the critical literature on the modernist experience in African art. It is a must read for scholars of contemporary art and architecture, and for those interested in the development of modernity and modernism outside the western Museum of Art, and the Art Institute of Chicago; metropolis. at the symposiums “The Image of the Black in West- Salah M. Hassan Goldwin Smith Professor of Art History, and Director, Institute for Comparative Modernities, Cornell University “Du spirituel dans la photographie: Coburn, Pound This collection of essays in honour of Demas Nwoko, arguably Nigeria’s exemplar of total ern Art,” at the Yale University Art Gallery, and arts, is most apt and welcome. In celebrating the incomparable intellectual, creative, and organisational prowess of this personage, the authors bequeath to us an invaluable work et les vortographies,” in Carrefour Stieglitz: Colloque that complements Nwoko’s unique and multifaceted persona. “Encounters with the African Archive,” at New dele jegede Professor of Art History, Department of Art, Miami University, Ohio

Okeke-Agulu Udechukwu & de Cerisy-la-Salle, edited by Jay Bochner and Jean- edited by York University. In February, he moderated a public Goldline & Jacobs Publishing Obiora Udechukwu ISBN 978-1-938598-01-2 Pierre Montier (Presses Universitaires de Rennes, Chika Okeke-Agulu discussion at the University of Maryland University Cover Illustration: The Gift of Talents, mural painting by Demas Nwoko, Teddar Hall, University of Ibadan. foreword by (Photo by Obiora Udechukwu.) 2012); “Secret Seraglios: Tracking the Female Nude Wole Soyinka College Art Gallery with exhibiting artists Kwabena Goldline & Jacobs Publishing in the History of Nineteenth-Century Photogra- Ampofo-Anti, Alexander “Skunder” Boghossian, phy,” in Histoire de l’art du XIXe siècle (1848–1914): and Victor Ekpuk. In 2012–13, Okeke-Agulu intro- Ezumeezu: Essays on Nigerian Art Bilans et perspectives (École du Louvre, 2012); and and Architecture; A Festschrift in duced a new undergraduate course, “Art and Politics “Rethinking Woman in the Age of Psychoanalysis: in Postcolonial Africa,” and organized a faculty- Honour of Demas Nwoko, coedited Alfred Stieglitz’s Photographs of the Female Nude,” by Chika Okeke-Agulu graduate seminar, “Black Art, Internationally,” for in American Photography: Local and Global Context, the Center for African American Studies. Next edited by Bettina Gockel (Akademie Verlag, 2012), spring, he will offer a new seminar, “African Photog- which was also the subject of her department raphy Since 1945.” reunion lecture on May 31, 2013. McCauley also edited by John Pinto alexander dumbadze and suzanne hudson taught two new classes: a 400-level seminar on Pre- , after 25 years of teaching at Princeton, Raphaelite painting and photography (see page joined the ranks of professors emeriti in July. At a 20) and a graduate seminar on photography and festive gathering in New York, his former students con abstraction, which included a session with Visual presented a gift in his name to Marquand Library: Arts faculty member James Welling and guest a first edition of The Works in Architecture of Robert tem lecturer Farrah Karapetian discussing their came- and James Adam (see page 24). Pinto’s most recent raless and abstracted photographic work. During book, Speaking Ruins: Piranesi, Architects, and Antiq- por 2013–14, McCauley will be on sabbatical leave, uity in Eighteenth-Century Rome (University of and in spring 2014 she will be a Getty Research Michigan Press, 2012), traces the development of Institute Museum Guest Scholar. European architecture during a critical period that ary saw the transformation of both history and archae- Chika Okeke-Agulu was promoted to associate ology, with Giovanni Battista Piranesi and other art professor with tenure and was appointed Berhman architects playing an increasingly crucial role in the 1989 to the present Faculty Fellow in the Humanities for 2013–15. He recording and visual presentation of ancient art and was also appointed associate editor of Callaloo Art architecture. Based on his Thomas Spencer Jerome and to the editorial boards of the Journal of Afri- Lectures at the University of Michigan and the Chika Okeke-Agulu et al., Contem- can American Studies and the Journal of Igbo Studies. American Academy in Rome, the book also investi- porary Art: 1989 to the Present With Obiora Udechukwu, he coedited Ezumeezu: gates the close relationship between the intensifying

4 fall   1 3 archaeological explorations in that period and the Harunobu for acquisition by the Princeton Univer- development of post-Baroque styles in architecture. sity Art Museum; the print is now in the museum’s In the coming years, Pinto looks forward to work- permanent collection (see pages 18–19). ing fulltime on two research projects: an exhibition on the image of Rome in the 19th century for the New Faculty Morgan Library and Museum, and a book on archi- tecture and urbanism in 18th-century Rome. Irene V. Small, who teaches contemporary art Jerome Silbergeld published two book chapters and criticism with a transnational focus, joined and an article on Chinese cinema—in relation to the department in fall 2012. She is an affiliated family psychology, first and last scenes, and direc- faculty member of the Program in Latin American tor Ang Lee’s “American trilogy”—as well as four Studies and a member of the executive commit- book chapters on early Chinese painting: on the tee of the Program in Media and Modernity. Small world’s oldest essay about landscape painting, from received her B.A. from Brown University and the 5th century; on 10th- through 14th-century her Ph.D. from Yale University, where she was architectural painting in relation to actual archi- awarded the Frances Blanshard Fellowship Fund tecture; on the rise of literati painting in the Song Prize for Outstanding Dissertation in the History of Art. From 2009 to 2012, she was assistant dynasty; and on the transition from Song to Yuan John Pinto, Speaking Ruins: Pira- painting. The 550-page volume The Family professor of art history at the University of nesi, Architects, and Antiquity in Model in Chinese Art and Culture, Illinois–Urbana-Champaign. Eighteenth-Century Rome - which he coedited with Dora Ching, Her book project, Hélio Oiti cica: Folding the Frame was published by Princeton’s , examines Tang Center for East Asian Art, the experimental practice of in association with Princeton the Brazilian artist Hélio Oiti- University Press, in July (see cica, who worked in Rio de page 23); the book includes an Janeiro, London, and New York introductory essay that he coau- in the 1960s and ’70s. The book thored with his wife, Princeton explores discourses of develop- research psychologist Michelle mentalism and organic processes DeKlyen. Silbergeld is currently coed- of emergence as they intersect in the articulation of a participatory art para- iting a volume titled The Zoomorphic Irene V. Small Imagination in Chinese Art and Culture; digm in mid-1960s Brazil. The project cocurating the exhibition Inspired by has been supported by a number of Dunhuang: Re-Creation in Contemporary Chinese fellowships and grants, including from the Getty Art, which opens in December 2013 at China Insti- Research Foundation, the Dedalus Founda- tute in New York; and serving as chief curator for a tion, and the Creative Capital and Andy Warhol large exhibition in São Paulo, Brazil: Formation and Foundations. Transformation in Chinese Art and Culture (opening Small’s recent essays have considered autopoi- esis and medium specificity (Contemporary Art: in March 2014). This past year, he also gave eight Jerome Silbergeld et al., New Per- 1989 to the Present, 2013); the historiography of guest lectures at universities, museums, and confer- spectives on Qingming Shanghe Tu ences, including at the University of Oxford, and he the avant-garde and ideologies of development in continued to serve as director of the Tang Center. 1960s Brazil (Third Text, 2012); the votive struc- tures of conceptual art (Res: Anthropology and Andrew M. Watsky spent the past year immersed Aesthetics, 2009); and strategies of taxonomy and in ongoing study of the 16th-century chanoyu, morphology in Hélio Oiticica’s wearable works the Japanese practice of drinking tea, and appreci- (Getty Research Journal, 2009). A piece on Joseph ating the many objects employed in it. His book Beuys and modernist sculpture is forthcoming in about those objects is in progress, with a focus on Retracing the Expanded Field: A Conference on Art a chanoyu treatise written in the 1580s. He also and Architecture (MIT Press, 2014). continued preparations for an exhibition centered Small is currently at work on two articles: on one such object, a large jar named Chigusa that “Passion of the Same: Cacique de Ramos and the appears in the treatise and is now owned by the Multitude,” which examines the political poten- Freer Gallery of Art and Arthur M. Sackler Gallery tial of structures of ecstatic mimicry, and “Text in in Washington; the exhibition will open at the the Wake of the Technical Image: Mira Schendel’s gallery in 2014. Watsky published aspects of his Datiloscritos,” which considers the typed drawings chanoyu research in Japanese and American publi- of the Swiss-Brazilian artist in relation to Vilém cations, and the volume he coedited, Crossing the Flusser’s notion of the “technical image.” Sea: Essays on East Asian Art in Honor of Professor With Tumelo Mosaka, Small recently Yoshiaki Shimizu, was published in December (see cocurated Blind Field (2013), an exhibition page 22). Students in his fall 2012 undergraduate of emerging and mid-career artists working in Blind Field, catalogue of the exhi- seminar on Japanese prints researched, selected, and Brazil, shown at the Krannert Art Museum at bition cocurated by Irene V. Small recommended a print by the 18th-century artist the University of Illinois and the Eli and Edythe fall   1 3 5 Broad Art Museum at Mich- Christina Halperin, whose scholarship focuses igan State University. At on Classic Maya art and society, directs the ongo- Yale, she contributed essays ing excavations at Tayasal, Petén, Guatemala. In to the award-winning exhi- the summer 2012 season, the project investigated bition catalogue Picasso and how Pre-Columbian peoples engaged with their the Allure of Language (2009) own pasts by examining a Terminal Classic period and curated Verbivocovisual: neighborhood that lived in the shadows of cere- Brazilian Concrete Poetry at monial ruins dating half a millennium earlier. Sterling Memorial Library. Halperin’s international team included Elliot Lopez- With Lauri Firstenberg, she Finn ’12 and graduate student Kin Sum Li, who cocurated Multitude at Artists participated in survey, excavations, and laboratory Space (2002), and she acted analysis. Halperin’s new book Maya Figurines: Inter- Blind Field, the exhibition cocurated as the curatorial and research sections between State and Household is forthcoming by Irene V. Small, at the Krannert assistant to Okwui Enwezor for The Short Century: from the University of Texas Press in spring 2014. Art Museum, University of Illinois– Independence and Liberation Movements in Africa, Taking ceramic figurines as its primary focus, the Urbana-Champaign, 2013 1945–1994 (2001). book juxtaposes the realms of the ordinary and the In the 2012–13 academic year, she lectured extraordinary to reveal how household objects both in São Paulo, Bogotá, and Mexico City, and deliv- resisted and incorporated the religious, gendered, ered a keynote address at the Terra Foundation and political discourses of the state into their visual conference “Mapping: Geography, Power, and vocabulary and practices. Halperin’s research on Imagination in the Art of the Americas,” at the ceramic production, figurines, and household inter- Institute of Fine Arts in New York. In the spring actions at the Classic period (ca. 300–900 c.e.) 2013 semester, Small taught the undergraduate center of Motul de San José, Guatemala, was survey of contemporary art and a graduate seminar featured in Motul de San José: Politics, History, and titled “When Is Art?” This fall, she will teach a new Economy in a Classic Maya Polity (University Press of 400-level seminar on Latin American art focused Florida, 2012), edited by Antonia E. Foias and Kitty on developing critical approaches to the archive, F. Emery, and in the Princeton University Art Muse- as well as a new 300-level course that will consider um’s exhibition catalogue, Dancing into Dreams: experimental art of the 1960s in Brazil, Argentina, Maya Vase Painting of the Ik’ Kingdom, by Bryan Just and the United States. (Yale University Press, 2012). This fall, Halperin joins the department’s faculty as a lecturer. Cotsen Fellows Kate Liszka is an Egyptologist who specializes in Each year the Princeton Society of Fellows in the study of ancient ethnicity and identity, with a the Liberal Arts appoints a new cohort of three focus on a Bronze Age Nubian group known as the Christina Halperin et al., Dancing to six Cotsen Postdoctoral Fellows, recent Ph.D. Medjay. Her forthcoming book on the Medjay and into Dreams: Maya Vase Painting of recipients in the humanities and selected social the archaeological culture known as the Pangrave the Ik’ Kingdom and natural sciences who have already demon- incorporates art, archaeology, textual data, and strated both outstanding scholarly achievement anthropological theory; the book is under contract and excellence in teaching. The fellows, who are with Brill and will appear in the series Probleme appointed for three-year terms, pursue research der Ägyptologie. She has also completed a draft of and teach half-time as lecturers in a home depart- an extensive article on ancient Egyptian admin- ment or program at the University. They also join istration and control over Nubia that translates the Princeton Society of Fellows in and comments on unpublished texts in the British the Liberal Arts, which is dedicated Museum. In fall 2012, Liszka taught the new course to promoting innovative interdis- “Understanding ‘Barbarians,’” which examined ciplinary approaches to scholarship sources and methodology for understanding groups and teaching. Meeting regularly with on the periphery of ancient history. In the spring, Princeton faculty members for infor- she taught a survey of ancient Egyptian art that also mal and formal discussions, seminars, examined theoretical approaches to the subject. She lectures, and reading groups, the also gave lectures at several chapters of the Archae- fellows pursue new knowledge within ological Institute of America and the American and across disciplines. The Society Research Center in Egypt and spoke at both of their of Fellows was established in 1999 annual meetings. In summer 2013, Liszka received a through the generosity of Charter Mellon Faculty Summer Stipend to study Egyptian Trustee Lloyd E. Cotsen ’50. objects in the Princeton University Art Museum and Last year the department was incorporate them into her class on ancient Egyptian Christina Halperin in a test-pit fortunate to have two Cotsen Fellows, archaeology this fall. This year, she will also serve identifying the construction chro- both specialists in material cultures and history of as the faculty mentor for the Edwards Collective, nology of a ceremonial building the ancient world, but in vastly different regions a new undergraduate humanities group in Mathey at Tayasal, Guatemala and time periods. College. 6 fall   1 3 Lecturers fi nish a draft of Th e Venetian Bride, a microhistory of two families in Venice and its outlying territo- Lia Markey was a fellow at the Folger Library ries, by the end of the year. Her second project, in summer 2012, where she began research on Venice Outside Venice, a book on the art, architec- Giovanni Stradano’s Nova Reperta engravings of ture, and culture of the Venetian empire, is also Post-Classical inventions and novelties. Her recent beginning to take shape. Brown’s lecture venues publications include a Renaissance Quarterly arti- this year included Save Venice, New York (October cle on Stradano’s American prints (summer 2012), 2012), and Oberlin College (November 2012). In as well as a book review in the same journal (spring April, she chaired a session at the Renaissance Soci- 2013). Following the birth of her son, Oren, in ety of America’s annual meeting in San Diego; gave August 2012, Markey taught “Italian Renaissance a paper at Santa Clara University in the inaugu- Painting and Sculpture” in the spring semester. ral Vari Symposium, “Venice and the Renaissance”; Th is year she also lectured at Villanova Univer- and presented a short paper, “Chinoiserie in Eigh- sity, the University of Cambridge, and the Warburg teenth-Century Venice,” at “Beyond Adriatic Institute, where she was an Albin Salton Fellow Shores: Italy and the East,” an interdisciplinary Kate Liszka at the excavations of this summer. She is currently editing her book symposium organized by Princeton’s Depart- Abydos, Egypt manuscript on the Medici and the New World, ment of Music. Brown spent the month of May in writing an article on Renaissance images of syphi- Venice, where she served on the advisory board and lis, researching Italian artists in 16th-century Peru, chaired a session of the interdisciplinary conference and completing contributions for the catalogue of “Th e Church of Santa Maria Gloriosa dei Frari in Italian drawings in the Princeton University Art Venice: Space of Devotion, Images of Piety.” In Museum, which will accompany an exhibition June, she gave the introductory remarks at “Renais- opening in January 2014. sance Encounters: A Symposium in Honour of Joanna S. Smith collaborated with Professor Emer- Professor Deborah Howard,” at the University of itus William Childs and Michael Padgett, curator of Cambridge. Th e festschrift Refl ections on Renais- ancient art at the Princeton University Art Museum, sance Venice: A Celebration of Patricia Fortini Brown, to curate the exhibition City of Gold: Tomb and edited by her former Ph.D. advisees Mary Frank Temple in Ancient Cyprus at the Princeton University *06 and Blake de Maria *03, was presented to her Art Museum (see pages 30–31). Together they coed- at the Renaissance Society of America’s annual ited the accompanying catalogue, City of Gold: Th e meeting in April (see pages 8–9). Brown also Archaeology of Polis Chrysochous, Cyprus (Princeton remains an active board member of Save Venice. University Art Museum, 2012), to which Smith Peter Bunnell edited and wrote the introduction contributed essays and entries on jewelry, seals, to Aperture Magazine Anthology: Th e Minor White pottery, and other objects. Th e exhibition and other Years, 1952–1976 (Aperture, 2012). Published on projects for the Princeton Cyprus Expedition were the occasion of Aperture’s 60th anniversary, this is Joanna S. Smith et al., Ancient the focus of her work last year. She also contributed the fi rst anthology of the magazine ever published. Cyprus: Cultures in Dialogue the essay “Languages, Scripts, and Administration” It gathers a selection of the best critical writing and entries about seals and a perfumed oil vessel from the fi rst 25 years of the magazine, the period to the catalogue of the exhibition Ancient Cyprus: spanning the tenure of cofounder Minor White. Cultures in Dialogue at the Royal Museums of Art With its far-ranging interests in photography in and History in Brussels. Smith also published arti- diverse forms and an adventurous commitment to cles on “Resources for the Study of Seals Found a broad international range of work, Aperture had a on Cyprus,” “Tapestries in the Mediterranean Late profound impact on the course of fi ne-art photogra- Bronze Age,” “Tapestries in the Bronze and Early phy. Bunnell, who was White’s protégé and an early Iron Ages of the Ancient Near East,” and “Cloth member of the Aperture staff , selected all of the texts in Crete and Cyprus.” In spring 2013, she taught a and visuals in the anthology, which includes essays new course, “Introduction to Archaeology,” which by Ansel Adams, Henry Holmes Smith, Ruth Bern- featured lectures on the history, practices, and hard, Frederick Sommer, Harry Callahan, Nancy theories behind excavation and survey, dating tech- Newhall, John Szarkowski, and others. Several niques, archaeological ethics, and interpretations of issues are reproduced in facsimile, and the book also original material sources, drawing on approaches includes a complete index of the fi rst 77 issues and a from the humanities and the sciences. Precept meet- selection of exceptional cover illustrations. Bunnell ings and student projects made use of objects, also curated the exhibition Two Views: Atget & monuments, records, and equipment at Princeton Friedlander at the Princeton University Art Museum and in area museums. (December 2012–March 2013), a fresh perspective on works by Eugène Atget and Lee Friedlander, two Emeritus Faculty great masters who shared a commitment to exam- ining the social landscape of their own, distinct Aperture Magazine Anthology: Patricia Fortini Brown, far from being “retired,” times. Many of the photographs had never before The Minor White Years, 1952–1976, continues to write, travel, and lecture. She hopes to been exhibited in the museum’s galleries. A new edited by Peter Bunnell fall     7 M Y K C

ΜΟΥΣΕΙΟ ΒΥΖΑΝΤΙΝΟΥ ΠΟΛΙΤΙΣΜΟΥ MUSEUM OF BYZANTINE CULTURE documentary produced by lynda.com, Jerry Uels- Asian Art Museum in April 2013: “Art and Nuclear Υ σε συνεργασία με το Ίδρυμα μιάς της πόλης του Κράλιεβο ΙΔΡΥΜΑ ΠΡΟΣΤΑΣΙΑΣ ΤΗΣ ΠΟΛΙΤΙΣΤΙΚΗΣ ΚΛΗΡΟΝΟΜΙΑΣ ΚΡΑΛΙΕΒΟ INSTITUTE FOR CULTURAL HERITAGE PRESERVATION KRALJEVO a) συμμετέχει στη δράση της η – Σταυροδρόμι Πολιτισμών τους Αρχιτεκτονικούς Θησαυ- mann & Maggie Taylor: This Is Not Photography, Disaster in the Pacific: Response by Two Painters” ο «Σταυροδρόμι Πολιτισμών» ούς των Βαλκανίων και της Περιοδική Έκθεση Temporary Exhibition Σερβία σχεδόν αυτονόητη ύ. Η επιλογή του μεσαιωνικού υζάντιο και ειδικότερα με τη features on-camera interviews with Bunnell. The and “Itō Jakuchū (1716–1800): A Peacetime Painter ους δεσμούς, ξεχώρισε ως το Αρχιτεκτονικοί θησαυροί Architectural Treasures άλιστα, περιοχή ευθύνης του Κληρονομιάς του Κράλιεβο, από την καρδιά from the Heartland λόγω της πληθώρας σημαντι- lynda.com Crossing the ου διατηρήθηκαν στην περιο- της Μεσαιωνικής of the Medieval video can be viewed on the photogra- of Kyoto.” A festschrift honoring him, πολιτιστικό και τεχνολογικό όταν στη Σερβία βασίλευε η Σερβίας Serbian Kingdom

Κατάλογος Έκθεσης Exhibition Catalogue phy tutorials webpage. Bunnell was also appointed Sea: Essays on East Asian Art in Honor of Professor

n collaboration with the Insti- M Y K C Kraljevo (Zavod za Zaštitu e action plan of the General to the international advisory panel of the Aperture Yoshiaki Shimizu, which includes essays by 13 of his rossroads 2012” with a photo- es from the Heart of Medieval sting in Thessaloniki civiliza- pe, making Serbia the choice The selection of the medieval

ΑΡΧΙΤΕΚΤΟΝΙΚΟΙ ΘΗΣΑΥΡΟΙ ΑΠΟ ΑΡΧΙΤΕΚΤΟΝΙΚΟΙΚΑΡΔΙΑ ΤΗΝ ΘΗΣΑΥΡΟΙ ΤΗΣ ΜΕΣΑΙΩΝΙΚΗΣ ΣΕΡΒΙΑΣ ARCHITECTURAL TREASURES FROM THE HEARTLAND SERBIAN KINGDOM OF THE MEDIEVAL Foundation this year. former students, was published in December (see Thessaloniki in particular with eing particularly meaningful. ZHTH Institute for Cultural Heritage hoice since in this region very page 22). In January–June 2014, Shimizu will be a survive, attesting to the high- this region during the Late Slobodan Ćurčić ΚατάλογοςΈκθεσης published “Byzantine Input manjić dynasty (1166-1371). ExhibitionCatalogue guest scholar at the Getty Research Institute in Los Δεκέμβριος 2012 December in Medieval Architecture of Serbia” in Architec- ΙSBN 978-960-????-??-? Φεβρουάριος 2013 February tural Treasures from the Heartland of the Medieval Angeles, where his research topic will be “Transmis- sion and Transformation: The China-Japan Interface Slobodan Ćurčić et al., Architec- Serbian Kingdom, edited by Anastassios Antonaras CYAN MAGENTA YELLOW BLACK in Arts and Other Things.” tural Treasures from the Heartland (Thessaloniki, 2012), the catalogue of an exhi- of the Medieval Serbian Kingdom bition at the Museum of Byzantine Culture John Wilmerding “retired” a second time this year. in Thessaloniki. eH also contributed the essay Since his formal retirement from the University six “Church as a Symbol of Cosmos in Byzantine years ago, he has offered a seminar in the Program Architecture and Art” to the catalogue of the exhi- in American Studies each year. In the spring 2013 bition Heaven and Earth: Art of Byzantium from term, he taught his seminar “The Art and Culture of Greek Collections, which will be shown at the the 1960s” for a final time, taking advantage of the National Gallery of Art in Washington (Octo- Claes Oldenburg show at the Museum of Modern ber 6, 2013–March 2, 2014) and the J. Paul Getty Art and an exhibition he curated at the Acquavella Museum in Malibu (April 9–August 25, 2014). Galleries, The Pop Object: The Still Life Tradition Ćurčić lectured this year on “The Patronage of in Pop Art. During the past year, Wilmerding also King Stefan Uroš II Milutin: Politics and Architec- gave several lectures around the country, includ- ture in Serbia, ca. 1300–ca. 1320,” at Heidelberg ing at the College of the Atlantic and the Portland University, and on “The Balkans, Byzantium, Museum of Art in Maine, and at Olana Historic Site and Serbia: The History of Architecture and Its in Hudson, New York. Other exhibitions he worked Perception through Modern Historiography,” on were Wayne Thiebaud: A Retrospective, also at at Belgrade University. He also delivered two Acquavella, and a Robert Indiana print retrospec- keynote addresses: “‘Post-Byzantine’ Art: What tive that will be on view at the Indianapolis Museum Is It? Whose Is It?” at the workshop-conference of Art in February–May 2014. Wilmerding contin- “‘Post-Byzantine’ Art: Orthodox Christian Art in ued to write regular columns for the “Masterpiece” a ‘Non-Byzantine’ World?” hosted by the Central series in the weekend edition of the Wall Street Jour- European University in Budapest; and “Secular nal, and he hopes to shape them into a focused Aspects of Byzantine Monasteries: State of Schol- book of essays. In the coming year, he will complete Wayne Thiebaud: A Retrospec- arship,” at the 33rd Annual Symposium of the his terms of service on the boards of the National tive, catalogue of the exhibition Christian Archeological Society in Athens. Ćurčić Gallery of Art and the Guggenheim Museum, but curated by John Wilmerding also served as associate adviser and on the Univer- will continue as an active trustee of Crystal Bridges sity of Cologne Ph.D. examination committee of Museum of American Art and the Wyeth Founda- Mabi Angar, whose dissertation examines Byzan- tion for American Art, both of which plan to expand tine head reliquaries and their perception in the their programming significantly. West after 1204. Yoshiaki Shimizu was named a fellow of the Volume of Essays Honors Brown American Academy of Arts and Sciences in April Patricia Fortini Brown was presented with a collec- 2013. Founded in 1780, the academy recognizes tion of essays in her honor, Reflections on Renaissance exceptional achievement in science, scholarship, Venice: A Celebration of Patricia Fortini Brown (Five business, public affairs, and the arts; its current Continents Editions, 2013; distributed by Harry N. members include more than 250 Nobel laureates Abrams), at a reception at the Renaissance Society and more than 60 Pulitzer Prize winners. In August of America’s annual meeting in San Diego in April. 2012, Shimizu traveled to Kyoto to examine a She was recognized again in Venice in May, when 19th-century Japanese hand scroll by an anonymous Mary Frank *06 gave a lecture on the making of the painter of the Shijō School depicting the disas- volume at the Circolo Italo-Britannico, which was trous Kyoto fire of 1788. He presented portions of attended by Brown and a number of contributors to his research on the Kyoto scroll at the panel discus- the volume. sion “Disasters and Creativity” at this year’s annual Inspired by Brown’s research and teaching, the meeting of the College Art Association, which he copiously illustrated book derives from papers given cochaired with Gennifer Weisenfeld *97. He also in her honor at the 2010 meeting of the Renais- Reflections on Renaissance Venice: served as chair of the panel “Visualizing Stories of sance Society of America in Venice and at the A Celebration of Patricia Fortini Heian Japan: Go-Shirakawa-In’s Image Repository” symposium “Giorgione and His Times: Confront- Brown at the annual conference of the Association for Asian ing Alternate Realties,” held at Princeton on the Studies. Shimizu gave two lectures at the Seattle occasion of her retirement that year. The topics of 8 fall   1 3 the contributions, which reflect the broad scope of Seduced: Art & Sex from Brown’s scholarship, range from the narrative cycles Antiquity to Now (2007). His of the late 15th century to the rebuilding of the current projects include an Campanile in the early 20th century. The essays Internet edition of Leonardo’s examine objects, images, and texts, revealing how Codex Leicester, now in the meaning in Venetian art can be as fluid as the city’s collection of Bill Gates. natural environment and providing new reflec- At Princeton, Kemp tions on artists as diverse as Mantegna, Bellini, taught his first-ever graduate Giorgione, Pietro Lombardo, Veronese, Algarotti, seminar devoted exclu- and Piranesi. Brown’s interest in material culture sively to Leonardo, with a is reflected in essays that address topics including focus on how the scholar- the use of religious objects in the domestic realm, ship surrounding Leonardo where to shop for antiquities, and the market in operates. All of the sessions gems in Cinquecento Venice. were pre-planned through The book was edited by Frank *06 and Blake an innovative collabora- Patricia Fortini Brown (at center) de Maria *03, both of whom were Brown’s disser- tion between professor and students. Kemp set the with contributors and others who tation advisees. It includes contributions by eight general theme for each meeting, and the students supported the publication of other department alumni—Nadja Aksamija *04, then refined the focus, recommended readings, and Reflections on Renaissance Venice Tracy Cooper *90, Giada Damen *13, Carolyn created PowerPoints of visuals they felt were crucial, Guile *05, Anna Swartwood House *11, Frederick with Kemp shaping the discussions and filling in Ilchman ’90, Heather Hyde Minor *02, and Debo- gaps. Another focus of the seminar was “art history rah Walberg *04—as well as essays by Bernard in action,” with a corresponding emphasis on exhi- Aikema, Luba Freedman, Deborah Howard, Sarah bitions and how historical material is viewed in the McHam, and other scholars whose work has been public domain. Luke Syson, curator at the Metro- shaped by Brown’s scholarship. The book received politan Museum of Art and organizer of the recent funding from Princeton’s Barr Ferree Fund and major Leonardo exhibition in London, spoke to additional support from Save Venice, Inc., where the class about the curatorial aspects of presenting both Brown and Frank are board members. historical art to the public. Finally, in a challenge to the students’ scholarly creativity, they were asked Martin Kemp, 2013 Janson- to create “lost” Leonardo documents or works that would provide useful information to modern La Palme Visiting Professor scholars. Martin Kemp, Emeritus Professor in the History of Outside the classroom, the seminar trav- Art at the University of Oxford, was the Janson-La eled to the Morgan Library & Museum to view its Palme Visiting Professor in the spring 2013 term. Leonardo drawing and sheets from a well-known Widely known for his work on Leonardo da 16th-century copy of his lost manuscript on the Vinci, including Leonardo (2004 and 2011) and theory of art; to the Metropolitan Museum of Art, Martin Kemp, Christ to Coke: How the prize-winning Leonardo da Vinci: The Marvel- where curator Carmen Bambach showed them Image Becomes Icon lous Works of Nature and Man (1981 and 1989), the museum’s Leonardos and Leonardo-related Kemp has also published on a broad range of topics works on paper; and to the Piero della Francesca around the theme of the scientific models of nature show at the Frick Collection. On campus, the class and the theory and practice of art. Ranging from visited the lab of Princeton University Art Museum optics (The Science of Art: Optical Themes in West- conservator Normal Muller, where the students ern Art from Brunelleschi to Seurat, 1990) to natural were involved in the technical examination of history and the “hard sciences” (Visualizations: The Pinturicchio’s Saint Bartholomew in the museum. Nature Book of Art and Science, The results of the project will be 2000; Seen/Unseen: Art, Science, published in the Record of the and Intuition from Leonardo to the Princeton University Art Museum. Hubble Telescope, 2006), his books In his Janson-La Palme have also investigated the art of the Lecture, “It doesn’t look like Renaissance (Behind the Picture: Art Leonardo: Science, Connoisseur- and Evidence in the Italian Renais- ship, and Circumstance in the sance, 1997), iconic imagery (Christ Attribution of Works of Art,” to Coke: How Image Becomes Icon, Kemp tackled the issue of the 2012), and issues of connoisseur- relationship of the scientific exam- ship (La Bella Principessa, with Pascal ination of art to the time-honored Cotte, 2010 and 2012). The major “judgment by eye” of connois- exhibitions he has curated or cocu- seurship. In an informal follow-up rated include Circa 1492: Art in presentation, he focused closely on the Age of Exploration (1991) and the status of the scientific evidence. Martin Kemp, Leonardo Martin Kemp fall   1 3 9 Graduate Student News

Yecheng (Kent) Cao, a fi rst-year student in jointly run by the Forum Transregionale Studien Chinese art and archaeology, studied bronzes, in Berlin and the American University in Cairo, on architecture, and painting with Professors Robert aesthetics and dissent in the Arab world. “Consum- Bagley and Jerome Silbergeld. Seminars with ing Revolution: Ethics, Art, and Ambivalence in Professor Susan Naquin in history and East Asian the Arab Spring,” a paper on graffi ti and mural arts studies and Bryan Just, curator of the art of the of the so-called Arab Spring that she presented at ancient Americas at the Princeton University the London School of Economics, appeared in the Art Museum, sparked his interest in authority journal New Middle Eastern Studies (www.brismes. construction in the early Qing dynasty and Meso- ac.uk/nmes), published by the British Society of american art. In October 2012, Cao attended the Middle Eastern Studies. Demerdash also published Detail of Horace Vernet’s 1833 symposium “Beyond the First Emperor’s Mauso- a review of the new Arts de l’Islam wing at the Salon painting Raphaël au Vatican, leum: New Perspectives on Qin Culture” at the Musée du Louvre, and another book review, both in the subject of Allan Doyle’s recent Minneapolis Institute of Arts. Th is June, he the International Journal of Islamic Architecture. In presentations took part in the workshop on Chinese bronzes the 2013–14 academic year, she will continue her at the Freer Gallery of Art and Arthur M. Sack- dissertation research in Tunisia and Switzerland with ler Gallery in Washington, then traveled to Japan, the support of a Donald and Mary Hyde Academic where he spent the summer studying Japanese. Year Fellowship. [[email protected]] [[email protected]] Allan Doyle held a 2012–13 Jane and Morgan Alexis H. Cohen, a sixth-year graduate student, is Whitney Research Fellowship at the Metropoli- working on the fi nal stages of her dissertation, tan Museum of Art, where he continued writing “Lines of Utility: Outlines, Architecture, and his dissertation on the afterlife of Michelangelo in Design in Britain, c. 1800,” which investigates 19th-century French Romantic painting. He also Nancy Demerdash’s recent work the outline drawing, a graphic idiom that embod- gave a series of tours at the museum on the theme examines graffi ti and mural arts of ies neoclassical aesthetic ideals while aspiring to of the aesthetic of the non-fi nito. In spring 2013, the so-called Arab Spring the precision and utility of the lines of geometers he presented papers on Horace Vernet’s 1833 Salon and engineers. Cohen spent the 2012–13 academic painting Raphaël au Vatican at the Metropoli- year in England, where she conducted tan Museum and at the annual conference of the research in collections including the Association of Art Historians in Reading, U.K. In Wedgwood Museum and Archives in addition to continuing his dissertation research, he Barlaston, Stoke-on-Trent, and the is currently writing a catalogue essay on the work of archives of the Royal Society of Arts in the contemporary photographer Lalla Essaydi for a London. In the spring, she presented 2014 exhibition of her work at Oakland University. aspects of her dissertation research at [[email protected]] the symposium “Strange Utility: Archi- Jonathan Fine’s dissertation investigates the chang- tecture Toward Other Ends” at the ing character of art under colonial rule and in the Portland State University School of postcolonial period in Africa, with a particular focus Architecture. Cohen returns to London on the Cameroon Grassfi elds. He spent part of this fall as a junior fellow at the Paul last year in Foumban, the historical capital of the Detail of the Mandu Yenu made Mellon Centre for Studies in British in 1908 for King Njoya, one of the Bamum kingdom. When the city came under colo- Art. In the winter and spring, she will continue nial domination in the early 20th century, many thrones being studied by Jonathan her research with short-term residencies as a W. M. Fine artists who had worked for the royal family and Keck Foundation Fellow at the Huntington Library noble lineages began to make works for tourists and as a visiting scholar at the Yale Center for Brit- and the international art market. Today Foum- ish Art. [[email protected]] ban remains a center of artistic production. Fine’s Nancy Demerdash is a fourth-year graduate research focuses on pa Mandu Yenu, magnifi cent student studying modern architectural history with two-fi gure beaded thrones. Th ese thrones demon- a focus on the Middle East and North Africa. Her strate how the formal, political, and social registers dissertation explores the development of modern of new traditional objects relate to and diff er from architectural practices in Tunisia in relation to the their older counterparts. [jfi [email protected]] fraught processes of decolonization and nation- Peter Fox presented his dissertation proposal in building. During the 2012–13 academic year, she May. Tentatively titled “Kunstgewerbe als Erzieher: The Erkerraum at the 1900 Paris conducted research in Paris, where she was affi l- World’s Fair, one of the works of Bernhard Pankok and Others, 1890–1917,” his iated with the Institut national d’histoire de l’art study situates the work of the German artist Bern- Bernhard Pankok being studied by (INHA). Before arriving in Paris, Demerdash trav- Peter Fox hard Pankok and his peers, including Henry van eled to Cairo, where she participated in a workshop, de Velde and Richard Riemerschmid, in relation 10 fall     to debates concerning the role of the visual arts Experience in Ancient Rome, an exhibition of arti- in education circa 1900. It considers the wide- facts in the gallery of the academy. She also studied spread movement of painters into the applied arts at first hand numerous monuments from the Age of and architecture at that time, as well as contempo- Augustus—temples, arches, theaters, altars, statues, rary thinking on the use (and abuse) of art history and more—not only in Italy, but also in England and art instruction in secondary schools as inter- and southern France. [[email protected]] twined phenomena that will shed new light on the Johanna Heinrichs defended her dissertation, brief popularity and peculiar afterlife of Jugendstil. “Between City and Country: Architecture, Site, and Leslie Geddes and adviser Pro- Fox spent the summer in Germany, sponsored by a Patronage at Palladio’s Villa Pisani at Montagnana,” summer research grant from the Princeton Institute fessor John Pinto at the Frick in January. An essay related to her dissertation Symposium in New York, where for International and Regional Studies, where he research, “Urban Dignity, Villa Delights: The Ambi- she presented a paper conducted research in archives and museum collec- guity of Villa Pisani at Montagnana,” was published tions. [[email protected]] in Reflections on Renaissance Venice: A Celebration Leslie Geddes participated in the 2012 NEH of Patricia Fortini Brown, edited by Mary E. Frank Summer Institute “Leonardo da Vinci: Between *06 and Blake de Maria *03. Heinrichs spent the Art and Science,” which took place in Florence and year as visiting lecturer in the Department of Art at Milan. The program’s theme was a perfect match Williams College, teaching courses on the history of with the dissertation she is writing, “Leonardo da landscape and gardens and on the architect Andrea Vinci and the Art of Water.” In January, she was Palladio, as well as discussion sections of the intro- the keynote speaker on the panel “After the Deluge: ductory survey. [[email protected]] Reimagining Leonardo’s Legacy,” at the University Megan Heuer is a seventh-year student who stud- of Virginia’s School of Architecture, and in March ies modern and contemporary art. Her dissertation, she was invited to speak at the international confer- titled “A New Realism: Fernand Léger 1918–1931,” ence “Leonardo on Nature” at the Kunsthistorisches considers Léger’s engagements with the effects of Institut in Florence. Geddes also presented her modern media and technologies in the 1920s. Since research at the annual meeting of the Renaissance September 2011, Heuer has been scholar-in-resi- Society of America in April, and she then repre- dence and research associate at the New Museum sented Princeton at the annual Frick Symposium in New York. In 2013, her projects at the New in the History of Art, where she gave a paper titled Museum included research, public programs, and “Drawing Bridges: Leonardo da Vinci on Master- a catalogue essay for the exhibition NYC 1993: ing Nature.” Throughout the 2012–13 year, she Experimental Jet Set, Trash and No Star, which revis- enjoyed serving as leader of the department’s senior ited art made or exhibited in New York City over thesis writing group, and she even found that the the course of a single year in order to reconsider the workshops she organized helped her own writing. cultural landscape of the early 1990s and its legacy Megan Goldman-Petri at the During summer 2013, she revised her disserta- in the present. Heuer is also a regular contributor to archaeological site of Glanum in tion while working with Laura Giles, curator of Art in America. [[email protected]] southern France prints and drawings at the Princeton University Art Museum, on the museum’s upcoming exhibition of Amy C. Hwang gave a presentation titled “Imperial Italian drawings. [[email protected]] Treasures in the Hands of a Ming Merchant: Xiang Yuanbian’s Collection” at the University of Oxford Megan Goldman-Petri, a Ph.D. candidate in Clas- in summer 2012; her paper will be published as a sical art and archaeology, pursued her dissertation chapter in a book forthcoming from Ashgate. Her research in Rome during the 2012–13 academic dissertation, “Properties of Word and Image: Mou year with the support of a Donald and Mary Hyde Yi’s 1240 Fulling Cloth Handscroll,” focuses on a Academic Year Fellowship. Her dissertation seeks handscroll that bears two lengthy inscriptions by to explain the introduction of the free-standing the artist Mou Yi detailing the source of his inspi- altar—an altar without an accompanying temple— ration, the circumstances of the work’s creation, as a new monumental honor for the first Roman and his philosophy, making it the earliest known emperor, Augustus. Chinese painting with During her stay in Rome, such a painterly account she was affiliated with the on the work itself. She American Academy in presented part of her Rome, where she worked dissertation research as the intern in the acade- at this year’s Associa- my’s archaeological study tion for Asian Studies collection. Working with annual conference in San undergraduate students Diego. In June, Hwang from the Intercolle- participated in “Studies Megan Heuer et al., NYC 1993: giate Center for Classical of Asian Arts, Religion, Experimental Jet Set, Trash and Studies, she supervised Detail of Mou Yi’s Fulling Cloth handscroll of 1240, and History,” the 2013 No Star the curation of Religious the subject of Amy C. Hwang’s dissertation fall   1 3 11 summer workshop at Fudan University in Shang- project focuses on settlements that underwent hai, and in August she took part in the 2013 object depopulation, often coupled with destruction, and study workshop, on writing and Chinese art, at subsequent repopulation, population augmentation, the Metropolitan Museum of Art. [amyhwang@ or synoikismos (the combining of communities), princeton.edu] examining how the dynamic cultural landscape of Sol Jung, who joined the department in fall 2011, the Late Classical period in Sicily may have helped is studying Korean and Japanese ceramics in rela- to shape the collective identities of those popula- tion to tea culture. After participating in the 2012 tions. She presented papers this year at the annual meeting of the Archaeological Institute of America; Sol Jung (right) discussing the workshop on reading texts from the Shōsōin impe- at the graduate student conference “(Re)Construct- construction of celadon tea pots rial archive in Nara, Japan, she is now a contributor with Professor Jeong Hojin at to “Guide to Shōsōin Research” (my.vanderbilt. ing the Past: Abandonment and Renewal in the the Gangjin School of Ceramics, edu/shosoin), an online research database created Ancient World” at the University of Michigan; and Dankook University by Bryan Lowe *12 (religion). After her first year, at the Computer Applications and Quantitative Jung received a summer pre-dissertation grant from Methods in Archaeology (CAA) annual meeting the Program in East Asian Studies for a month-long at the University of Southampton, U.K. This visit to South Korea to examine kiln sites and meet summer, she continued her work as an assistant in with Korean professors who specialize in the study the storerooms of the American School of Classical of tea and ceramics. During this time Jung also Studies excavations at Corinth, Greece; as the data- co-led a cultural excursion, for the Korea Branch base administrator for the American excavations at of the Royal Asiatic Society, to the historically Morgantina, Italy; and as the site and finds registrar for the Pompeii Archaeological Research Project: significant Gangjin Kiln Sites in southern Choˇlla province. She organized a celadon-making work- Porta Stabia. During the 2013–14 academic year, shop with Professor Jeong Hojin of the Gangjin she will hold the Oscar Broneer Traveling Fellow- School of Ceramics at Dankook University, where ship at the American Academy in Rome. participants made celadon wares using local kaolin [[email protected]] clay. In summer 2013, Jung interned in the Asian Jennifer Morris, a fifth-year Ph.D. candidate, art department at the Princeton University Art spent the 2012–13 academic year in Munich as a Museum and prepared for her general examina- Kress Institutional Fellow at the Zentralinstitut für tions. [[email protected]] Kunstgeschichte. Although based in Bavaria, she Kin Sum (Sammy) Li traveled through Mexico traveled widely through Germany and Switzerland Kin Sum (Sammy) Li (left) and Guatemala in summer 2012, exploring Maya to conduct research for her dissertation, “Art, Astrol- and coworker excavating a ruins. He then worked with lecturer Christina ogy, and the Apocalypse: Visualizing the Occult in Pre-Columbian Maya sweat bath Post-Reformation Germany,” which considers the at Tayasal, Petén, Guatemala Halperin, at Tayasal, Petén, Guatemala, launch- ing a survey project and learning the skills necessary intersection of art, magic, and faith in Germany after to do archaeological surveys. Back in Princeton, he the Protestant Reformation. In June 2012, Morris prepared for and passed his general examinations in presented a paper titled “Object as Art? Science, five fields: ancient Chinese Magic, and Occultism in art, pre-modern Chinese art, Post-Reformation Germany” late imperial Chinese mate- at the quadrennial congress rial culture, Japanese art, of the International Commit- and Maya art. His disser- tee of the History of Art in tation, which he formally Nuremberg, and in March proposed in March, is titled 2013 she held a workshop “The World of the Chinese relating to her dissertation Bronze Mirror: Production, topic at the Zentralinsti- Markets, and Exchange, tut für Kunstgeschichte in 600–100 B.C.” Li also orga- Munich. This summer, she Leigh Lieberman at work at the registrar’s nized a series of workshops, gave a talk on “Magic and the table of the excavations of the Porta Stabia Question of Demystification “Art History and Conserva- in Pompeii tion Science,” which took after the Reformation” at the place on campus and at the Ludwig-Maximilians-Univer- Metropolitan Museum of Art in February–May sität’s Institut für Kunstgeschichte in Munich. When 2013. The workshops were intended to address the not writing her dissertation, she traveled outside significance of technical studies in art history (see the city to visit Baroque churches, sample regional page 21). [[email protected]] cuisines, and enjoy Alpine views from horseback. [[email protected]] Leigh Lieberman, a Classical archaeologist, spent Abigail D. Newman spent the 2012–13 academic Jennifer Morris examines the high the year in Princeton working on her disserta- year in Madrid, conducting archival research for altar at Kloster Ottobeuren in tion, “The Persistent Past: Refoundations in Sicily Bavaria during the 5th and 4th Centuries B.C.E.” Her her dissertation on Flemish painters and paintings in 17th-century Madrid and changes in Spanish 12 fall   1 3 taste, collecting, and art production. Elizabeth J. Petcu resided in Munich, She gave talks related to her disser- where she conducted research for her tation at two conferences in the dissertation, “Orders of Elabora- Netherlands in the fall, and in tion: Wendel Dietterlin and the the spring she presented her Architectura” with the support work at the Renaissance Society of a Fulbright Full Research of America’s annual confer- Grant. She presented her work ence in San Diego. Newman on Dietterlin’s 1598 tract and has received a Fulbright grant the relationships between archi- to continue her research in tectural and artistic expertise in Antwerp during the 2013–14 early modern northern Europe at academic year. [adnewman@ the Zentralinstitut für Kunstge- princeton.edu] schichte in Munich, the Bibliothek Tessa Paneth-Pollak is writ- Werner Oechslin in Einsiedeln, and the annual meeting of the Society ing her dissertation, “‘Defi nite Abigail D. Newman in Cervera of Architectural Historians. Petcu Means’: Arp’s Cut-Outs, 1911– Tessa Paneth-Pollak’s disser- del Río Pisuerga, Palencia, Spain, 1930,” which investigates the published an article on Stuttgart’s viewing an altarpiece by Juan tation examines the cutout Neue Lusthaus and the rhetoric of artist’s commitment to the oper- practices of Jean Arp de Flandes ations of découpage as the wonder in Renaissance architectural basis for a revised narrative of culture in Parallel Inquiries: Art 20th-century collage. In September 2012, she and Visual Culture in Early Modern Central Europe became co-chair of the Graduate Student Advo- (Masaryk University, 2013). cacy Committee of the Society of Contemporary She also coauthored an article Art Historians (SCAH). With this group, she in Karel Škréta (1610–1674): organized a workshop on gender and work- His Work and His Era (Národní ing conditions in the visual arts involving 21 Galerie, Prague, 2013). Th is faculty members, curators, and graduate students spring, Petcu cocurated Was from Boston-area institutions, and she contin- war Renaissance? Bilder einer ues to convene a contemporary art reading group. Erzählform von Vasari bis Panof- Paneth-Pollak’s review of an exhibition of wood sky, an exhibition at Munich’s reliefs and collages by Arp appeared in Modern Zentralinstitut on the image Painters (March 2013), and her review of the exhi- of the Renaissance in print bition Société Anonyme: Modernism for America at from circa 1550 to 1960. She the Yale University Art Gallery was published in also coedited the exhibition the same journal in June. She spent the summer catalogue (Dietmar Klinger Peng Peng (second from left) in France, Germany, and Switzerland complet- Verlag, 2013) and contributed essays on topics from and colleagues at the Society of ing her dissertation research on Arp. [tpaneth@ Walther Ryff ’s 1548 German translation of De archi- American Archaeology’s annual princeton.edu] tectura, to Erwin Panofsky’s impact on the methods meeting in Honolulu of cultural history. Th is year, she begins a two-year Peng Peng is a second-year graduate student who Kress Institutional Fellowship at the Zentralinstitut. works with Professor Robert Bagley. In April, he [[email protected]] gave a presentation titled “Was Lost-Wax Cast- ing Practiced in Bronze Age China? A Case Study Haneen Rabie has been named an Andrew of the Rim Openwork Appendage of the Bronze W. Mellon Research Assistant at the Princeton Zun-Pan Set in the Tomb of Marquis Yi of Zeng” University Art Museum. Her work there focuses at the annual meeting of the Society of American on the Trumbull-Prime Collection of ceramics, the Archaeology in Honolulu. Th e bronze Zun and museum’s founding collection, intended to repre- Pan set discovered in the tomb of Marquis Yi of sent “all times and nations.” Rabie will research Zeng (d. 433 b.c.e.) in Suizhou, Hubei Province, the history of the collection and its founders and in 1978 is a key artifact in the ongoing debate examine a group of Trumbull-Prime objects for about whether the lost-wax casting technique potential display in the museum’s galleries. Within was known in Bronze Age China. Peng’s paper her broad interest in modern decorative art, off ered clarifi cation of this hotly contested issue design, and material culture, Rabie’s dissertation by presenting his detailed research on the open- will focus on the strategy of reuse in recent design. work of the set, as well as other related bronze Her research begins in the early 1990s with a small vessels. He also published two articles in Chinese group of Dutch designers whose reuse of waste journals: one on salt production in Bronze Age material embodied ecological, social, and design- China, based on his master’s thesis, and one on historical concerns. It carries through to a more Was war Renaissance? Bilder einer Erzählform von Vasari bis Panofsky, the origins of agriculture in the Near East. contemporary second generation of reuse design, catalogue of the exhibition cocu- [[email protected]] while interrogating design’s potential for socio- cultural critique. [[email protected]] rated by Elizabeth J. Petcu fall     13 Gregory Seiff ert was engaged in writing his disser- 18th–20th Centuries: Exhibitions and Th eir Real- tation during the 2012–13 academic year, with ities” in a history of modern architecture course at fellowship support from Princeton’s Program in Cooper Union. At a Media and Modernity Doctoral East Asian Studies. His dissertation examines the Colloquium organized by Princeton’s School of use of the album format by three painters active in Architecture in April, he presented a paper arguing Nanjing during the mid- to late-17th-century: Hu that local perceptions of Afro-Brazilian immigrants’ Yukun, Fan Qi, and Ye Xin. At the annual confer- architecture in Lagos led to the miscategorization ence of the Association of Asian Studies in March of all the African immigrant residents in the city as 2013, he co-organized the panel “Painted Words Afro-Brazilians. [[email protected]] and Written Worlds: Visual and Literary Represen- Alex Walthall spent the 2012–13 academic year at tation in Premodern China” and presented a paper, the American Academy in Rome, where he was the “Poetic Th emes in a Seventeenth-Century Nanjing Dorothy and Lewis B. Cullman Pre-Doctoral Rome Painted Album Leaf by Ye Xin.” He will complete Prize Fellow. While in Rome, Walthall completed his dissertation this academic year at the Freer the fi nal draft of his dissertation, “A Measured Gallery of Art and Arthur M. Sackler Gallery, with Harvest: Grain, Tithes, and Territories in Hellenis- the support of a Smithsonian Institution Predoc- tic and Roman Sicily,” and prepared for the 2013 toral Fellowship. [gseiff [email protected]] Martino Gamper, Back Issue chair season at Morgantina, Sicily, where he directed a (2006), one of the reuse-designed Phil Taylor wrapped up his third year at Princeton new series of archaeological excavations in the city’s objects being studied by Haneen by presenting his dissertation proposal: he will Classical and Hellenistic agora. Th is fall he will join Rabie investigate the photographic work of Raoul Ubac the faculty of the Department of Classics at the (1910–85) in the 1930s in the context of French University of Oregon, where he will be assistant Surrealism. His dissertation topic builds on prelim- professor of classical archaeology. [dwalthal@ inary research he performed in Paris in summer princeton.edu] 2012 with the support of the department’s Kristen Windmuller-Luna is a third-year gradu- McCormick Fund. Taylor is the primary author ate student specializing in African art history. She is of Various Small Books: Referencing Various Small conducting research for an upcoming special exhi- Books by Ed Ruscha, edited by Jeff Brouws, Wendy bition in the Department of the Arts of Africa, Burton, and Hermann Zschiegner (MIT Press, Oceania, and the Americas at the Metropolitan 2013). His contribution consists of nearly 90 short Museum of Art, which she began while participating critical essays on artists’ projects that respond to in the museum’s summer 2012 internship program. Ruscha’s deeply infl uential conceptual photobooks She returned to Princeton in the fall to study of the 1960s and ’70s. Th e books are presented in Portuguese while preparing for general examina- chronological order, with sample images and anal- tions, which she passed in January. In October, she ysis that reveals their relationship to Ruscha’s works married Joseph Luna, a fi fth-year graduate student and considers them on their own terms. A related in virology and genomics at Rockefeller Univer- exhibition, Ed Ruscha: Books & Co., which opened sity. At Princeton, Windmuller-Luna presented in March at the Gagosian Gallery in New York, her recent research on the contemporary Egyp- featured a selection of Taylor’s texts; the exhibi- tian artist Ghada Amer at the Gender and Sexuality tion moved to the Museum Brandhorst in Munich, Studies Graduate Works-in-Progress Colloquium Various Small Books: Referencing Germany, this summer. In spring 2013, Taylor and gave a gallery talk on the relationship between Various Small Books by Ed Ruscha, presented a paper, “Th omas Demand’s Engineer- Kongo, Ethiopia, and Europe in conjunction with with main text by Phil Taylor ing Problem,” at the department’s graduate student the Princeton University Art Museum’s exhibition symposium, “Why Art History Matters,” organized Revealing the African Presence in Renaissance Europe. by Ellen Brueckner and Mirka Døj-Fetté (see page Her article “A Nigerian Song Literatus: Chinese 21). [[email protected]] Literati Painting Concepts from the Song Dynasty Adedoyin Teriba, a sixth-year graduate student in the Contemporary Art of Obiora Udechukwu,” who studies modern architectural history, partic- which appeared in the Rutgers Art Review (June ularly of the Bight of Benin in West Africa, spent 2013), explores the Nigerian artist’s integration of the year writing his dissertation, “Architecture Igbo and Chinese artistic traditions. [kwindmul@ and Afro-Brazilian Ideals of Southwestern Nige- princeton.edu] ria (1880–1960)” and gave a series of lectures in various venues. In February 2013, he deliv- New Museum of Modern Art ered the paper “Beyond the West and the Rest: Teaching the Brazilian Diasporic Architecture of Fellowship Nigeria in a Western Architectural Program” at Th e Museum Research Consortium, a four-year the eighth Savannah Symposium, “Modernities The Central Mosque in Sakete, pilot program at the Museum of Modern Art Across Time and Space.” Two weeks later, Teriba Benin Republic, one of the monu- (MoMA) in partnership with graduate students presented a précis of his dissertation at Harvard ments being studied by Adedoyin and faculty at Princeton and four other universi- Teriba University’s Graduate School of Design. He also ties, will provide a 12-month fellowship at MoMA gave a lecture titled “Architecture in Nigeria in the 14 fall     for a graduate student at each of the participating The Faggen Prize, established by Dr. Jane institutions. Supported by the Andrew W. Mellon Faggen in 2007, recognizes a distinguished disser- Foundation, the consortium is intended to facilitate tation completed in that year or the previous two the joint study of key works in MoMA’s collection. years, selected by the chair in consultation with In addition to organizing semi-annual consor- department faculty. The previous recipients of the tium study sessions for the study and discussion award are Milette Gaifman *05, Haicheng Wang of selected groups of objects, the museum will *07, Kristoffer Neville *07, Daniel McReynolds host five full-time graduate fellows, who will *09, Katherine Marsengill *10, and Annie Bour- work closely with MoMA curators on a variety neuf *11. of projects. The year-long fellowship is designed to provide experience working alongside a cura- New Dissertation Topics tor-mentor on scholarly curatorial projects and programs, including the organization of exhi- Sabrina Carletti, “Sociability, Tactility, and the bitions, collection displays, and collection Technologies of Language: Xul Solar and the Forma- development and interpretation. tion of the Argentinean Avant-Garde” Princeton’s first Museum Research Consortium Miriam Chusid, “Between Buddhist Temple and fellow is Frances Jacobus-Parker, who begins her Imperial Palace: Reframing the Shōjūraigōji Six Kristen Windmuller-Luna giving a talk in the Arts of Africa, Oceania, fellowship at the museum this September. Paths Hanging Scrolls” (Andrew Watsky) and the Americas galleries at the Jonathan Fine, “Mandu Yenu: Bamum Thrones Metropolitan Museum of Art Robert Glass *11 Awarded and the Narratives of African Art History” (Chika Jane Faggen Dissertation Okeke-Agulu) Prize Peter Fox, “Kunstgewerbe als Erzieher: Bernhard Pankok and Others, 1890–1917” (Esther da Costa The 2013 Jane Faggen, Ph.D., Dissertation Prize Meyer) has been awarded to Robert Glass *11, who is currently visiting assistant professor of art history John Lansdowne, “The Dead Christ at S. Croce in at Oberlin College. His dissertation, “Filarete at Gerusalemme in Rome” (Nino Zchomelidse) the Papal Court: Sculpture, Ceremony, and the Kin Sum (Sammy) Li, “The World of the Chinese Antique in Early Renaissance Rome,” supervised Bronze Mirror: Production, Markets, and Exchange, by Professor Patricia Fortini Brown, provides an 600–100 B.C.” (Robert Bagley) Fellowships for important re-examination of the sculpture of Anto- Haneen Rabie, “The Ethics and Aesthetics of Reuse 2012–13 nio Averlino, called Filarete (ca. 1400–ca. 1469). in Postmodern Design” (Esther da Costa Meyer) Through detailed analyses of Filarete’s major work, Allan Doyle, Jane and Morgan the bronze doors for St. Peter’s at the Vatican, and Phil Taylor, “Raoul Ubac’s Photographic Surrealism Whitney Fellowship, Metropolitan his small sculptures after the antique, Glass’s disser- and the Dissolution of the Body” (Anne McCauley) Museum of Art tation provides fundamental new insights into a Kjell Wangensteen, “Hyperborean Baroque: Euro- Leslie Geddes, National number of important topics in Renaissance studies, pean Representations of the Far North, 1644–1716” Endowment for the Humanities including the relationship between art and ritual, (Thomas aCostaD Kaufmann and Christopher Summer Institute Fellowship the social ambitions and self-fashioning of the Heuer) Megan Goldman-Petri, Donald artist, the response—both learned and popular—to and Mary Hyde Academic Year the legacy of classical antiquity, and the genesis of Dissertations Defended in Fellowship the Renaissance medal, plaquette, and statuette. 2012–13 Miri Kim, Smithsonian Predoctoral Fellowship Nika Elder, “Show and Tell: Representation, Abra Levenson, Smithsonian Communication, and the Still Lifes of William M. Predoctoral Fellowship Harnett” (Rachael Z. DeLue) Jennifer Morris, Kress Johanna Heinrichs, “Between City and Country: Institutional Two-Year Architecture, Site, and Patronage at Palladio’s Villa Fellowship (Zentralinstitut für Pisani at Montagnana” (John Pinto) Kunstgeschichte, Munich) Anna Katz, “Hybrid Species: Lee Bontecou’s Sculp- Abigail D. Newman, Donald ture and Drawing, 1958–1971” (Hal Foster) and Mary Hyde Academic Year Jessica Maxwell, “Heterogeneous Objects: The Fellowship Sculptures of Martin Puryear” (Rachael Z. DeLue) Elizabeth J. Petcu, Fulbright Full Jessica Paga, “Architectural Agency and the Research Grant Construction of Athenian Democracy” (T. Leslie Alex Walthall, Dorothy and Shear, Jr.) Lewis B. Cullman Pre-Doctoral Rome Prize, American Academy Jane Faggen, Ph.D., Robert Glass *11, and Professor in Rome Patricia Fortini Brown fall   1 3 15 Undergraduate News

Meg Beimfohr ’13 worked with Professor Anne Isabel Flower ’13, a visual arts (Program 2) major McCauley on a thesis that analyzed public sculp- with a concentration in photography presented tures installed permanently in lower Manhattan her senior thesis show, Altar. She was advised by during the late 1970s and ’80s. Her thesis focused Professor Sarah Charlesworth, Deana Lawson, and Arturo Di Modica’s Charging Bull, specifically on Louise Nevelson’s Shadows and Professor Hal Foster. Altar examined displays of one of the Manhattan public Flags (1978), J. Seward Johnson’s Double Check personal photographs, at once presented as inti- sculptures analyzed by Meg (1982), and Arturo Di Modica’s Charging Bull mate devotionals while also consciously curated for Beimfohr ’13 (1989), ultimately arguing that the selection the eye of an outsider. Flower visited and photo- process for permanent public art displays increas- graphed a number of such collections, exploring ingly ignored the opinions of the art world for the the reverential valance that surrounds the “photo- sake of enhancing commercial development altar” and considering its place in material culture and pleasing the general public. Beim- and the ability of photographs to mediate our fohr interned at Hirschl & Adler Galleries perceptions of time, memory, and relationships. in New York during the summer of 2011. She received an E. Ennalls Berl ’12 and Charles Following graduation, she moved to New Waggaman Berl ’17 Senior Thesis Award in Visual York City, where she works in the corporate Arts to support her thesis project. Flower was finance division of Deutsche Bank. a photographer at an analogue-based studio in [[email protected]] Princeton from 2006 to 2012. She spent summer Tiffany Cheezem ’13 worked with Bryan 2011 at the photography agency 2b Management, Just, curator of the arts of the ancient Ameri- and was an editorial intern at Artforum magazine cas at the Princeton University Art Museum, in New York City from summer 2012 through on a thesis that explored the connections June 2013, funded by an Edwin F. Ferris Class of Tiffany Cheezem ’13 conducting between ancient Maya agricultural practices and 1899 grant. After graduation, Flower joined the thesis research at Palenque, Mexico Maya iconography. She received a Jay Wilson editorial staff at Artforum. She plans to continue ’69 Senior Thesis Fund grant, which funded her her photographic practice and will join artist and research trip to Chiapas, Mexico, where she was classmate Lily Healey ’13 in their collaborative able to visit both ancient Maya sites and contem- project matte. [[email protected]] porary Maya agricultural communities. Cheezem Hana Garfing ’13 wrote her senior thesis, plans to continue to combine her interests in nature “Vanbrugh’s Ephemeral Style: Analyzing the Tradi- and culture by practicing both art and agriculture tion of the English Baroque Country House” under in Olympia, Washington. [[email protected]] the guidance of Professor Michael Koortbojian. Kathryn Dammers ’13 wrote her senior thesis, Her thesis focused on two English Treasure Houses “Challenging the Edge: Analyzing Trisha Brown’s designed by Sir John Vanbrugh— Castle Howard Museum Commissions at the Whitney Museum of and Blenheim Palace—examining whether the American Art and the Walker Art Center,” under English Baroque style was fully realized in either the guidance of Professor Hal Foster. She analyzed estate. A grant from the department’s Jay Wilson ’69 how Brown created pieces that explored the intersec- Senior Thesis Fund and funding from the Office of Photograph from Isabel Flower tion between dance and art to contest their supposed the Dean of the College sponsored her research trip ’13’s thesis exhibition Altar, 2013 medium-specific qualities. ammersD also earned to England during winter break, when she visited a certificate in dance and presented Sea Change, a Castle Howard and Blenheim Palace. On campus, work of original choreography for six dancers, in her Garfing worked at the Princeton University Art dance thesis show, Reverse the Tide. On campus she Museum and Marquand Library, volunteered as a was especially involved with the Princeton University career services peer adviser and residential college Art Museum, where she led the student tour guides adviser for the Department of Art and Archaeology,

Jaclyn Sweet and worked as a McCrindle Intern in Modern and tutored high school and middle school students, Contemporary Art. She also sang with the female a and served as captain of the Women’s Club Soccer cappella group Tigressions and worked as choreog- team. In July, she moved to New York City, where rapher Mark Morris’s research assistant. During the she works in marketing and merchandising for an summer of 2012, she was the Electra Webb Bost- Amazon subsidiary. [[email protected]] wick Curatorial Intern in the Art of the Americas at Katherine Gregory ’13 wrote her senior thesis, the Museum of Fine Arts, Boston, where she helped “‘Lack of Location Is My Location:’ The Impos- research and curate an exhibition on renowned Afri- sibility of Black Identity in the Text Paintings of can American artist Loïs Mailou Jones. Dammers Glenn Ligon,” advised by Professor Bridget Alsdorf. Sea Change, dance thesis by plans to pursue a career in curation or museum She argued that by appropriating canonical works Kathryn Dammers ’13 education. [[email protected]] of Black literature but smearing the text into

16 fall   1 3 illegibility, Ligon’s black-on-white text paintings by a fellowship from Princeton in Asia. refute the possibility of a coherent or unified notion He plans to attend graduate school in of “Black America.” Ligon’s difficult conceptual business or architecture. [gholubar@ paintings engage with notions of personal identity gmail.com] formation, the possibilities and limits of language, Sarah Magagna ’13 wrote her senior and the processes of stigmatization and prejudice. thesis under the guidance of Profes- Gregory also discussed the ways in which the label sor Bridget Alsdorf, exploring the “Black artist” is reductive and stems from American relationship between contempo- historiographic traditions of defining “Blackness” as rary photographer Jeff Wall’s Picture the categorical “Other.” In summer 2012, a grant for Women and its source material, from the department sponsored her participation in Edouard Manet’s A Bar at the Folies- Hana Garfing ’13 at Castle How- the summer internship program at the Philadelphia Bergère. With funding from the Office of the Dean ard, North Yorkshire, England Museum of Art, where she worked in Conserva- of the College, she did research for her senior thesis tion and in the Prints, Drawings, and Photographs at the Musée d’Orsay in Paris. She also studied curatorial department, and took part in a museum abroad in Seoul during fall of her junior year, and in studies seminar program. At Princeton, she also Paris during the spring semester of her junior year. earned a certificate in American studies and was On campus, Magagna was on the a member of Tiger Inn. In June, Gregory began a Princeton University Art Museum’s fellowship at Artsy, a startup whose mission is to student advisory board. The summer make all the world’s art accessible to anyone with an before her senior year, she interned Internet connection. [[email protected]] in the East Asian department at the Lily Healey ’13 majored in visual arts (Program 2), Philadelphia Museum of Art, work- concentrating in photography and graphic design. ing with Hyunsoo Woo, the curator She worked with David Reinfurt, Professor Sarah of Korean art, researching objects in Charlesworth, and Professor Anne McCauley on the permanent collection, writing her senior thesis show Utopian for Beginners. The wall labels, and conducting research photographs and prints in Healey’s show reflected for an upcoming exhibition of Joseon her interest in graphic form, time, and process. In art and doing editorial work for the addition to making images, she produced a cata- catalogue. Following graduation, logue for the show, which was on display as a piece Magagna moved to Morocco, where in the gallery. She was a recipient of the E. Ennalls she teaches art history and studio art Berl ’12 and Charles Waggaman Berl ’17 Senior at the Casablanca American School. Thesis Award in Visual Arts in support of summer [[email protected]] research. In the fall of 2013, Healey will begin Mohit Manohar ’13 worked with Lily Healey ’13, Fallen Sign 8, pho- work as a trader at a financial derivatives firm in Professor Robert Bagley on a senior thesis on the tograph, 2012 New York City. She will also continue her artistic Baburi Mosque in Ayodhya, India, which was practice, focusing particularly on the collaborative demolished by fundamentalist Hindus in 1992 project matte with fellow artist and classmate Isabel on the grounds that it stood on the birthplace of Flower ’13. [[email protected]] the deity Rama. Although the destruction of the Grayden Holubar ’13, under the tutelage of Profes- mosque marked a watershed moment in modern sor Esther da Costa Meyer, focused his thesis on Indian politics, the event received little attention the design of contemporary offices, particularly from art historians. Manohar’s thesis filled this void high-tech corporate campuses in Silicon Valley. Situ- by studying the mosque from the viewpoints of ating these unique workplaces within the varied Sultanate and Mughal architecture, Islamic icon- history of industry, management theory, and the oclasm, and the predicament of secular historical architectural form of the office, and examining writing. He also wrote a second, creative thesis— the relevance of information technology and the a collection of stories titled It’s Always Winter, public consciousness to these sites, Holubar argued Somewhere—advised by Susan Choi and Patrick that contemporary corporate campuses operate as McGrath. On campus, he was a dancer with domains of elite space that belie their superficially Naacho, sang in the Chapel Choir, was a member democratic, liberating interiors. As president of the of the Tower Club, served as an art history peer Princeton University Ballet and a member of diSiac adviser at Mathey College, and was an editor of Dance Company, he stayed busy on campus rehears- the Nassau Literary Review. During the summer ing and performing, and as a Class Day co-chair, he before his senior year, he interned at the Cleveland helped solicit The New Yorker editor-in-chief David Museum of Art. Manohar received a Jay Wilson ’69 Remnick as keynote speaker. During summer 2012, Senior Thesis grant, which sponsored his summer Holubar interned at the de Young Museum in San research trip to Ayodhya and Delhi. After taking a For his thesis, Grayden Holubar ’13 Francisco, working in the education department. year off to travel, write, and conduct independent analyzed contemporary corporate He is currently teaching English at Zhejiang Univer- research in India, he plans to earn a doctorate in art office campuses sity of Technology in Hangzhou, China, sponsored history. [[email protected]] fall   1 3 17 Elizabeth Metts ’13 wrote her Fellowship Award that allowed her to take several senior thesis, “Beyond the Walls: classes at the Anderson Ranch Arts Center in Locating ‘Community’ in Ameri- Snowmass Village, Colorado. At Princeton, can Muralism since 1930,” under Udogwu was deeply involved with the Princeton the guidance of Professor Esther HighSteppers, serving as their president for a year; da Costa Meyer. Focusing on under her leadership, the group won its first inter- figurative murals, she showed collegiate step competition. During the 2013–14 how the community-based mural school year, she will be an assistant language and movement in the United States culture teacher in Spain. Upon her return to the has continuously been concerned States, she will attend the Icahn School of Medi- with community participa- cine at Mount Sinai in New York City, where she tion, and that the contemporary has been accepted in the Humanities in Medicine Sarah Magagna ’13 in Paris, where community-based mural move- Program. [[email protected]] she studied during her junior year ment would not have been possible without the and did research for her senior precedent set by the New Deal and the murals Students Select Print for thesis created for historically black colleges. By bring- ing works produced for official buildings, college the Princeton University campuses, and neighborhood walls into conversa- Art Museum tion with one another, she showed how the United Students in Art 425, “The Japanese Print,” taught States appropriated the Mexican mural tradition to by Professor Andrew Watsky, had the opportunity develop its own—one focused on civic engagement. not only to study a wide range of original prints, On campus, Metts was in the Expressions Dance but also to gain hands-on experience in the world Company for four years and was artistic director of of museum curators, selecting a new acquisition the company for two years. She was a copy editor for the Princeton University Art Museum. for the Daily Princetonian for three years, serving as The undergraduate seminar focused on the executive editor for one year. She also helped high development of printmaking during the Edo school students prepare for the SAT and apply to period, when woodblock printing burgeoned in colleges. This year, Metts is teaching at a charter both artistic sophistication and popularity. In the school in Boston as part of Princeton’s Project 55 first half of the course, students delved into the Fellowship Program. She plans to pursue a graduate chronological and thematic evolution of Japanese degree and career in arts advocacy. [elizabethmetts@ prints in the 18th and 19th centuries. Each meet- gmail.com] ing began with discussion in the classroom, then Micol Spinazzi ’13, under the guidance of Profes- moved to the study area of the Princeton Univer- sor Christopher Heuer, wrote her senior thesis on sity Art Museum, whose growing collection of the 12th-century Church of Monreale in Sicily, Japanese prints allowed the class to study a wide which was built during the Norman conquest of range of originals. Taking advantage of the fact southern Italy. Her thesis analyzed how the church that prints are multiples, this intensive focus on The Baburi Mosque in Ayodhya, and its splendid mosaics mirrored the politics and working with original works of art stimulates a India, and its destruction was rule of the Norman king, William II, who commis- deeper level of understanding, as well as generating the focus of Mohit Manohar ’13’s the intellectual engagement and excitement that senior thesis sioned the building and its program of mosaic decoration. Spinazzi interned at the National comes from dealing with actual works. Gallery of Art in Washington in summer 2011, and The seminar’s curatorial work began when at Kekst and Company, a strategic communications Watsky and Cary Liu, the museum’s curator of firm in New York City, in summer 2012. She plans Asian art, selected a wide variety of prints that to pursue her interests in museum law or manage- would be welcome additions to the museum’s ment. [[email protected]] collection from the stock at a New York Japanese art gallery. The class then traveled to Manhattan, Ugo Udogwu ’13, a visual arts (Program 2) where they met at the gallery and examined the major, presented a multimedia senior thesis exhi- roughly 40 candidates. Knowing the art museum’s bition, titled color | ed, in the Lucas Gallery of holdings at that point, and having discussed the the Lewis Center for the Arts. She developed the process of building a collection, the class was able ideas presented in the show over the past two years to assess the prints with a curator’s eye, consider- under the guidance of several advisers: Martha ing not only their subject, style, and place within Friedman, Pam Lins, Professor Joe Scanlan, and the oeuvre of the artists, but also condition, rarity, Professor Brigid Doherty. color | ed explored imag- and appropriateness for the museum’s collection. ery, perception, lens, and the relationship of color James Burns (MAP), Personal The students eventually selected five prints that to forms. The exhibition featured the manipula- Renaissance (detail), 4th and Berks were sent to Princeton for more detailed scrutiny tion of soft lines, such as jute twine, clothesline, Streets, Philadelphia, one of the and discussion. yarn, and polyester twine, to create various sculp- urban murals studied by Elizabeth Some of the prints were eliminated from tures. In 2012, Udogwu received a Lucas Summer Metts ’13 consideration fairly quickly, but debate about the

18 fall   1 3 remaining contenders was intense as the semester 2013 Senior Thesis Prizes went on, with the students presenting viewpoints based on their understanding of the museum’s Art and Archaeology Senior Thesis Prize needs and their sense of each print’s historical Mohit Manohar ’13, “The Baburi Mosque in Ayodhya: importance. In a very close vote, the class selected A Study in Religion, History, and Architecture in Sul- a rare and well-preserved print by Suzuki Haru- tanate and Mughal India” nobu (1725–70), one of the most important early designers of Ukiyoe (Floating World) pictures. The Stella and Rensselaer W. Lee Prize intimate scene depicts two lovers who are parting Katherine Gregory ’13, “‘Lack of Location Is My Lo- after a night together, the woman clinging to the cation’: The Impossibility of Black Identity in the Text man as he attempts to leave. The elegant setting is Paintings of Glenn Ligon” embellished with appropriations of earlier picto- Irma S. Seitz Prize in the Field of Modern Art rial modes and themes, including ink paintings on the wall. With its sinuous lines and multivalent Kathryn Dammers ’13, “Challenging the Edge: Ana- lyzing Trisha Brown’s Museum Commissions at the imagery, the print, dated ca. 1767–69, is a superb Whitney Museum of American Art and the Walker Art example of Harunobu’s mature work, complement- Center” ing several earlier prints by the artist in the museum Micol Spinazzi ’13 studied the Nicholas Piacente ’13, “Daring to Breed the Horse and Firestone Library’s Graphic Arts Collection. It mosaic program of the 12th- with the Cow: The Repaint Shan Shui Series by Zhang also embodies many of Harunobu’s innovations, century Church of Monreale Hongtu” including the exquisitely fine lines seen in the trans- parent mosquito net, the gracefully curved outlines Frederick Barnard White Prize in Art and that delineate the figures, and his characteristic Archaeology color palette. Grayden Holubar ’13, “The Office of the Digital Age: Having made their selection, the class then Contemporary Corporate Campuses as Agents of Or- summoned all of their research to provide support- ganization and Domains of Elite Space” ing evidence for the museum’s acquisitions review and the committee of the department’s Laura P. Frederick Barnard White Prize in Architecture Hall Memorial Collection Fund for graphic arts, Ammar Ahmed ’13 (Architecture), “Aldo Van Eyck’s which provided funding for the purchase. Playground in the Image of the Child” This collaboration between department and Hana Garfing ’13, “Vanbrugh’s Ephemeral Style: Ana- museum resulted in a unique learning experi- lyzing the Tradition of the English Baroque Country ence for the students in Art 425, one that afforded House” them the responsibility of assessing original art Lucas Award in Visual Arts and making decisions about building the muse- Isabel Flower ’13, Altar (photography) um’s collection of Japanese prints. The fruit of their Partial view of Ugo Udogwu ’13’s Laura Preston ’13, Avoid Toetal Loss (painting and installation color | ed; clothesline collective research and study, a superb print by the drawing) and resin sculpture master Harunobu, is now in the permanent collec- Ugo Udogwu ’13, color | ed (multimedia) tion of the Princeton University Art Museum. Francis LeMoyne Page Visual Arts Award Lily Healey ’13, Utopian for Beginners (photography and graphic design)

Suzuki Harunobu, Courtesan Saying Goodbye to Lover Beneath Mosquito Net, the woodblock print selected for acquisition by students in Art 425. Princeton University Art Museum, Museum purchase, Laura P. Hall Memorial Professor Andrew Watsky and students in Art 425 discuss Japanese prints in the study area of the Princeton Fund (2013-5) University Art Museum fall   1 3 19 Seminar Study Trips

Art 459 Travels to Shanghai A. Gardner ’69 Magic Fund, the Dean of the College’s 250th Anniversary Fund for Innovation in “Anxious Metropolis: Shanghai’s Urban Teaching, the Department of Art and Archaeology, Cultures, 1842–2012” focused on the evolution and the Princeton University Art Museum. of Shanghai to a bustling port, colonialist beachhead, hub of international commerce in the 1930s, and today a major testing ground Art 454 Travels to London Professor Cole Roskam of the Uni- for contemporary architecture. Team-taught by Professor Anne McCauley and 10 students from a versity of Hong Kong guides the Professor Esther da Costa Meyer and Cary Y. Liu, variety of majors spent the spring 2013 semester Art 459 class through one of the curator of Asian art at the Princeton University exploring the radical “Pre-Raphaelite” movement— neighborhoods of Shanghai Art Museum, the seminar examined traditional formed in 1848 by a group of young British Chinese architecture, aesthetics, and planning, painters who, rebelling against the Royal Academy, as well as modern Shanghai’s were dedicated to “truth to nature”—and the architecture and vibrant urban relationship of their art to photography. culture. One goal was to break The highlight of the course was a trip to away from the increasingly London during spring break, where the class obsolete division between East studied Victorian painting in the Tate London; and West by exploring the East India Company photographs in the Brit- Sarah Magagna ’13 Magagna Sarah metropolis as a crucible for ish Library (with Henry Fox Talbots thrown in, cultural encounters and since the library now contains the Talbot archive); exchanges. the galleries devoted to the Great Exhibition, and Central to the course was a the holdings of Cameron, Hawarden, Fenton, and week-long study trip to Shang- many other works in the photographic study room The Shanghai class in the water hai, which allowed 16 students of the Victoria and Albert Museum; as well as visit- town of Tongli to experience at first hand what they had studied in ing the Leighton House Museum, home of painter the classroom. Guided study of the city during the Frederic, Lord Leighton. Non-course-related visits day was enriched by collaboration with the Shang- included the National Gallery of Art, the British hai Study Centre of the University of Hong Kong, Museum, and Tate Modern. whose professors provided tours and lectures. The The class also spent a day at the University class saw Shanghai’s old town; the old bazaar with of Oxford, where students toured Christ Church

Lily Healey ’13 its temples and gardens; traditional lilong-block College, including the library and the Deanery housing; the site of Expo 2010; the French Conces- garden where Charles Dodgson (Lewis Carroll) sion with its Orthodox churches and leafy streets; made his views of Alice Liddell and her sisters. and the old Jewish ghetto, where thousands of Jews Students also gave reports on Pre-Raphaelite paint- found refuge from the Nazis and lived alongside the ings in the Ashmolean Museum, the decorations of Chinese. In each of these visits, students were able the Oxford Union Building, and early anthropo- to better understand topics they had discussed in logical photographs in the Pitt Rivers Museum. A The Art 454 class examines an the classroom, such as magic and feng shui, issues special pilgrimage was made to see Holman Hunt’s album of portraits of Queen Vic- of globalization, urban development, and modern- Light of the World in Keble College chapel. An addi- toria’s children in the photo study ization. Outside the city, the class journeyed to area at Windsor Castle tional day was spent at Windsor Castle, where the Suzhou, the “Chinese Venice,” to study its classical class toured the building and, after extensive security gardens, and to the nearby water clearances, was allowed into the Round Tower to town Tongli. On a fascinating view masterpieces from Queen Victoria’s and Prince trip to the outskirts, the students Albert’s photographic collection, including the royal toured Songjiang and Anting, two family albums. of the new themed cities, which Back in the United States, the seminar ended are modeled after European the term with a trip to Washington, to see the towns but remain largely unpop- National Gallery of Art’s exhibition Pre-Raphael- ulated. Several of the students’ ites: Victorian Art and Design, 1848–1900. Closer papers resulting from the trip to home, they took advantage of Firestone Library’s were published in a special issue extensive holdings of Lewis Carroll, Rossetti, and of the Princeton Journal of East Francis Frith materials. Asian Studies (www.princeton. The seminar’s trips to England and Washing- The Pre-Raphaelite class at Wind- edu/~prjeas). ton were generously supported by the department’s sor Castle, with St. George’s The seminar’s trip was made possible by gener- Fowler McCormick Fund for the History of Chapel in the background ous support from the Humanities Council’s David Photography.

20 fall   1 3 Department Lectures, Conferences, Workshops Lecture Series Fall 2012 Tuesday, October 23 Oceania, and the Americas, also at the Metropol- Medieval Patronage: Patronage, Mitchell Merback Power, and Agency in Medieval Art itan Museum of Art, discussed the stewardship of Johns Hopkins University October 5–6, 2012 digital visual materials. The et’sM conservator of Recognition: Theme and Meta- Japanese paintings, Jennifer Perry, spoke about the Theme in Northern Renaissance Art This international conference organized by the production and preservation of Japanese paintings. Cosponsored by the Institute for Index of Christian Art focused on many aspects The series concluded with a presentation by the Advanced Study of patronage in medieval art—papal, ecclesiasti- department’s Professor Robert Bagley on his experi- Wednesday, November 14 cal, female, courtly, secular, royal, and others. The ences collaborating with scientists on the technical The Kurt Weitzmann Lecture 17 speakers also discussed the various and vary- Anthony Cutler analysis of Chinese bronzes. Pennsylvania State University ing functions of artist, architect, donor, user, and The Empire of Things: Gifts and so forth, in the creation of medieval art, examining Why Art History Matters: Politics, Gift Exchange in Late Antiquity, how they may have overlapped. The papers ranged Ethics, and Objects Byzantium, Early Islam, and from high-level syntheses and examinations of the Beyond Graduate Student Symposium general theory of patronage to closely focused case Tuesday, December 4 March 8–9, 2013 studies of the patronage of specific monuments. Erika Naginski Reflecting the broad scope of the Index, the The 2013 graduate student symposium, orga- Harvard University Impossible Design: Porsena’s Tomb speakers examined works of art in many media— nized by Ellen Macfarlane Brueckner and Mirka and French Visionary Architecture metalwork, architecture, manuscripts, panel Døj-Fetté, tackled the enormous issue of art histo- Monday, December 10 ry’s function as a discipline within academia and its paintings, stained glass, and others—ranging Sidney Kasfir from Byzantium to 13th-century England. From broad implications in contemporary life. Professor Emory University the Bayeux Tapestry to the Baptistery of Parma, Hal Foster presented the lecture “Critical Stakes” Up Close and Far Away: Artists, the papers revealed often unexpected aspects to kick off the event, and Professor James Elkins Memorialization, and Uganda’s of medieval art patronage, how much is still to closed with the keynote address “Unresolved Prob- Troubled Past Cosponsored by the Institute for be learned, and how our fixed and sometimes lems in Global Art History.” A performative lecture Advanced Study anachronistic preconceptions can interfere with by artist Gigi Otalvaro-Hormillosa added to the understanding the works themselves. scope of the symposium, bringing artist and art Spring 2013 Some conclusions that emerged very clearly historians into a direct and productive dialogue Monday, February 11 from the two days of papers and discussion is that about the work of art history. Princeton was repre- Jacqueline Lichtenstein the entire subject of patronage is an unexpectedly sented by speaker Phil Taylor, panel respondents Université de Paris IV–Sorbonne complex and fluid one, and that our traditional Ashley Lazevnick, Betsy Osenbaugh, and Adedo- The Aesthetic Turn: A New Concept understanding of the concepts of agency and artis- yin Teriba, and Kristin Poor, who responded to the of “Theory of Art” Cosponsored by the Program in tic intention have to re-evaluated on practically a performative lecture. European Cultural Studies and the case-by-case basis. The graduate student panelists, who came Department of French and Italian from schools around the country, presented papers Art History and Conservation on specific projects in diverse areas as test cases to Continued on page 32 Science showcase the many ways art history engages and February 8–May 6, 2013 illuminates objects in historical, scientific, global, political, and social contexts. From these papers This innovative series of six workshops orga- the student respondents drew out the underly- nized by department graduate student Kin Sum ing themes that answered the question of why (Sammy) Li was designed to enhance understand- art history matters. The symposium drew a large ing of the technical analysis of objects and how it audience of students, professors, and others from can contribute to the work of art historians. Fine Princeton and beyond, all of whom contributed art conservator Sarah Nunberg demonstrated the questions and comments. In the final discussion, conservation of Maya pottery vessels, and Bryan the presenters and the audience expressed their own Cockrell ’08 presented his technical research on investment in the discipline and forged a coop- metal objects from the cenote at Chichen Itza. erative answer to the symposium’s fundamental Princeton University Art Museum conservator questions. Norman Muller discussed how X-radiography and infrared photography are used to detect specific Maps and Diagrams in Medieval Art materials and techniques in early Italian Renais- March 15–16, 2013 sance paintings. Nora Kennedy, conservator of photographs at the Metropolitan Museum of Art, This two-day conference organized by the Index hosted a workshop in her lab at the Met, discuss- of Christian Art provided a forum for 13 leading ing the analysis, deterioration, and preservation scholars from both sides of the Atlantic to present Conservator Sarah Nunberg works of various papers and coatings. Jennifer Larson, on a painted Maya vessel assistant visual resource manager in Arts of Africa, Continued on page 32 fall   1 3 21 Tang Center for East Asian Art

he Tang Center, under director Jerome In April, the Tang Center cosponsored the Silbergeld, the P. Y. and Kinmay W. symposium “Enduring Dharma,” which was orga- Tang Professor of Chinese Art History, nized by the Buddhist Studies Workshop and Tand associate director Dora C. Y. Ching, focused focused on the inscription of Buddhist scriptures primarily on publication and research projects on stone. This practice began at least as early as the during the 2012–13 academic year. 6th century, when some Buddhists in north China In December 2012, just one year after the began to prepare for what they believed would be release of the Tang Center’s two-volume festschrift the apocalyptic end of the Buddhist law (Dharma) in honor of Professor Emeritus Wen C. Fong, the by carving the Buddhist canon into stone. Texts center published a second festschrift, Crossing the carved on stone slabs were set into the walls of caves Sea: Essays on East Asian Art in Honor of Profes- Crossing the Sea: Essays on East or displayed with statues of Buddhas on natural cliff Asian Art in Honor of Professor sor Yoshiaki Shimizu. Shimizu taught Japanese art faces. This symposium presented recent research on Yoshiaki Shimizu history at Princeton for more than 25 years and these inscriptions by a multidisciplinary team spon- trained many students who have become respected sored by the Heidelberg Academy of Sciences and professors and museum professionals. Crossing the Humanities. The speakers discussed the results of Sea gathers essays by 13 of his students in honor of the project and provided a variety of perspectives on his career as professor at Princeton and elsewhere, the medieval Chinese practice of inscribing sūtras and as curator of Japanese art at the Freer Gallery on stone. For more information about this event, of Art in Washington. With topics ranging from see page 32. premodern Buddhist, narrative, and ink painting The lectures organized by the Tang Center in Japan and East Asia to 20th-century Japanese this year ranged widely in topic—from a close prints and popular visual images, the essays present reading of the Poetic Ideas scroll attributed to Mi innovative research that engages with important Youren and Sima Huai of the 12th century to the works of Japanese art, their historical contexts, and study of the relationship between texts and depic- modern interpretations. As a whole, the volume tions of early Chinese cityscapes; convergences provides a unique and valuable state-of-the-field among Japanese, Indian, and Mexican art since the Visitors from the Dunhuang Acad- portrait of Japanese art studies today. late 19th century; and the practice of calligraphy emy with Princeton colleagues During the spring semester, the Tang Center in the ephemeral medium of water brushed onto working on the Lo Archive project: cosponsored a series of workshops organized by pavement. Cary Liu, Lou Jie (Dunhuang Acad- emy), April Hughes *11 (M.A.), Liu Department of Art and Archaeology graduate The Tang Center continued work on the Qin (Dunhuang Academy), Peter student Kin Sum (Sammy) Li. Titled “Art History Lo Archive project, a multiyear research and Little ’75 (Dunhuang Foundation), and Conservation Science,” the workshops aimed publication initiative focused on the archive of and Jun Hu *10 (M.A.) to introduce younger art historians to the value photographs of the Dunhuang and Yulin Buddhist of technical studies, emphasizing the importance caves in China taken by James and Lucy Lo in of understanding how objects were made and the 1943–44. These photographs not only provide an ways art historians can benefit through engage- invaluable historical record, but are also testaments ment with up-to-date conservation sciences. Topics to James Lo’s photographic artistry. This project has included the conservation of Maya vessels and also helped foster connections with the Dunhuang metal objects; methods and materials of early Ital- Academy, whose members have become regular ian Renaissance paintings; photo conservation; visitors to Princeton. visual resource archives in the digital age; formats, As in past years, the Tang Center collabo- materials, and techniques of Japanese paintings; rated with the Princeton University Art Museum in and technical studies of Chinese bronzes. Some the acquisition of art for the museum’s permanent of the sessions were held in conservation labora- collection. This year’s joint purchase was a six-panel tories at the Princeton University Art Museum folding screen, ink on paper, titled Sun and Moon and the Metropolitan Museum of Art, offer- by the contemporary Korean artist Her Suyoung ing a rare opportunity for a hands-on experience (b. 1972). Her Suyoung has reinterpreted the tradi- with conservation equipment and techniques. tional polychrome monumental Korean landscape These well-attended workshops prompted the tradition by painting a monochromatic screen, a participants to consider a broader view of artis- tour de force of brushwork that creates an interplay tic production that encompasses the notion of art of ink tonality and texture. This reinterpretation not just as creative, original, and aesthetic, but also resonates with Chinese brush-and-ink painting and as the product of technical workshops and skilled encourages comparisons with traditional Chinese collaboration. It also demonstrated the ability of painting and contemporary pieces in the art muse- The Family Model in Chinese Art and Culture the department’s graduate students to generate um’s collection. The acquisition of this Korean high-quality, innovative educational events. work points to a new direction in the museum’s 22 fall   1 3 Workshop Series Art History and Conservation Science Organized by Kin Sum (Sammy) Li and sponsored by the Tang Center, the Department of Art and Archaeology, and the Princeton University Art Museum through the John B. Elliott Fund for Asian Art February 8, 2013 Maya Vessels and Metal Objects Sarah Nunberg Freelance Conservator Bryan Cockrell ’08 Ph.D. candidate, University of California–Berkeley February 22, 2013 Methods and Materials of Early Italian Renaissance Paintings Norman Muller Princeton University Art Museum April 19, 2013 Photo Conservation at the Her Suyoung (born 1972), Sun and Moon, 2012. Princeton University Art Museum, Museum purchase, Fowler Metropolitan Museum of Art McCormick, Class of 1921, Fund and gift of the P. Y. and Kinmay W. Tang Center for East Asian Art (2013-3) Nora Kennedy Metropolitan Museum of Art collecting, with the potential to build strength in art. For further information about Tang Center April 26, 2013 Korean contemporary art. events, please visit www.princeton.edu/tang. Visual Resource Archives in the In July, the Tang Center released another book, Digital Age: Opportunities and The Family Model in Chinese Art and Culture. This Lectures Challenges Jennifer Larson volume, based on a symposium organized by the October 4, 2012 Metropolitan Museum of Art Ari Daniel Levine center, focuses on family structures and histori- May 3, 2013 cal patterns of activity, a central feature of social University of Georgia Read-Write Memory: How to Translate Images of Toward an Understanding of organization and cultural articulation through- Early Modern Chinese Cityscapes into Texts (and Back Japanese Paintings: Formats, out Chinese history, including all facets of the Again) Materials, and Techniques content and style of Chinese art. With contributors Cosponsored by the Program in East Asian Studies Jennifer Perry Metropolitan Museum of Art drawn from the disciplines of art history, anthro- November 14, 2012 pology, psychiatry, history, and literature, this Yomi Braester May 6, 2013 University of Washington–Seattle An Art Historian’s View of Technical volume explores the Chinese concept of family and Studies of Chinese Bronzes its broad, multidimensional impact upon artistic Digital Effects and Cinephiliac Ethics: Chinese Film under the Sign of Globalization Robert Bagley production. In essays ranging from the depic- Cosponsored by the Program in East Asian Studies Princeton University tion of children to adult portraiture, from literary November 15, 2012 constructions of gender through the psychodynam- Bert Winther-Tamaki Symposium ics of cinema, the authors consider the historical University of California–Irvine foundations of the family—both real and ideal— Global Convergences: Japanese, Indian, and Mexican April 20, 2013 in ancient China, discuss the perpetuation of this Art since 1876 Enduring Dharma: A Symposium on the Inscription of Buddhist model in later Chinese history and modern times, February 12, 2013 Scriptures on Stone and analyze how family paradigms informed and Peter Sturman Organized by the Buddhist Studies University of California–Santa Barbara intersected with art and literature. Workshop and cosponsored by the Family Matters—The Strange Case of the ‘Poetic Ideas’ Department of Religion, the Tang In the 2013–14 academic year, the Tang Scroll Attributed to Mi Youren and Sima Huai Center, the Program in East Asian Center plans to publish Art and Archaeology of the Cosponsored by the Department of Art and Studies, the Center for the Study Erligang Civilization, a volume developed from a Archaeology of Religion, and the Silk Road conference on the Bronze Age culture organized by Film Screening Project the Tang Center in 2008. The center has a number of other scholarly publications in progress, all of February 20, 2013 which will be distributed by Princeton University Angela Zito New York University Press (press.princeton.edu). The Tang Center will Writing in Water: A Film Screening in Chinese with host its sixth biennial Graduate Student Sympo- English Subtitles sium on East Asian Art, in March 2014, as well as Cosponsored by the Program in East Asian the sixth Tang Center Lecture Series, which will Studies, the Committee for Film Studies, and the be given in April 2014 by department graduate Department of Religion Professor Yi Song-mi *83 and will focus on Korean fall   1 3 23 Marquand Library

his was an active year for Marquand, for Louis XIV by André Le Nôtre and others. It is directed by Sandra Brooke. The library bound with André Félibien’s Description de la grotte continues to cultivate its online presence. de Versailles (1679), which documents the short- TThe Blue Mountain Project, Princeton’s digital lived but technically brilliant Grotte de Thétys. library of avant-garde arts journals (http://diglib. A favorite royal residence of King William princeton.edu/bluemountain), to which III of Orange, Het Loo, is commemorated in Marquand is a major contributor, made Romeyn de Hooghe’s Korte beschryving . . . van ’t substantial progress in the first of a two-year NEH koniglyke lusthuis ’t Loo, a purchase supported by grant cycle. A project manager the Elise and Wesley Wright was hired, and 12 of the 34 Jr. ’51 Marquand Book Fund. journals in phase one are already De Hooghe’s 14 etchings of the Entablature and Britannic order available for browsing. The house and its formal gardens, from Robert and James Adam, library also began digitizing its which first appeared as border The Works in Architecture burgeoning collection of 17th- designs for a bird’s-eye view of to 20th-century Japanese ehon the estate in 1698, were reprinted (picture books). In December, in 1786 and bound in book Marquand hosted a meeting of form for a later owner. Giovanni art and architecture librarians Francesco Guerniero’s Delinea- from Ivy League institutions who tio Montis . . . (1749) updates the are working toward cooperative elaborate plans for the grounds of collecting arrangements for Schloss Wilhelmshöhe, published global contemporary art and for in 1705–6. Multiple oversized preserving born-digital art plates record the astonishing history research materials. Baroque ensemble at Kassel— Many noteworthy items were Portrait of Lorenzo Lotto from a hillside transformed with added to Marquand’s special Carlo Ridolfi, Le maraviglie dell’arte terracing and dramatic water collections. In the field of archi- features, and crowned by a colos- tecture, Professor John Pinto’s sal statue of Hercules. retirement was marked with the acquisition of a Other early modern purchases included Carlo spectacular first edition, second issue, of Robert Ridolfi’sLe maraviglie dell’arte, overo de gl’illustri and James Adam’s The Works in Architecture (1773– pittori veneti. . . (1648), an important early source 86). The two majestic elephant folios contain 80 for 16th- and 17th-century Venetian painting illus- Fountain detail from Romeyn de full-page engraved plates depicting buildings, trated with 35 artists’ portraits. Des menschlichen Hooghe, Korte beschryving . . . architectural details, follies, and ornamental furni- Leibes Proportionen (ca. 1690) is Johannn Jakob van ‘t koniglyke lusthuis ‘t Loo. ture. This purchase was generously supported by von Sandrart’s German translation of a 1683 text Elise and Wesley Wright Jr. ’51 Marquand Book Fund the Department of Art and Archaeology. Per la on human proportions by Gérard Audran. It was facciata del duomo di Milano (1654–56) is a luxu- acquired in tandem with a contemporary manu- riously illustrated compendium documenting the script copy of Sandrart’s text (Manuscript Division, debate over the completion of the facade of Milan’s Firestone Library) which has red chalk drawings Gothic cathedral. Proposals that are mirror images of the by three generations of cathe- printed plates. Kurtze Be- dral architects were overtaken schreibung des Fürstl. Lust- by that of the young Francesco Schlosses Saltzdahlum (ca. Castelli. His neo-Gothic design 1704–14) is Tobias Querfurt’s was endorsed by Gian Lorenzo description of the Herzog von Bernini, whose report is included. Braunschweig-Wolffenbüttel’s There were several important country estate. Its specially built additions in landscape architec- picture gallery is depicted in a ture. Le thresor des parterres de large fold-out plate, accompanied l’univers . . . (1629), a rare early by the first catalogue of the estate’s pattern book of formal gardens notable art collections. and labyrinths, was compiled by In photography, Marquand Daniel Loris. The magnificent acquired 12 extremely scarce issues print suite Plans, veues et orne- Female nude with mirrors from of the Japanese magazine Hakuyō Cover of the Japanese photography Max Friedrich Koch and Otto magazine Hakuyō mens de Versailles contains some [White Sun] (1922–26). Docu- 100 views of the gardens created Rieth, Der Akt menting the artistic evolution 24 fall   1 3 from pictorialism to expression- Substantial Chinese acqui- ism, Hakuyō is one of Japan’s sitions included Negotiating most historically important Difference: Contemporary Chinese photography publications. Der Art in the Global Context; Bu Akt (1894–95) is a portfolio of xiu de lin quan: Zhongguo gu 100 inventive nude photographs dai yuan lin hui hua [Chinese by Max Friedrich Koch and Otto Garden Paintings of Antiquity]; Rieth. Male and female models and two studies of vernacular are posed with architectural frag- architecture, Xinan min ju and ments, and some figures are Fujian tu lou. Materials reintro- triplicated with mirrors to create duced into the Far Eastern art compositions recalling caryat- teaching collection from off-site ids. Stephen Shore: The Book of storage, like the figure trans- Books (2012) reproduces in two porting a Taihu garden rock massive volumes a series of 83 from the set Barbarians Offering print-on-demand photobooks Cover of the Soviet satirical maga- Precious Articles of Tribute, were Cast brass head from Felix von Lus- that Shore originally published zine Buzotër catalogued, and reference photos chan, Die Altertümer von Benin in small editions using Apple were taken, to be incorporated iPhoto. into the online catalogue. Marquand’s major periodical purchases Additions in ancient art include Illustratione included the extremely rare Soviet satirical maga- de gli epitaffi et medaglie antichi (1558), an early zine Buzotër [The Troublemaker] and its successor, illustrated study of Roman funerary inscriptions Bich [The Scourge] (Leningrad, 1924–28). This and medals by the itinerant Florentine antiquary brilliantly colorful weekly has powerful caricatures Gabriele Simeoni. Marquand acquired Edward by Aleksei Radakov, Nikolai Kupreianov, Dmitry Gibbon’s own copy of Raphael Fabretti’s De Aquis Moor, and many others. The deluxe Belgian journal et Aquaeductibus Veteris Romae Dissertationes Tres Sélection (Brussels, 1920–27) promoted avant-garde (1680). Gibbon recommended this text on Roman developments in the visual, literary, and perform- aqueducts in his History of the Decline and Fall of ing arts. Munka (Budapest, 1928–39) is a boldly the Roman Empire. Des Cyclades en Crète au gré du Cover of the Japanese avant-garde designed Constructivist review created by Lajos vent (1919) is one of a series of deluxe books with art magazine Seikigun Kassák. hand-pulled photogravure plates produced by In the field of modernism, Marquand Frédéric Boissonnas and Daniel Baud-Bovy from purchased the only known complete set of Seiki- their extensive archive of scenes of Greece and its gun [Century Group], a Japanese avant-garde art ancient monuments (purchase supported by the magazine that was hand-distributed in 1949– Program in Hellenic Studies). 50 by the artistic and literary group Seiki no kai Medieval additions included a facsimile of the (The Century Association). The seven eclectically St. Alban’s Psalter (Dombibliothek, Hildesheim), produced issues contain original prints influenced a particularly fine English Romanesque manu- by Surrealism and Existentialism. Three books by script of ca. 1123–35. Thought to have been Onchi Kōshirō were added, including Hakubut- commissioned by Geoffrey de Gorham, abbot of sushi [Records of Nature] (1942), a rare collection St. Albans, for Christina of Markyate, a wealthy of his nature photographs and essays on natural Anglo-Saxon, its illuminations are a synthesis of forms. The 1979 exhibition catalogue One for All— Byzantine, Ottonian, and Anglo-Saxon elements, All for One documents Gordon Matta-Clark’s final and include a picture cycle of St. Alexius, who, like building cut project, Office Baroque, in Amsterdam. Christina, abandoned a worldly marriage to live Tribute bearer from Barbarians Marquand’s unique copy has as an ascetic religious. Heinrich Offering Precious Articles of Tribute three original photographs. Schütz’s Mantum Bambergense S. Marquand added two foun- Henrici Caesaris (1754) analyzes dational texts in African art the imagery and inscription studies: Günter Tessmann’s Die of the so-called Star Mantle at Pangwe (1913), about the Fang Bamberg Cathedral. The early- culture, and Felix von Luschan’s 11th-century ceremonial cloak is Die Altertümer von Benin (1919), embroidered with celestial motifs which develops a stylistic chro- and scenes from the life of nology of Benin art. Both copies Christ. In Ravenna dominante are from the library of James sede d’Imperadori, Re’ et Johnson Sweeney, the curator Esarchi . . . (1715), Teseo dal of the Museum of Modern Art’s Corno gives an extensive account historic 1935 exhibition African of the antiquities that Char- Initial “S” of Psalm 69 from the Negro Art. Cover of the avant-garde Belgian lemagne looted in the 8th facsimile of the St. Alban’s Psalter journal Sélection century for his capital at Aachen. fall   1 3 25 Visual Resources Collection

he 2012–13 academic year was a time for Wilmerding, which are being used in research for looking forward, planning renovations, the museum’s online Fitz Henry Lane catalogue and beginning new projects, under the raisonné. Tdirection of Trudy Jacoby. Preparations for the rear- Visual Resources was given the slide collec- rangement of the Visual Resources facility included tion of the late Professor Emeritus Robert Judson drawing up a new floor plan that will allow more Clark, who was largely responsible for the revival of open access and better scanning stations. Weeding the study of the Arts and Crafts movement, partly of the 35-mm slide collection also began. Many through his groundbreaking 1972 exhibition The duplicates and copy stand photographs are being Arts and Crafts Movement in America, 1876–1916. Tuthmosis making offerings, from removed, particularly images that have records in The gift consists of more than 10,000 slides cover- the Temple of Tuthmosis III, Deir el the database, so that source information will be ing architecture and decorative arts of the 19th and Bahari, ca. 1440 b.c.e., Bridgeman retrievable. 20th centuries. Visual Resources also received a gift Education collection As a result of a reduction in the cost of Shared of selected slides from the collection of the late Lois Shelf, the hosting service provided by ARTstor, Drewer, a Byzantinist who for many years was a Visual Resources will implement Shared Shelf as a reader in the Index of Christian Art. Alec Hartill, a means of making the department’s images available longtime vendor, donated a series of prints of archi- in the ARTstor platform. Having the department’s tectural subjects. image collections in the same environment as the TheVisual Resources website, princeton. ARTstor collection offers many advantages, includ- edu/visualresources, continues to be a well-used ing the ability to search both collections with a resource. The Research Photographs web page had single search. Princeton’s current systems, such as 3,276 visits from 2,172 unique visitors, about 65 Almagest, will also be maintained. percent of them new visitors. This was roughly In July 2012, Visual Resources hosted a meet- a 1,200 percent increase from the previous year, ing—with representatives from Dumbarton Oaks, reflecting the value of the addition of thousands of the University of Virginia, the Institute of Fine thumbnail images to the website’s Antioch database Arts, and Princeton—to refine data fields for a new in April 2012. There was also a substantial increase data standard for describing archaeological materi- in visits in December 2012 following Jacoby’s als and collections. One goal of the project, called presentation on the Antioch archives at the Louvre’s ArchaeoCore, is to give scholars who work with Antioch symposium. archaeological data the ability to preserve informa- Michele Mazeris tion on context and site. This data format will be joined Visual available in Shared Shelf. Jacoby and Jenni Rodda, Resources this curator of digital media services and image archive spring as senior at the Institute of Fine Arts, organized sessions at image cata- Newcomb College Pottery vase, three conferences—College Art Association, Art loguer and probably after 1910, photograph Libraries Society of North America, and Visual support from the Robert Judson Clark Resources Association—on how digital projects are specialist. She collection improving access to archaeological collections. had previously One new area for collection growth this year worked on the was ancient Egypt, with course images being metadata team at assembled from ARTstor, where she both print and analyzed and mapped vendor sources. contributor data to Faculty image records in the ARTstor Digital Michele Mazeris collections in the Library. She helped to increase process of being the discoverability of a wide variety of source collec- added to the data- tions within the ARTstor Digital Library, including base include those the Réunion des Musées Nationaux and the Getty of Professors Research Institute Photo Archive. She also assisted John Pinto and in the legal analysis of contributed images, includ- Thomas DaCosta ing those by artists who are represented by rights Kaufmann. Visual agencies such as VAGA or ARS. Before relocating Resources also to the East Coast, Mazeris worked in the Collec- began collaborating tions, Information, and Access Department of the Tower Bridge, London, photo- graph by Alec Hartill (detail) with the Cape Ann Museum in Gloucester, Mass., San Francisco Museum of Modern Art, where she digitizing images taken by Professor Emeritus John created descriptive metadata for collections in the 26 fall   1 3 museum’s digital asset management system. She 25 years of excavation. The new website, which holds a B.A. in art history from Barnard College features many images furnished by Research Photo- and a master’s degree in library and information graphs, provides an overview of the site and its science from San Jose State University. history, reports on the current excavations, profiles David Connelly collaborated on equipment of staff members, and other news. specifications for the department’s new excavations The Ananda K. Coomaraswamy collection of of Stryme, Greece, directed by Professor Nathan photographs of the arts and architecture of India Arrington, and worked on publication images and Southeast Asia was the focus of conservation, for faculty. Marilyn Hansen continues to serve as cataloguing, and digitization this year. This project the media specialist for department classes and involved the scanning and cataloguing of numer- lectures, as well as the Index of Christian Art, the ous images from the collection, which includes Tang Center, and the art museum, when needed. documentary photographs of architecture, paint- Jacoby participated in a symposium at the Louvre ing, sculpture, drawings, and minor arts of India on the mosaics of Antioch in December 2012, and Southeast Asia. Marilyn Hansen assisted in discussing the Antioch materials in the Research the conservation effort, which included rehous- Photographs Collection in Visual Resources. With ing photographs in archival sleeves, folders, and Colum Hourihane, she co-organized the confer- boxes. Many of the photographs in the Coomaras- ence, “The Digital World of Art History: From wamy archive were produced by the India Office Theory to Practice” in June 2013 (see page 32). and Archaeological Survey of India, established in 1861 to assist in the preservation and study of Drawing of mosaic pavement from Research Photographs monuments in India and Southeast Asia. Coming a 1935 Antioch field notebook full circle, Research Photographs A major project completed by Research Photo- is now preserving these images graphs this year, under the supervision of curator which, like the monuments they Shari Kenfield, was the scanning of the field note- document, are fragile. books from the excavations of the ancient city of Kenfield and image Antioch in 1932–39. Written in the field by the cataloguer Amanda Smith trench masters, these small books preserve eyewit- collaborated with Profes- ness documentation of the trenches as they were sor Emeritus William Childs excavated and the finds as they were discovered. on an exhibition of photo- An invaluable resource for scholars who are study- graphs by the late Elisabeth ing the site, these digitized field books will now Childs, People and Land- be available to the members of an international scapes of the Chrysochou Valley, committee working on a comprehensive publica- which was shown in the gallery tion of this major urban center, much of which space of McCormick Hall. remains unpublished. After a stint doing technical Excavations in the Temple of Research Photographs collaborated again this object photography for the department’s exca- Artemis at Sardis, 1912 year with the American excavations of Sardis, capi- vations at Polis Chrysochou on Cyprus, Childs tal city of the ancient Lydian Empire in western turned her photographic eye to the people and Turkey. The current project, directed by Nicho- landscapes of the region. Her vivid photographs las Cahill of the University of Wisconsin, involves record the activities of the archaeological dig, a re-evaluation of the great Temple of Artemis, capture the contours and colors of the striking particularly its little-known later life in the Late Cypriot landscape, and evoke Roman and Byzantine periods. the personalities and lives of the Research Photographs contributed people of Polis and the Chrys- to this initiative by providing scans ochou Valley. Childs’s Cypriot of numerous photographs from its portfolio was published in the Sardis archives that document the book People and Landscapes original excavations of the temple of the Chrysochou Valley & the in 1910–12. Princeton University Excavations, The first official website of 1983–2008 (Moufflon Publica- the Morgantina excavations, tions, 2012). The McCormick morgantina.org , was launched Hall exhibition, which coin- in summer 2012 by the codirec- cided with the Princeton tor of the dig, Carla Antonaccio University Art Museum’s major *87 of Duke University. Exca- exhibition on the Polis excava- vations of this important city in tions (see pages 30–31), can be eastern Sicily were initiated by Bayon temple, Angkor Thom, viewed online at www.princeton. Cambodia, photograph from the the department in 1955, and Maria Koupparis with silk, pho- edu/researchphotographs/ Ananda K. Coomaraswamy Research Photographs holds exten- tograph by Elisabeth Childs exhibitions. collection sive archives documenting the first fall   1 3 27 hourihane FROM MINOR TO MAJOR Index of Christian Art * FROM MINOR TO MAJOR FROM MINOR The Minor Arts in Medieval he Index, under the direction of Colum production that ever since Vasari has been classifi ed Art History Hourihane, had a prodigious year, organiz- as “minor”—carved ivory, stained glass, enam- ing four conferences, publishing two books els, tapestries, goldsmiths’ work, and so on. Th e 16 Tand a journal, acquiring several major image collec- essays, originally presented as papers at a confer- back cover image: Nave towards the east, Abbey Church of Saint- Savin-sur-Gartempe, France (photo: Thomas E. Dale). tions, and forging ahead with ongoing cataloguing ence organized by the Index, demonstrate how front cover image : Paris, Musée National du Moyen Âge, Limoges Enamel Eucharistic Dove, mid-thirteenth century, Cl. 1957 (photo: © Marie-Lan Nguyen / Wikimedia Commons). and digitization projects. these fascinating objects are being integrated into the index of christian art occasional papers · xiv In October 2012, the Index hosted the the study of medieval art. Continuing its series of princeton

ISBN 978-0-9837537-1-1 Distributed by Penn State University Press international conference “Medieval Patron- resources from its archives, the Index published 820 North University Drive USB 1, Suite C Edited by Colum Hourihane University Park, Pennsylvania 16802 age: Patronage, Power, and Agency in Medieval Abraham in Medieval Christian, Islamic, and Jewish Art,” which brought together 17 speakers from Art (Penn State University Press, 2013). Featuring From Minor to Major: The Minor both sides of the Atlantic to discuss fundamen- the data from the Index’s extensive fi les on Chris- Arts in Medieval Art History tal issues of patronage—what it in fact meant in tian objects depicting this pivotal Old Testament the medieval period, the many fi gure, the volume also includes ways in which it functioned, and catalogues of Jewish images hourihane how it has been understood and of Abraham from the Bezalel misunderstood by scholars. Th e Narkiss Index of Jewish Art and Index also organized and hosted of Islamic depictions, as well as vvv abraham the December meeting of the nearly 200 illustrations, mostly in Delaware Valley Medieval Asso- color. Th e 34th volume of Studies ciation, which featured papers in Iconography, the journal edited by both local and visiting schol- at the Index and published by ars. “Maps and Diagrams in the Medieval Institute of West- Medieval Art,” an Index confer- ern Michigan University, also ence that took place in March appeared this year. 2013, focused on an area that With the electronic publi- ABRAHAM has long been ignored by art cation of the late Lois Drewer’s princeton in medieval christian, islamic, historians, who have viewed Calendar of Saints in Byzantine and jewish art these works as having mostly Manuscripts and Frescoes (ica. Edited by colum hourihane scientifi c importance. Th e princeton.edu/drewer/intro. 13 speakers presented recent php), the Index has provided Abraham in Medieval Christian, research showing that there is in a comprehensive and unparal- Islamic, and Jewish Art fact a great deal of art-histori- leled reference work on saints cal value embedded in medieval represented in illustrated church maps and diagrams. In June, calendars. Th e core of the work the Index collaborated with the is a browsable calendar with day- department’s Visual Resources by-day listings of saints, along Collection in organizing “Th e with references to the standard Digital World of Art History corpuses and lists of depictions of 2013: From Th eory to Practice,” each saint. Researchers can also which focused on open-access access several alphabetical listings images and their impact on with live links to the calendar— scholarship and research. Th e all of the saints by name; salient Index’s next major confer- The prophet Zachariah in a iconographic narrative elements ence, “Manuscripta Illuminata: 13th-century manuscript in the in their depictions; and subsid- Approaches to Understand- collection of the New York Public iary motifs, including costume, ing Medieval and Renaissance Library (Ms. Spencer 1, fol. 25v) poses, attributes, objects, and Manuscripts,” will take place on other accessory details. Other October 25 and 26. For more information on these electronic publications that appeared this year conferences, see pages 21 and 32 and the Index’s include the papers given at the “Digital World of conferences webpage ica.princeton.edu/ Art History” conferences in 2012 and 2103. conference.php. A major ongoing project this year was the cata- Th e Index’s publications program contin- loguing of the images in the illustrated Western Enoch taken up into heaven, ued this year in both paper and electronic manuscripts in the rich collection of the New York fresco in the Härkeberga church, From Minor to Major: Th e Minor Arts Sweden, ca. 1480, photograph by formats. Public Library. Th e project began when the depart- Lars-Olof Albertson in Medieval Art History (Penn State University ment’s Professor Emeritus James Marrow generously Press, 2012) focuses on the broad range of artistic donated roughly 13,000 color slides of the library’s 28 fall     manuscripts to the Index. All of those images, A gift of 1,000 color slides from Evelyn which cover some 300 Western European manu- Thomas will provide the nucleus of what will scripts dating from the 10th through the mid-16th become the world’s largest archive document- century, have been scanned, and additional digi- ing opus anglicanum, the exquisite and expensive tal photography will be done, if needed, to provide embroidery created in England primarily between comprehensive coverage. Detailed cataloguing, the late 12th and the mid-14th century. Thomas based in part on Marrow’s notes, is now being added assembled the archive of images during many to the Index’s subscription database and is also avail- years of travel to museums and church treasuries able to patrons at the New York Public Libary. throughout Europe. There has recently been a great The ndexI is also cataloguing and adding to revival of interest in the study of these luxurious its database more than 3,000 illuminations in 113 textiles, which were often exchanged as diplomatic medieval manuscripts produced in Flanders from gifts and show striking similarity to contempo- the 13th through the 16th century and now in rary English manuscript illumination. The end the collection of the Walters Art Museum in Balti- result of the Index’s project will be an updated digi- more. A highlight of the project, which is being tal edition, with color images, of English Medieval The prophecy of Sibyl, stained funded by an NEH grant to the Walters, will be Embroidery, the classic 1938 work on the subject by glass in Altshausen Castle, 1380– the digitization of 80 Books of Hours—prayer A. G. I. Christie. In a parallel project, the Index’s 90, photograph from the Jane books of personal devotion that are often sump- extensive card file records on textiles are being Hayward collection tuously illuminated in gold and were painted by added to the database. some of the leading masters of the time. Another significant image donation this year Two substantial image collections were added came from the Metropolitan Museum of Art’s to the Index’s free offerings this year. John Plum- Image Library, which gave its collection of approx- mer, the former Princeton professor and curator imately 35,000 color slides assembled by the late at the Morgan Library in New York, donated his William Keighley. Keighley had a prominent personal collection of nearly 3,000 slides of manu- career in theater, radio, and film, and directed script illuminations, with an emphasis on works of many well-known films, including The Adventures the later 14th through the 16th century. Assem- of Robin Hood (1938) and The Man Who Came to bled during more than 60 years of travel and Dinner (1942). His archive includes superb docu- research, the archive is particularly valuable mentation of art and architecture in key for its unparalleled coverage of manu- cities throughout Europe. Of partic- scripts in private collections that ular note are approximately 1,000 are almost unknown to the schol- images documenting the art of the arly world. The images are being pilgrimage routes to Santiago de added to the Index’s database Compostela. with full iconographic cata- In June 2013, the Index loguing, but are now available welcomed Catherine Fernandez, to the public with short-format who earned a Ph.D. in art history data. The other addition to the in 2012 at Emory University in free resources section is the Lars- Atlanta, where she studied with David playing the harp on an Olof Albertson collection of more Elizabeth Carson Pastan. Her disser- early-14th-century example of than 2,000 high-resolution images Catherine Fernandez tation on the medieval afterlife of the opus anglicanum, photograph by of medieval murals, baptismal fonts, Augustan cameo known as the Gemma Evelyn Thomas crucifixes, and altarpieces in Swedish churches, with Augustea traces its historical and cultural trajectory especially strong coverage of the typically elabo- from its creation in 1st-century Rome to its vener- rate wall paintings, some by known masters. The ation as a Charlemagne object at Saint-Sernin in addition of these two collections brings the total of Toulouse. Fernandez worked for several freely available images to roughly 65,000, including years at Emory’s Manuscript, Archives, 35,000 that can be published. and Rare Book Library, where she The Cloisters Museum in New York has aided visiting researchers and helped given its extensive collection of slides of medieval process the Josephine Baker papers. She stained glass assembled by the late Jane Hayward, also taught several art history courses a curator at the Cloisters who was a leading Amer- at Georgia State University. Fernan- ican scholar in the field of stained glass studies. dez is currently revising her dissertation The unparalleled collection of nearly 13,000 slides for publication as a monograph and includes extensive documentation of stained glass writing an article on the display and in major centers, including Germany, Austria, function of the Godescalc Evangeliary and Belgium, but also extending to lesser-known at Saint-Sernin. Since coming to the Effigy of Pedro Fernández de examples as far east as the Holy Land. The Index Index, she has worked on cataloguing the images Velasco, Burgos cathedral, will offer full publication rights for all of the from the Jane Hayward archive of stained glass. 1535–42, photograph from the images in this sumptuous collection. collection of William Keighley fall   1 3 29 Excavations

he Princeton Cyprus Expedition cele- enlarged photograph of the interior of a Classical brated more than a quarter century of period tomb. fieldwork and research with an exhibition The 110 objects on display all came from Tat the Princeton University Art Museum, City of Marion or Arsinoe. The Department of Antiq- Gold: Tomb and Temple in Ancient Cyprus (Octo- uities of Cyprus loaned 93 pieces, including 59 ber 20, 2012–January 20, 2013). This exhibition that were found by the Princeton team. A further told the story of the ancient cities unearthed by 15 objects were loaned by the British Museum, Princeton in Polis Chrysochous: Marion, founded and two by the Musée du Louvre. Along with the City of Gold: The Archaeology of in the 8th century and destroyed in 312 b.c.e., discoveries made by the Princeton team, the exhi- Polis Chrysochous, Cyprus and Arsinoe, founded ca. 270 b.c.e. and inhabited bition featured objects from tombs unearthed by until the 16th century c.e. Max Ohnefalsch-Richter in 1885–86, the Cyprus The exhibition cata- Exploration Fund in logue, City of Gold: 1889–90, the Swedish The Archaeology of Polis Cyprus Expedition in Chrysochous, Cyprus 1929, and the Depart- (Princeton University ment of Antiquities Art Museum, 2012), of Cyprus from 1960 featured essays on the onward. The Swed- history of the excava- ish excavator was Erik tions and the ancient Sjöqvist, who was profes- cities of Marion and sor of classical art and Arsinoe, and entries archaeology at Princeton Joanna Smith leads students on a on objects written by from 1951 to 1969. tour of the City of Gold exhibition several team members, The cocurators including cocura- worked closely with the tors Professor Emeritus designer of the exhibi- William Childs, Joanna tion, Dan Kershaw, to Smith ’87, and Michael draw on the archaeo- Padgett, the muse- logical contexts of the um’s curator of ancient The first gallery of the exhibition City of Gold: Tomb objects in the show, art. They were joined and Temple in Ancient Cyprus evoking the exhibition’s by Nancy Serwint *87, subtitle. The last gallery Mary Grace Weir *96 (M.A.), Tina Najbjerg *97, took the form of a three-aisled Christian basil- Amy Papalexandrou *98, Nassos Papalexandrou ica, the form of the churches in which the objects *98, and Alan M. Stahl, curator of numismatics at from Byzantine and medieval Arsinoe were discov- Firestone Library. ered. In addition, a 10-minute film, City of Gold: The opening lecture by Childs, “How Vivid Is Reconstructing the Buildings of Marion and Arsinoe, Erik Sjöqvist excavating a tomb at the Joy in Strangeness,” emphasized how abstrac- incorporated 3-D models of four buildings from Polis in 1929 tion and naturalism come together in Cypriot the excavations to complement the exhibition’s sculpture of the 6th and 5th centuries b.c.e., contextualized design and create a greater sense of contrasting with the ideal how one moved inside and around the featured forms of ancient Greece. buildings. This film is available on YouTube in This prepared the audience English and Greek. for the striking arrange- The 3-D models were created by Princeton ment of the first gallery, students in a seminar cotaught in spring 2012 by which drew viewers in Smith and Professor Szymon Rusinkiewicz of the through a dromos, or Department of Computer Science, “Special Topics passageway, leading into a in Computer Science: Modeling the Past—Tech- reconstruction of a tomb nologies and Excavations in Polis, Cyprus.” Their cut into the earth. Cypriot paper reporting on the results of the seminar won and Greek sculptures once the Best Project Paper award at the EuroMed 2012 placed in such a passage- International Conference on Cultural Heritage and way were positioned on was published in the conference proceedings. A stepped platforms along longer version of the paper, “Modeling the Past for The final gallery of the exhibition the edges and at the end Scholars and the Public,” appeared in the Interna- of a path leading to an tional Journal of Heritage in the Digital Era (2013). 30 fall   1 3 The students were asked to Chicago. The multipart session, create models demonstrating “City of Gold: Archaeological both what we think we know Excavations at Polis Chryso- and where questions remain chous,” was organized by Smith, about the buildings. For exam- who explored the earliest form ple, in modeling the Classical of the city of Marion. Papalex- period temple of 5th- and androu discussed the form and 4th-century b.c.e. Marion, interconnections of the Archaic the students developed four period palace; Weir presented a options, because the roofing new interpretation of the Clas- structure is uncertain. During sical period sanctuary; and a visit by expedition member Serwint reviewed the terra- Weir to the seminar in March cotta sculpture. Other speakers 2012, she advised the class included Alain Plattner, a about this building, which postdoctoral fellow in the is the subject of her disserta- Department of Geosciences tion research. As a result of the who is working with Smith and students’ modeling work, Weir Professors Adam Maloof and altered her ideas about the Frederik Simons on a geophysi- form of the roof. cal survey of Polis. The 3-D scans of objects In summer 2012, Mary from the excavations, Thierry ’12 assessed much of reported in last year’s newslet- the ancient glass from Polis, and ter, augmented the building Ritual killing of an Archaic period Childs organized more than 100 models by adding details of female statuette samples from limestone and their architectural sculpture. terracotta objects, architectural In addition, animated scans of objects found in stones and mortars, and metallurgical waste, which Four roofing options for a Classical and around the buildings helped the film convey were then sent to Princeton for study. period temple at Polis ideas about how people used them in the past. In 2012–13, Professor Nathan Arrington For example, a female statuette once dedicated received permission from the American School of in the Archaic sanctuary of 6th-century b.c.e. Classical Studies at Athens and the Greek Ministry Marion was ritually killed by the twisting and of Culture to conduct a five-year survey and excava- pulling out of its head before it was buried. The tion of a city on the north coast of Greece currently film also showed how a male statue nearly three identified (tentatively) as ancient Stryme. Financial meters in height fell when the Classical temple was support is being provided by the Department of Art destroyed. Additional 3-D object scans enhanced and Archaeology, the David A. Gardner ’69 Magic displays in the exhibition, including fragments of a Project, and the 250th Anniversary Fund for Inno- meter-wide Ionic column capital from a porticoed vation in Undergraduate Education. building of Hellenistic period Arsinoe that were The project is a cooperation (synergasia) displayed in a custom-milled mount modeled on between Princeton University and the 19th Hellenistic Ionic column capital an ideal form generated from the scans. Ephoreia in Komotini. In addition, Professor from Polis in a milled mount In a fall 2012 Barrett Family Freshman Semi- Thomas Tartaron of the University of Pennsylva- nar, funded by Milton A. Barrett Jr. ’56 and taught nia will coordinate the surface survey, and senior by Smith, “City of Gold: Archaeology and Exhibi- staff from Thessaloniki, Athens, and Xanthi will tion,” students had the opportunity to meet with study the site’s shells, geomorphology, and ceram- the curators, designer, registrar, preparators, and ics. Princeton undergraduates, mount makers during the installation of the show together with graduates and postdocs and use the exhibition as a laboratory for discuss- from Princeton and other universi- ing the relationship between art and context in ties, will work to uncover the port public displays. For their group project, they city that seems to have been founded created a plan for an exhibition about the legacy by Thasos in the 7th century b.c.e., of archaeologist Howard Crosby Butler, Class of formed a vital link in an Aegean trad- 1892. The plan featured his survey work at Seeia in ing network, and was destroyed in Syria, his later excavations at Sardis in Turkey, and the second half of the 4th century the discoveries at Antioch-on-the-Orontes—an b.c.e., perhaps by Phillip II of Mace- excavation seen as a continuation of Butler’s work don. Geophysical survey, coring, and in Syria after his untimely death in 1922. SONAR investigation are already Nassos Papalexandrou, Serwint, Smith, and providing new information about the Weir were among those who spoke on the topic extent, form, and function of the city. Ground-penetrating radar survey of the city of Marion at the 2012 annual meeting Daily updates on the dig can be found on Twitter of the site in northern Greece of the American Schools of Oriental Research in @PrincetonDigs. fall   1 3 31 Department Lecture Series, continued from page 21 Lectures, Conferences, Workshops Continued from page 21

Tuesday, February 12 Peter Sturman University of California–Santa their research on a topic that is currently emerg- the work of that project, as well as to provide a vari- Barbara ing as a significant area of investigation in medieval ety of perspectives on the medieval Chinese practice Family Matters—The Strange Case art. Art historians had in the past viewed maps of inscribing sūtras on stone. Lothar Ledderose, of the ‘Poetic Ideas’ Scroll Attrib- and diagrams as being of primarily scientific and director of the Heidelberg group, presented his uted to Mi Youren and Sima Huai technical importance, but ongoing research is group’s findings, while John Strong provided Cosponsored by the Tang Center demonstrating that they are in fact key art-histor- commentary on Indian Buddhism, Robert E. for East Asian Art ical documents that reveal much about medieval Harrist, Jr. *89 on Chinese art, and D. Max Moer- Tuesday, March 5 conceptions of space, visualization, ethnicity, reli- man on Japanese Buddhism. More than 100 people David Joselit Yale University gious and social beliefs, and cosmology. The attended the symposium. How to Occupy an Image drawings, legends, deliberate distortions of scale, Cosponsored by the Institute for and other artistic stratagems that often brought Advanced Study maps to life make them more communicative Monday, March 11 documents than simply topographical records. Sybille Ebert-Schifferer Moving into a new area for the Index, this Bibliotheca Hertziana conference included contributions from two Caravaggio: A Case Study in Art contemporary artists whose work has been inspired Historical Methodology by medieval cartography: Joyce Kozloff, the well- Tuesday, March 26 Anthony Vidler known New York–based artist who has long used Cooper Union mapping as a structure for her passions of history, Reframing Enlightenment: Nature geography, popular arts, and culture; and Gulam and Architecture from Ledoux to Mohammed Sheikh, a major figure in the world of Co-organizer Trudy Jacoby (center) with some of the speakers at “The Digital World of Art History 2013” Latour Indian art for more than four decades whose recent Cosponsored by the Program in conference (left to right): Joaneath Spicer, Diane work has been inspired by the 13th-century Ebstorf European Cultural Studies and the Zorich, Catherine Larkin, Richard Knipel, Barbara Mappamundi. Both artists engaged in fascinating School of Architecture Rockenbach, Jessica Savage, Virginia (Macie) Hall, public conversations about their work with promi- Monday, April 9 Genevra Kornbluth Olivier Lugon nent art critic, writer, and educator Irving Sandler, Université de Lausanne connecting the medieval world with contemporary The Digital World of Art History The Ubiquitous Exhibition: Maga- artistic practice. 2013: From Theory to Practice zines, Museums, and the Reproduc- ible Exhibition after World War II Enduring Dharma June 26, 2013 Cosponsored by the Institute for April 20, 2013 This one-day conference, co-organized by Colum Advanced Study Hourihane, director of the Index of Christian Art, Monday, April 15 Organized by the Buddhist Studies Workshop and Trudy Jacoby, director of the Visual Resources The Robert J. H. Janson-La Palme and cosponsored by the Tang Center, this sympo- Collection, followed the successful conference “The *60 Lecture sium focused on the inscription of Buddhist Digital World of Art History” held at Princeton in Martin Kemp scriptures on stone. At least as early as the 6th Trinity College, Oxford, Emeritus summer 2012. This year’s program covered a variety century, some Buddhists in north China began It doesn’t look like Leonardo: of aspects of digital art history, ranging from user to prepare for what they believed would be the Science, Connoisseurship, and surveys to the world of Wikipedia. The speakers Circumstance in the Attribution of apocalyptic end of the Buddhist law (Dharma) examined some high-level current methodologies Works of Art by carving the Buddhist canon into stone. In the and theory, as well as highlighting specific case stud- most massive project, completed around the 12th ies. While the emphasis at last year’s event was on century at Yunju Si (Cloud Dwell- preservation and best practice policies, this year the ing Monastery) in Fangshan district, focus was on the image and its changing role in the near Beijing, texts carved on stone field. If any theme was brought to the fore at this slabs were set into the walls of a cave year’s conference, it was the policy of open access or buried underground or in vaults. images for academic publishing. This highlighted Similar projects throughout China yet again the independent nature of digitization combined words and images, arrang- in the field of art history and the need for greater ing sūtras amid statues of Buddhas communication. Even though standards and best and natural cliff faces to form multi- practice policies are available, it is also clear that media ritual environments. much replication is taking place. The organizers Since 2005, a multidisciplinary are grateful to all the speakers for the intellectually team sponsored by the Heidelberg stimulating day and for agreeing to allow online Academy of Sciences and Humanities Buddhist scriptures inscribed on publication of their research. The papers from both has been researching Buddhist stone inscriptions cave walls at the Cloud Dwelling the 2012 and 2103 conferences can be found at ica. Monastery near Beijing in China. This symposium was designed to present princeton.edu/digitalbooks.php. 32 fall   1 3 News from Alumni

Undergraduate Alumni Rowena Houghton Dasch ’97 completed her dissertation, “‘Now Exhibiting’: Charles Bird Joel Babb ’69’s paintings are the subject of a King’s Picture Gallery, Fashioning American Taste new book, Nature & Culture: The Art of Joel Babb and Nation, 1824–1861,” at the University of (University Press of New England, 2012), the first Texas–Austin in December 2012. King’s Washing- overview of his work. The volume, authored by ton gallery featured his paintings across a variety Carl Little, features a full complement of Joel’s of genres as well as more than 100 copies of Euro- Joel Babb ’69, Nature & Culture: The Art of Joel Babb major paintings of Boston, Maine, Rome, and pean paintings. Rowena’s research revealed how the elsewhere, created over the course of his career. resulting display and reactions to it challenge the His work ranges from street views and large-scale prevailing narrative of 19th-century American art cityscapes to woodland scenes and depictions of the history that privileges American exceptionalism. dramatic Maine coast, often drawing on a range of [[email protected]] past masters, from Canaletto to Corot. The book Richard Dupont ’91 had two solo shows in New also features some of Joel’s major commissions, York in May–June 2013: Going Around by Passing including his depiction of the world’s first successful Through, at the Carolina Nitsch Project Room, and kidney transplant, at the Harvard Medical School. Shadow Work, at Tracy Williams Ltd. Both shows [[email protected]] consisted entirely of new works in various media, Hovey Brock ’80 had a solo exhibition of paint- including altered vacuum-formed rubber and ings and works on paper at Studio 7D in Chelsea, vinyl topographical relief maps, sculptural enlarge- Hovey Brock ’80, Annie Laurie, 2013, Manhattan, in January 2013. He will have a show ments of small handmade burlap paintings, and acrylic on panel, 22 × 30 inches of paintings at Pocket Utopia, on the Lower East poured and peeled silicone rubber reliefs. The sili- Side of Manhattan, in January 2014. Hovey’s works cone reliefs were made by brushing on paper are also represented by Muriel Guepin in rubber over a positive form based Manhattan, and by Pierogi 2000 and Kentler Inter- on a scan of Richard’s head, peel- national in Brooklyn. To see an overview of his ing it away, assembling the reliefs earlier work, visit his website, hoveybrock.com/ on wood panels, and then brushing home.html. [[email protected]] and pouring on additional silicone. Lex Brown ’12 attended the Skowhegan School One of Richard’s large sculptures of Painting and Sculpture after graduation, where will be included in Out of Hand: she was the youngest resident in the nine-week Materializing the Postdigital, a major program. She then moved to Los Angeles, where exhibition at the Museum of Arts she worked in the studio and on her apparel and and Design (MAD) in New York accessory brand, Baloney. She also held internships that will explore the many areas of Lex Brown, ’12, video still from untitled work in progress at the Museum of Contemporary Art (MOCA) 21st-century creativity made possible by advanced and at the up-and-coming Night Gallery, and she methods of computer-assisted production known as has written for KCET Artbound. This summer, Lex digital fabrication. The show will run from Octo- was the coordinator of the children’s workshop at ber 15, 2013, through July 6, 2014. For more about Thomas Hirschhorn’s Gramsci Monument at Forest Richard’s work and upcoming exhibitions, visit his Houses in the Bronx. Funded by Dia Art Founda- website, www.richarddupont.com. [info@ tion, the 11-week project featured Hirschhorn and richarddupont.com] his crew living on-site and facilitating daily and Tracy Ehrlich ’87 published the essay “City and weekly activities that included philosophy seminars, Country: A System of Properties,” in Display of Art a radio show, and lectures by renowned poets and in Roman Palaces, edited by Gail Feigenbaum *84 philosophers. Lex ran the art workshop and created (Getty Research Institute, 2013). She also cochaired the programming for children from ages 7 to 14. the session “Perception and Experience in the Ital- In October, she will exhibit her video and sculpture ian Garden, 1500–1750” at the annual conference in Washington, alongside photographer Gusmano of the Society of Architectural Historians in April. Cesaretti. The show is the second component of [[email protected]] Extended Play, a series of temporary exhibitions Christopher Green ’12 spent the year after grad- curated by Dana Eitches ’10. [[email protected]] uation working at Christie’s Auction House in Jamie V. Crapanzano ’00 lives in Manhattan, New York, concentrating on contemporary digi- Richard Dupont ’91, Going Around where she works as a portfolio manager at Guggen- tal art and writing. He recently wrote the catalogue by Passing Through, 2013, pig- heim Partners. On March 28, 2013, Jamie and her essay for the exhibition Augustus Francis: Natural mented silicone, 50 × 24 × 15 partner, Amy Rose ’00, welcomed the birth of their Abstraction, which opened in June at the Fonda- inches son, Alex. [[email protected]] tion Fernet Branca in Saint-Louis, France. The first fall   1 3 33 solo museum exhibition devoted to this artist, it sexuality studies, a topic she first explored in her Augustus Francis investigated his work as the expression of the legacy senior thesis on George Bellows and the question of of abstract painting. Francis, who is the son of “gay art.” Last year, she worked with the Youth Art Abstract Expressionist painter Sam Francis, rejects Board at the Hyde Park Art Center, creating a mural the notion that abstraction is dead, and his work is at a local high school, and then on administrative dedicated to the continued exploration of abstract and curatorial projects at the Terra Foundation for painting. This fall, Chris returns to the study of American Art. [[email protected]] modern and contemporary art as a graduate student Eik Kahng ’85 is assistant director and chief curator at the Graduate Center of the City University of at the Santa Barbara Museum of Art, where Dela- Natural Abstraction New York. [[email protected]] croix and the Matter of Finish, the exhibition she Kaitlyn Hay ’10 teaches first grade at the National curated, will be on view from October 27, 2013, Christopher Green ’12, Augustus Cathedral elementary school in Washington and through January 26, 2014. The show will feature Francis: Natural Abstraction thoroughly enjoys incorporating art, history, and approximately 35 paintings that reveal the surpris- architecture into her lessons. When not at school, ing variety of painterly finishes in the practice of Kaitlyn works on her own art and plans to show Delacroix, whose groundbreaking Romanticism is it at galleries in the Washington area. Her current normally associated with a jewel-like palette and series of mixed media collage on masonite board loose, sketchy brushwork. This will be the first incorporates themes such as the British royal family, presentation to dramatize the clear distinction mortality, and motifs of Renaissance portraiture and between Delacroix’s hand and that of his best- Dutch still lives. [[email protected]] known students, reopening questions of authenticity Frederick Ilchman ’90 cocurated the Ringling that have dogged some works of art, sometimes Museum’s major exhibition Paolo Veronese: A Master unjustifiably. Eik also edited and contributed to and His Workshop in Renaissance Venice (Decem- the accompanying catalogue, distributed by Yale ber 2012–April 2013), working alongside Virginia University Press. A symposium and scholars’ day Brilliant, the Ringling’s Searing Curator. The first in conjunction with the show will take place on proper survey of the Venetian painter in North November 3 and 4, 2013. [[email protected]] America since 1988, it brought together 30 paint- Donella Lay ’78 has been committed to the field of ings and 20 drawings by Veronese and his assistants sculpture ever since she took classes with Professor and followers from museums and private collec- Joe Brown and then worked as his assistant. After tions in the United States and setting up her first sculpting studio Canada, supplemented by repro- in the early 1990s, she has contin- ductive prints after Veronese and ued to sculpt, teach, enter shows, rare books and luxury Renaissance and win awards. Donella has textiles. The catalogue, coedited taught art and sculpture in muse- by Frederick, included contri- ums, middle schools, high schools, Kaitlyn Hay ’10, Madonna, 2013, butions by him and a variety of and adult art education facilities, mixed media collage on masonite specialists on Renaissance art, and her work has been exhibited board, 20 × 14 inches including Blake de Maria *03. At in a number of galleries, as well as the exhibition’s symposium, Fred- shown at the Pen and Brush Exhi- erick’s paper “Veronese’s Religious bition and the Catherine Lorillard Narrative Painting” accompanied Wolfe Art Club in New York and presentations by Tracy Cooper at the Sculpture in the Park show *90, C. D. Dickerson ’98, and in Colorado. One of her designs is Susannah Rutherglen *12. Now the International Award of Excel- the Mrs. Russell W. Baker Cura- lence in Conservation medallion tor at the Museum of Fine Arts, Donella Lay ’78, Kim, 2013, work awarded annually by the Botan- Boston, Frederick is working on in progress, plastilina clay ical Research Institute of Texas. the largest exhibition of Francisco Donella continues to support the Goya in North America in 25 arts, including children’s art orga- years. The nonchronological approach will combine nizations and museums in her hometown of Fort Goya’s paintings, prints, and drawings in thematic Worth, Texas, at Brookgreen Gardens in South groupings. The exhibition opens in Boston in Carolina, and through the National Sculpture Soci- October 2014. Frederick also supervised the MFA ety (NSS). She was recently elected to the board internship of Omer Ziyal ’08, now a Harvard of directors of the NSS, and she looks forward to Ph.D. student. [[email protected]] serving the sculpture community in her new role. [[email protected]] Paolo Veronese: A Master and His Lexi Johnson ’12 begins the Ph.D. program in Workshop in Renaissance Venice, American art at Stanford this fall, and will work Elliot Lopez-Finn ’12 is currently researching Clas- catalogue of the exhibition co- primarily with Richard Meyer and Alexander sic Maya ceramic styles as a graduate student at the curated by Frederick Ilchman ’90 Nemerov. She plans to focus on the intersection University of Texas–Austin. In summer 2013, she of 20th-century American art and gender and traveled to Antigua, Guatemala, to assist in ceramic 34 fall   1 3 analysis at the archaeological site of El Zotz. After offices in North and South America, and other activ- collecting data for her master’s thesis, she will focus ities. Prior to joining Christie’s in 1998, he was with on linking the distinctive style of elite ceramics at El the Solomon R. Guggenheim Museum and also Zotz with its historical context. Her other research worked in management consulting. George regularly interests include epigraphy and the blending of text speaks around the country on topics related to the and image in Maya calligraphy, as well as how other art and auction business, restitution, decorative art, cultures negotiate issues of presenting language in a and the history of architecture. He has also served as visual form. During the 2013–14 academic year, she a charity auctioneer for hundreds of charity events will serve as a research assistant at the UT–Austin’s throughout the United States, and his auctioneering Mesoamerican Center. [[email protected]] skills have led to television appearances, including on David Maisel ’84 had a solo show, Black Maps: the television series Law & Order: Criminal Intent. American Landscape and the Apocalyptic Sublime, [[email protected]] at the University of Colorado at Boulder Art Sarah Hermanson Meister ’94 has been curator Museum in February–May 2013. The exhibi- in the Department of Photography at the Museum Delacroix and the Matter of Fin- tion surveyed four chapters of his ongoing series of Modern Art (MoMA) since 2009. Her recent ish, catalogue of the exhibition of large-scale aerial landscape photographs of exhibition, Bill Brandt: Shadow and Light, was curated by Eik Kahng ’85 areas of the American West that have been trans- on view at the museum in March–August 2013. formed by the physical and environmental effects The first show to emphasize the beauty of Brandt’s of industrial-scale water diversion projects, open-pit finest prints and trace the arc of their evolution, mineral extraction, and urban sprawl. His work was it included both his iconic pictures of wartime included in Landmark: The Fields of Photography at London and the series of nudes, developed primar- Somerset House in London in March–April 2013, ily between 1945 and 1961, which are his crowning a groundbreaking exhibition featuring the work of artistic achievement. Another exhibition Sarah more than 70 highly regarded photographers from organized, Picturing New York: Photographs from black maps AmericA n lA ndscA pe and the A pocA lyptic sublime North and South America, Africa, Europe, and The Museum of Modern Art, was shown at the Art d A vid mA isel Asia. David also published Black Maps: American Gallery of Western Australia, Perth, in January– Landscape and the Apocalyptic Sublime (Steidl, 2013; May 2013. She also contributed an essay to the www.steidlville.com), the first in-depth survey 75th anniversary edition of Walker Evans: American of his major aerial projects, whose images of radi- Photographs (Museum of Modern Art, 2013) and cally altered terrain have transformed the practice of prepared an installation of Evans’s work that opened contemporary landscape photography. The volume at MoMA in July. Her article on Eugène Atget’s features more than 100 photographs that span his 1912 photograph Pendant l’Eclipse appeared in career, presenting a hallucinatory worldview that Osmos, as the cover story of the magazine’s premier

A encompasses stark documentary and tragic meta- issue. [[email protected]] David Maisel ’84, Black Maps: phor, exploring the relationship between nature and Brody Neuenschwander ’81 created the video American Landscape and the contemporary humanity. [[email protected]] installation A chair, an empty room for the Gruuthuse Apocalyptic Sublime George McNeely ’83 has been named vice pres- Museum in Bruges, Belgium, in connection with the ident for strategic and international affairs at the museum’s major exhibition Love and Devotion: The World Monuments Fund (WMF), a New York– Gruuthuse Manuscript, which focused on a Bruges based nonprofit organization dedicated to preserving manuscript from about 1400. Brody’s installa- and protecting endangered ancient and historic sites tion, conceived to show how a medieval manuscript around the world. After graduating from Princeton, can still inspire modern artists, was a video diptych George earned an M.B.A. from the Columbia featuring his libretto, which combined medieval University Graduate School of Business. Until texts with his own thoughts on the emptiness of the recently, he was a senior vice president in the chair- heavens in a secular age. The text was set to music man’s office at Christie’s, responsible for getting by composer Jeroen D’hoe and sung by the well- top-level business, overseeing Christie’s regional known soprano Annelies Van Gramberen, who was

Bill Brandt: Shadow and Light, cata- logue of the exhibition curated by Sarah Hermanson Meister ’94 Brody Neuenschwander ’81, video still from the installation A chair, an empty room fall   1 3 35 fi lmed dressed both in everyday modern attire and the inconsequential, both the literally small (ants, as the Madonna. Th e videos were combined with sewing needles, breadcrumbs, blackheads, etc.) and calligraphy fi lmed and written directly onto the the metaphorically small (the trivial, the weak, the computer screen, along with scenes fi lmed in Brody’s superfi cial, the anachronistic). He demonstrates house, which is the oldest in Bruges and contains that Dalí’s style, long derided as antimodernist and 14th-century wall paintings that were also the kitsch, was itself a strategy of the small aimed at subject of one room in the exhibition. [brody.n@ subverting the dominant values of modern painting. skynet.be] Dalí was also a prolifi c and complex writer, and this Robert M. Peck ’74, curator of art and artifacts new study draws on his public pronouncements and and senior fellow of the Academy of Natural private correspondence to elucidate his deliberate Sciences, continued his research on a wide range subversion of modernist orthodoxies. Roger is asso- of topics, with a particular focus on natural history ciate professor of art history at Bucknell University. and exploration. His 2012 publications included A [[email protected]] Robert M. Peck ’74 and Patricia Glorious Enterprise: Th e Academy of Natural Sciences Allan W. Shearer ’88, who teaches at the University Stroud, A Glorious Enterprise: The of Philadelphia and the Making of American Science of Texas–Austin, was listed as one of the “30 Most Academy of Natural Sciences of (University of Pennsylvania Press, 2012), coau- Admired Educators 2013” by Design Intelligence, Philadelphia and the Making of thored with Patricia Stroud, a 200-year history of which ranks design programs. He was cited for American Science America’s oldest natural history museum; two essays bringing a rare combination of interests to the design on the natural history paintings of the 19th-century professions, along with an intellectual depth that is British artist Edward Lear (in the Harvard Library leading the discipline of landscape architecture into Bulletin and the Australian Museum’s journal new territory in environmental security. Th e citation Explore); and an essay on 19th-century British also singled out his writing and teaching, which has artists who painted in the Arctic (in the Jour- brought the professions together, with conversations nal for Maritime Research). In September 2012, he between military theorists and planners, geogra- presented papers on Edward Lear at Jesus College, phers, and designers to deal with environmental Oxford, and at the Linnean Society in London, changes. [[email protected]] and in January and February 2013 he was a visiting Mark Sheinkman ’85’s work was included in the scholar at the American Academy in Rome, where exhibition Approaching Infi nity: Th e Richard N. he was able to witness fi rsthand the fi rst resignation Green Collection of Contemporary Abstraction, shown of a pope in 600 years. [[email protected]] at the Crocker Museum in Sacramento in January– Lisa Podos ’86 was appointed director of strategic May 2013, and in Black Abstraction at Gallery Joe projects for the Fine Arts Museums of San Fran- in Philadelphia in May–June. During the past year, cisco. As head of the newly formed Department his art was also included in exhibitions in Berlin of Strategic Projects, she serves as a member of the and Bonn, Germany; Philadelphia; and New York. senior management team and is responsible for Mark’s work is in the collections of the Museum special initiatives to further the perception and reach of Modern Art in New York, the National Gallery of the museums. Lisa was previously the founding in Washington, the Metropolitan Museum of Art, Roger Rothman ’89, Tiny Sur- director of public programs at the Bard Gradu- and 20 other museums in Europe and the United realism: Salvador Dalí and the Aesthetics of the Small ate Center in New York, and has also worked at States. For more information about his current and the Cooper-Hewitt National Design Museum, the upcoming exhibitions, visit www.marksheinkman. Metropolitan Museum of Art, and, most recently, com. [[email protected]] the San Francisco Fall Antiques Show, where she was Jeremy Spiegel ’92, M.D., is a psychiatrist and executive director. She currently sits on the board of medical director of Casco Bay Medical, with offi ces directors of the California Alliance for Arts Educa- in the greater Boston area; Portland, Maine; and at tion and ArtTable. [[email protected]] the DiMele Center for Psychotherapy in New York Roger Rothman ’89 published Tiny Surrealism: City (www.cascobaymedical.com). Jeremy’s recent Salvador Dalí and the Aesthetics of book Art Healing: Visual Art for the Smallart as temple, (University playground, and therapist’s of Nebraska couch arthealing Emotional Insight and Well-Being Press, 2012), which deals with VISUAL ART FOR EMOTIONAL INSIGHT (Seishin Books, 2011) explores AND WELL-BEING

one of the most popular artists ART HEALING how and why painting and of the 20th century, who has sculpture can provide catharsis, paradoxically been regarded as unlocking thoughts and feelings peripheral to the dominant prac- and leading to personal transfor- tices of modernism. Roger’s mation and a more productive book argues that this marginal Jeremy Spiegel, MD life. Th e book was the winner in FOREWORD BY PATRICK RYOICHI NAGATANI

精神SEISHIN positionBOOKS was in fact a coher- the general art category of the SEISHIN 精神せ Mark Sheinkman ’85, Barclay, ArtHealingCoverFinal.inddent response 1 BOOKS to modernism, and Jeremy Spiegel ’92, Art Healing: 5/25/11 9:16 AM 2011 USA Best Books Awards, 2012, oil, alkyd, and graphite on that Dalí’s practice was organized Visual Art for Emotional Insight and sponsored by USA Book News. paper, 16 × 13 inches around the logic of the small and Well-Being Jeremy recently appeared in

36 fall     multiple episodes of the National Geographic Chan- 1950–2012,” in the Department of History at nel’s Taboo, and he is a regular co-host of the radio the University of California–Berkeley in Decem- program The Positive Mind with Armand DiMele on ber 2012. He currently lives in Paris, where he is WBAI, 99.5 FM, discussing a wide range of topics, writing a book based on his dissertation, playing including obsessive-compulsive disorder, mid-life jazz guitar, and running an art and interior design transitions, viewing art as therapy, and body- company, VISTO Images (www.vistoimages.com). dysmorphic disorder. He is also a regular speaker at His firm specializes in the curating of art collections the Creativity and Madness Conference in Santa Fe, for hotels, offices, and private residences. New Mexico, and recently led a two-part webinar [[email protected]] workshop on art healing for the American Medical David Van Zanten ’65, the Mary Jane Crowe Student Association’s Humanities Scholars program. Professor in Art and Art History at Northwest- [[email protected]] ern University, curated the exhibition Drawing the Cynthia Stamy ’85 earned M.Phil. and D.Phil. Future: Chicago Architecture on the International degrees at Oxford after graduating from Princeton Stage, 1900–1925, at Northwestern Universi- and then published Marianne Moore and China: ty’s Block Museum of Art in April–August 2013. Orientalism and A Writing of America (Oxford The show focused on key architectural competi- University Press). Her book brought together her tions and exhibitions in the United States, Australia, Cynthia Stamy ’85, Marianne study of Chinese art at Princeton and her graduate and Europe in the pre– and post–World War I era, Moore and China: Orientalism and work in English and American modernist litera- highlighting the extensive international connec- A Writing of America ture, examining Marianne Moore’s poetry as a basis tions between architects and city planners during for analyzing the tradition of American oriental- that period. The 50 objects displayed—includ- ism, which focused on China. Cynthia’s research ing drawings, large-scale architectural renderings, revealed how Moore used the Far East to express plans, sketches, and rare books—traced the dynamic her own dissatisfaction with contemporary trends conversations between Chicago-based and progres- in the writing of poetry, and how she employed sive European architects about the building of the features of the ancient Chinese fu technique, as modern city. The international optimism about well as Chinese painting theory, philosophy, and creating a city of the future was exemplified by the linguistic techniques. Cynthia lives in London, 1913 competition for a plan for the new city of where she works as a specialist reader for The Liter- Canberra, Australia, which was won by the Ameri- ary Consultancy. Her articles and reviews have can architect Walter Burley Griffin. The exhibition appeared in the web journal The Global Dispatches: highlighted these dialogues and collaborations, trac- Expert Commentary and Analysis. ing the flow of ideas and their written record though Adam Tanaka ’11 spent a year in Japan, teach- drawings and city plans. David also contributed to ing preschoolers through the Princeton in Asia the accompanying full-color catalogue, published by program. He is now a second-year student in the Northwestern University Press, which offers analy- Ph.D. program in architecture and urban planning sis of the designing of city environments in the early at Harvard’s Graduate School of Design, where he 20th century. [[email protected]] is enjoying being part of an extraordinarily diverse Drawing the Future: Chicago Archi- tecture on the International Stage, group of students—planners, architects, urban Graduate Alumni 1900–1925, catalogue of the designers, landscape architects, real estate developers, Gerald Ackerman *64 was awarded two honors exhibition curated by David Van and others. He intends to concentrate on the politics Zanten ’65 of post-1970s urban development and the “globaliza- this year: Officier de l’Ordre des Arts et des tion of urbanization.” [[email protected]] Lettres, awarded by France’s Ministry of Culture and Communication, and the inaugural Trail- Miya Tokumitsu ’03 earned her Ph.D. in art history blazer Award from Fine Art Connoisseur Magazine from the University of Pennsylvania in 2012. Her in recognition of “outstanding contributions to the dissertation, on the German Baroque sculptor Leon- study and understanding of historical and contem- hard Kern (1588–1662), was supervised by Larry porary realist art worldwide.” His edition of the Silver and Michael Cole *99. Her research was Charles Bargue Drawing Course, first printed in supported by a grant from the Fulbright Commis- 2003, now has more than 10,000 copies in print. sion, which sponsored a year in residence at the Long retired from teaching at Pomona College, University of Heidelberg, where she worked closely Jerry is now writing a book of essays on academic with Dagmar Eichberger. She also received a predoc- painting, painters, and theory, and their useful- toral fellowship from the Center for Advanced Study ness to contemporary realist painters. [gma04747@ in the Visual Arts. Miya and her husband, Seth pomona.edu] Dunipace ’03, welcomed their first child, Harald, last Linda (Klinger) Aleci May. [[email protected]] *91 received the 2013 National Planning Excellence Award for Urban The Central Market in Lancaster, Alex Toledano ’04 completed his Ph.D. disser- Design from the American Planning Association Pennsylvania, the subject of the award-winning report by Linda tation, “Sharing Paris: The Use and Ownership (APA) for her work on a historic structure report Aleci *91 of a Neighborhood, Its Streets, and Public Space, and planning guide for the Lancaster Central fall   1 3 37 Market. Her comprehensive study of the Lancaster, of the Middle Ages (Oxford University Press, 2010); Пространственные иКоны Pennsylvania, market and its site, which have func- Egypt: Middle East in Focus, edited by Mona Russell tioned as a municipal market continuously since (ABC-Clio, 2013); and in the journal Byzanti-

П р Эта книга, о в i 1730, is the fi rst such report on a historic operat- noslavica. Her entries on architecture and art are с n являющаяся продолжением и развити- i т в ем научной программы иеротопических n р в B исследований, состоит из 24 статей в y B а и ведущих отечественных и зарубежных н и z ing market and urban working district. Th e APA forthcoming in Th e Cambridge World History of Reli- y з ученых из Европы, США и Японии. Она с з z а a посвящена «пространственным ико- т а Посвящается 20-летию a н n нам» — иконическим образам, возника- в n т н t ющим в пространстве помимо плоских Научного Центра t е и т i изображений. Этоaward, и организация «са - its fi rst ever for urban design, recognizes gious Architecture and the Encyclopedia of the Bible восточнохристианской культуры i н и u н и u крального ланд шафта», и исследование m m ы и и важнейших обрядов, создающих икони- На лицевой стороне обложки: е ческую среду, равно как тема икон и ре- a a Пространственная икона собора Д n the study for integrating architectural preservation, and Its Reception и ликвий, взаимодействующих в едином (De Gruyter). With Maria Cristina n и р d Сан Марко в Венеции. d пространственном образе, а также XI–XIII века К е о в Д m феномен интерактивности, предпо- m лающей участие зрителя в создании e н н р e е и восприятии зримогоurban образа. Сбор development- history, and cultural conserva- Carile of the University of Bologna, Patricia Blessing На обороте: d ы е d Вращающийся диск – i й i ник впервые в мировой науке посвящен e в проблеме перформативного в восточ- символ Логоса. р e v s н v нохристианской культуре, поскольку Церковь Св. Апостолов, a P у tion as a framework for planning and development с принципиальная подвижность посто- *12, and Katherine Marsengill *10, Jelena co-orga- Печка Патриаршия. XIII век l a е a и янно меняющегося образа составляет t й l R i главную особенность пространствен- u a R ных икон, игравших огромную роль как s l р u в Византии и Древнейdecisions Руси, так и во for the site. Ann C. Bagley, FAICP, the nized the panel “Perceptions of the Body and Sacred s у s всех «иконических» традициях внутри i i a s и за пределами христианского мира C с i O и a 2013 APA awards jury chair, commended the study Space in the Medieval Mediterranean” at the 2012 n s as exemplary, writing that “because of the study Byzantine Studies Conference. [[email protected]] sPatial iCOns and resulting guidebook, advance architectural and Virginia Bower *77 (M.A.) lectured on “Trade and preservation planning may soon become a univer- Treasure: Th e Silk Road on Land and Sea” at the sal planning and development principle.” Linda Jelena Bogdanović *08 et al., Museum of Anthropology at Wake Forest Univer- teaches in the Department of Art and Art History Spatial Icons: Performativity in sity in February 2013, as part of the celebration of at Franklin & Marshall College and is an affi li- Byzantium and Medieval Russia a donation of Chinese ceramics to the museum. ated scholar with the Local Economy Center of [[email protected]] the Floyd Institute of Public Policy at Franklin & Marshall. [[email protected]] Jonathan Brown *64 published Murillo: Virtuoso Draftsman (Yale University Press, 2012), a thor- Patricia Blessing *12 was appointed executive oughly revised edition of his 1976 book Murillo offi cer for international visitors programs at the & His Drawings, with additions to the catalogue Stanford Humanities Center and lecturer in art and of authentic works, up-to-date bibliography, and art history at Stanford University. Earlier this year, revised entries. Th e volume demonstrates that she also joined the editorial team of the Interna- Murillo, though known primarily as a great painter, tional Journal of Islamic Architecture. She is currently was also one of the best draftsmen of the 17th working on a book titled Rebuilding the Lands of century. Jonathan presented a series of lectures, Rûm: Islamic Architecture in Anatolia after the Mongol “Spanish Painting of the Golden Age: A Personal Conquest, 1240–1330. Her next project will investi- Perspective,” at the Museo Nacional del Prado in gate cultural practices surrounding death and burial May and October 2012. Th e six lectures were part in medieval and early modern Islam, based on a of program at the Catedra del Museo Nacional study of shrines and mausoleums. Patricia’s work has del Prado, which included a seminar for advanced recently appeared in Studies in Travel Writing (Octo- students. With Guillaume Kientz, Jonathan was ber, 2012) and the Encyclopedia of the Bible and Its the cocurator of the exhibition Le Mexique au Reception (De Gruyter). Her article on building Jonathan Brown *64, Murillo: Louvre: Chefs-d’oeuvre de la Nouvelle Espagne, XVIIe Virtuoso Draftsman inscriptions in medieval Anatolia is forthcoming in et XVIIIe siècles, on view at the Musée du Louvre Calligraphy in Islamic Architecture: Space, Form and in March–June 2013. He also contributed to the Function, edited by İrvin Cemil Schick and Moham- accompanying volume, which provides an over- mad Gharipour (Edinburgh University Press). view of the major Latin American works in French Patricia gave talks at the University of California– museums. His foreword appeared in Lisa A. Banner, Berkeley and the University of California–Davis Spanish Drawings in the Princeton University Art this year, and at the 2012 Byzantine Studies Confer- Museum (Yale University Press, 2012). Jonathan is ence she participated with Katherine Marsengill *10, the Carroll and Milton Petrie Professor of Fine Arts Jelena Bogdanović *08, and Maria Cristina Carile at the Institute of Fine Arts, New York University. in a panel sponsored by the International Center for Medieval Art. [[email protected]] Kaira M. Cabañas *07 published Th e Myth of Nouveau Réalisme: Art and the Performative in Post- Jelena Bogdanović *08 joined the Department of war France (Yale University Press, 2013). Her Architecture at Iowa State University in fall 2012 monograph is a critical reassessment of the work of after fi ve years as assistant professor of architec- the “Nouveaux Réalistes,” the important neo-avant- tural history at East Carolina University (ECU). garde movement founded in Paris in 1960. Th eir Her students at ECU were admitted to a number of work incorporated consumer objects and new media competitive graduate programs in art history, and in response to the postwar period’s painterly modes one of them published a paper in the peer-reviewed and its burgeoning consumer and industrial soci- National Conference for Undergraduate Research ety. Kaira lectured at various institutions this year, Proceedings for 2012. Jelena’s recent publications including the Pontifícia Universidade Católica do have appeared in Spatial Icons: Performativity in Rio de Janeiro, the Museu de Arte Contemporâ- Byzantium and Medieval Russia, edited by Alek- Kaira M. Cabañas *07, The Myth nea da Universidade de São Paulo, and the Museo sei Lidov (Indrik, 2011); Djurdjevi Stupovi and of Nouveau Réalisme: Art and the Nacional Centro de Arte Reina Sofía in Madrid. Performative in Postwar France the Eparchy of Budimlja, edited by Branislav Todić She is currently working on a book-length study of (Službeni Glasnik, 2012); Th e Oxford Dictionary 38 fall     the relationship between art and psychiatry and the Family at the Villa Barbaro.” Mary’s article “The reception of the art of the mentally ill in Brazil, for Badoer-Giustinian Portrait Busts: A Visual Ricor- which she was awarded a 2012–13 Getty Scholar danza of a Noble Venetian Family” was published Grant. [[email protected]] in Visual Resources: An International Journal of Docu- James Clifton *87’s most recent publication is the mentation (March 2012). [[email protected]] essay “The Annunciation to the Shepherds in the Marcy B. Freedman *81 (M.A.) focused on video Netherlands around 1600,” in “Wading Lambs and and performance art this year, but also curated exhi- Swimming Elephants”: The Bible for the Laity and bitions and collaborated with other artists. Her Theologians in the Medieval and Early Modern Era, one-on-one, face-to-face interactive performances edited by W. François and A. A. den Hollander included For the Love of Dogs, Circumscribing (Peeters, 2012). Jim is director of the Sarah Camp- Beauty, When Farm Animals Sing, Free Not Free, Let bell Blaffer Foundation and curator of Renaissance Me Feed You, The Letter Project, Where on Earth Are and Baroque painting at the Museum of Fine Arts, You From?, and Junket Is Nice. They were presented Houston. [[email protected]] in coffee shops, on a farm, at a community college, Robert Conway *82 (M.A.), A Robert Conway *82 (M.A.)’s new book A Metic- on Governors Island, and at the Hammond Meticulous Serenity: The Prints ulous Serenity: The Prints of Clinton Adams, Museum. Her video work with Gene Panczenko was featured in the exhibition He Shot, She Shot of Clinton Adams, 1948–1997: A 1948–1997: A Catalogue Raisonné (University of Catalogue Raisonné New Mexico Press, 2012) surveys the work of the at the Ottinger Program Room in Croton-on- artist, scholar, writer, and educator who is recog- Hudson, N.Y. For a gallery in Yonkers, N.Y., Marcy nized as one of the most important influences on curated a video exhibition called Ups and Downs, the development of fine-art printmaking in Amer- and she developed a program of performance art ica. One of the founders of the renowned Tamarind for Saunders Farm in Garrison, N.Y. As a member Institute, which was instrumental in reviving the of the curatorial team for the Peekskill Project V, art of lithography, Adams was a prolific printmaker she helped to select artists for the Hudson Valley who had more than 30 solo exhibitions, and whose Center for Contemporary Art and other venues in work is in the collections of major museums around Peekskill. Her collaborative endeavors included a the country. This catalogue raisonné covers all of performance with dancer Marsi Burns at the Kato- his work and traces the varieties of techniques and nah Museum and a live painting performance with the collaborations that make lithography a partic- the group EYE. Marcy also hosted a film series ularly complex medium to assess. It also includes for the Chappaqua Library. Her website is www. comments from the artist about the genesis of his marcybfreedman.com. [[email protected]] work, the technical challenges he and his print- Meredith J. Gill *92 was promoted to full profes- ers faced, and his own assessments of quality and sor and appointed chair of the Department of Art significance. Bob also published American“ Life: History and Archaeology at the University of Mary- Drawing, Illustration, and Lithography, 1912– land–College Park in 2012. Her forthcoming Philip Pearlstein’s People, Places, 1924,” in George Bellows (National Gallery of Art, book, Angels and the Order of Heaven in Medieval Things, catalogue of the exhibition 2012), the catalogue of an exhibition at the Metro- and Renaissance Italy (Cambridge University Press) cocurated by Jennifer Hardin *00 politan Museum of Art, the National Gallery of received a Lila Acheson Wallace–Reader’s Digest Art, and the Royal Academy of Arts, London. Publication Subsidy at Villa I Tatti. With Karla Poll- [[email protected]] mann, she coedited Augustine Beyond the Book: Mary E. Frank *06 has been busy with all things Intermediality, Transmediality and Reception (Brill, Venetian. With Blake de Maria *03, she coedited 2012), which includes her essay “Reformations: Reflections on Renaissance Venice: A Celebration of The Painted Interiors of Augustine and Jerome.” Patricia Fortini Brown (Five Continents Editions, Another essay, “Forgery, Faith, and Divine Hier- 2013). The book comprises 21 essays drawn from archy after Lorenzo Valla,” appeared in Rethinking the 2010 Renaissance Society of America sessions the High Renaissance: The Culture of the Visual Arts in Brown’s honor, as well as from the Giorgione in Early Sixteenth-Century Rome (Ashgate, 2012), symposium held the same year at Princeton to and “Seeing, Falling, Feeling: The Sense of Angels” honor Brown (see pages 8–9). As vice president is forthcoming in Sensational Religion: Sense and of Save Venice and a member of their projects Contention in Material Practice (Yale University committee, Mary has been actively raising funds Press). Meredith concluded her tenure as fellow of for the ongoing restoration of the church of San the Yale Initiative for the Study of Material and Reli- Sebastiano. In September 2012, she gave a talk in gious Cultures of Religion. Her recent presentations Venice titled “More than a Movie Set: 500 Years of include “Augustine’s Dog,” at the Renaissance Soci- Art and Culture at the Palazzo Barbaro,” in honor ety of America’s annual conference, and “Egidio da of Save Venice’s gala events at the historic pala- Viterbo, His Augustine, and the Reformation of the Arts,” at the conference “Egidio da Viterbo, cardinale zzo. Her work on the family in Renaissance Venice Flyer for The Letter Project, an agostiniano, tra Roma e l’Europa del Rinascimento,” continued with her essay in Reflections on Renais- interactive performance by Marcy sance Venice, “The Power of Portraits: Reuniting the organized by the Centro Culturale Agostiniano. B. Freedman *81 (M.A.) [[email protected]] fall   1 3 39 Victoria Sears Goldman *12 works in New York abandoned them, and this new book traces the as an independent art historian and provenance course of his enormously infl uential but insuffi - researcher. She has conducted both general and ciently understood career and convincingly situates World War II–era provenance research for the his remarkable and idiosyncratic output at the fore- International Foundation for Art Research (IFAR), front of transformative practices in postwar art. the Commission for Art Recovery, and the Data- Kevin is assistant professor in the art history depart- base of Art Objects at the Jeu de Paume. She is the ment at Binghamton University, as is his wife, Julia in-house provenance researcher and art historian Walker. He is currently at work on a new project for Grossman LLP, an art law litigation boutique dealing with cinema and new media art. [khatch@ PHOTOGRAPHIC in Manhattan, conducting research relating to binghamton.edu] Edited by art authentications and other aspects of art cases. THEORY Andrew E. Hershberger Andrew E. Hershberger *01’s new book Photo- An Historical Anthology She also contributes regularly to the fi rm’s art law/ graphic Th eory: An Historical Anthology will be art news blog. In December, Victoria spoke about published by Wiley-Blackwell this fall. A compre- provenance research as it relates to art law at the hensive collection of scholarly writings on Andrew E. Hershberger *01, Art Law Committee Meeting of the New York photography, it includes 86 texts by a wide variety Photographic Theory: An Historical City Bar Association. She recently began a seven- of authors covering the entire history of photogra- Anthology month position as the provenance research assistant phy, from the camera obscura and camera lucida to for the Cleveland Museum of Art, where she is digital imaging. Th e readings, which include criti- researching the ownership histories of paintings in cal texts fi rst published in Alfred Stieglitz’s seminal the museum’s American and European collections. journal Camera Work, capture the frequently Th e results of her research will be made available to dramatic debates about the history, nature, and the public on the museum’s website later this year. status of photography. Other texts examine [[email protected]] interdisciplinary issues, such as photography’s rela- Jennifer Hardin *00 celebrated her 18th year at the tionships to vision, identity, and memory. Andrew Museum of Fine Arts, St. Petersburg, Florida, where is associate professor of contemporary art history she is now the Hazel and William Hough Chief and chair of the art history program at Bowling Curator. Th e collection holds nearly 19,000 objects, Green State University, Ohio. [[email protected]] thanks largely to the donation of approximately R. Ross Holloway *60 was the keynote speaker 14,000 photographs from the Ludmila Dandrew and at a symposium in honor of Sarantis Symeono- Chitranee Drapkin Collection. In June 2012, the glou at Washington University in St. Louis in curatorial department, which Jennifer leads, received January 2013. Last year he published Th e Hand of a $2 million endowment from Mr. and Mrs. William Daedalus: Lectures on Ancient Greek Art and Archi- R. Hough, allowing the museum to engage Kath- tecture (CreateSpace, 2012), and his article “A Little erine Pill, formerly of the Kemper Museum of Art Noticed Synchronism in Livy and the Working in Kansas City, as new assistant curator of art after Methods of the Annalists” appeared in the journal 1950. With guest curator Patterson Sims, Jenni- Klio (2012). [[email protected]] Mark J. Johnson *86, The Byzantine fer co-organized the most comprehensive exhibition Mark J. Johnson Churches of Sardinia ever of the art of Philip Pearlstein, and she also *86 published Th e Byzantine edited the exhibition catalogue. Having completed Churches of Sardinia (Reichert Verlag, 2013), the a new wing in 2008, the museum is now renovat- fi rst comprehensive study of these structures, most ing and reinstalling its original galleries. Jennifer and of which date to the 6th or 7th century. His book her colleagues are collaborating on the project with presents a comprehensive survey of the buildings Jeff Daly, formerly chief of design at the Metropoli- and traces the development of the domed cruci- MATTISON tan Museum of Art. She has also begun work on two form type—the architectural form employed in exhibitions based on major paint- most of the Sardinian churches— ings in the museum’s collection. from the 4th through the 6th [jennifer@fi ne-arts.org] century, noting that it is usually

Franz Kline Coal and Steel employed for funerary churches Kevin Hatch *08 published and martyria. In 2012, Mark Looking for Bruce Conner (MIT presented a paper on that Press, 2012), a revised version subject at a conference held at of his Princeton dissertation and the University of Cagliari, and the fi rst book-length study of another paper, “Th e Mausoleum Conner, whose immense and ALLENTOWN MUSEUM OF ART MUSEUM ALLENTOWN Franz Kline of Bohemund at Canosa and the elusive body of artistic work Architectural Setting of Ruler Coal and Steel refused to be constrained by ROBERT S. MATTISON Tombs in Norman Italy,” at the medium or style. Conner took conference “Romanesque and the up genres—found-footage fi lms, Franz Kline: Coal and Steel, cata- Mediterranean,” sponsored by hallucinatory ink-blot graphics, logue of the exhibition curated by the British Archaeological Asso- Robert S. Mattison *85 enigmatic collages, assemblages Kevin Hatch *08, Looking for Bruce ciation and held in Palermo; the from castoff s—as quickly as he Conner 40 fall     proceedings of that conference will be published. in Brussels. [tine.meganck@fine-arts- Mark is professor of art history at Brigham Young museum.be] University. [[email protected]] Heather Hyde Minor *02’s book The Elizabeth Langridge-Noti *93 is professor at Culture of Architecture in Enlightenment the DEREE, The American College of Greece, Rome (Penn State Press, 2010) won the and assistant director of the Nemea Center for 2013 Honorable Mention for the Alice Classical Archaeology for the University of Cali- Davis Hitchcock Award from the Soci- fornia–Berkeley. In May 2013, she and Mark ety of Architectural Historians. During Stansbury-O’Donnell held the first workshop of the 2013–14 academic year, she will the Pottery Research Network at the University of be a fellow at the National Humani- London, where she was a visiting fellow. She then ties Center in Research Triangle Park, served as Gertrude Smith Professor at the American North Carolina. Heather is associ- Pieter Bruegel the Elder, Fall of the School of Classical Studies at Athens, leading one of ate professor in the School of Architecture at the Rebel Angels (detail), the subject the school’s summer sessions. This fall, she will be a University of Illinois–Urbana-Champaign. of Tine L. Meganck *03’s current research project fellow in Duke University’s Humanities Writ Large [[email protected]] initiative, working with Sheila Dillon to craft paral- Elizabeth J. Moodey *02 has been assistant profes- lel courses that will involve students in the United sor of medieval art at Vanderbilt University since States and Greece connecting via videoconferencing 2006. Her new book, Illuminated Crusader Histo- and working together on projects across their insti- ries for Philip the Good of Burgundy (Brepols, 2012), tutions. [[email protected]] begins by exploring the strong interest in writing Barbara Lynn-Davis *98 is currently teaching in regional history and in updating medieval romances the art department at Wellesley College, thanks to at the court of the bibliophile duke. It then focuses on Jacki Musacchio *95. In addition to teaching art two illuminated histories, roughly classed as “crusade history and art history/writing, she works as an literature,” in his library. One manuscript concerns editor of exhibition catalogues for the Isabella Stew- the First Crusade hero Godfrey of Bouillon and art Gardner Museum in Boston. She is also writing his conquest of Jerusalem, and the other celebrates a novel set in 18th-century Venice. [barbara. Charlemagne, who at the time was believed to have [email protected]] conquered Constantinople and Jerusalem. When Robert S. Mattison *85 curated the exhibition the manuscripts were commissioned, in the mid- Franz Kline: Coal and Steel and wrote the accompa- 1450s, Philip was organizing support for a crusade nying catalogue. The exhibition, which was shown in response to the fall of Constantinople, staging at the Allentown Art Museum and the Sidney an elaborate banquet at which he vowed to go on Mishkin Gallery of Baruch College in New York the crusade himself. Elizabeth’s book considers both City, featured 65 rarely seen works, including early manuscript commissions alongside the duke’s various paintings and drawings that Kline made in the coal crusading projects before and after the events of 1453. Elizabeth J. Moodey *02, Illumi- country of Pennsylvania and in New York City. The The two manuscripts’ texts, miniatures, decoration, nated Crusader Histories for Philip exhibition and catalogue connected Kline’s mature and even layout encourage readers to see their heroes, the Good of Burgundy black-and-white abstractions to his early experi- Godfrey and Charlemagne, as ancestors/forerun- ence in the midst of the anthracite coal revolution. ners of the duke and as part of a Burgundian crusade Bob also completed essays on Robert Rauschen- tradition. [[email protected]] berg’s Sleep for Yvonne Rainer and Pyramid Series for Kevin Moore *02 taught at Parsons The New the San Francisco Museum of Modern Art’s online School for Design in fall 2012, lectured in Paris Rauschenberg catalogue, funded by the Getty at the Université Paris Diderot, and was part of Foundation. He is currently beginning research for MoMA’s Platform series at Paris Photo. His most a book on the sculptor Ronald Bladen. [mattisor@ recent publication is Elena Dorfman: Empire Falling lafayette.edu] (Damiani, 2013), a series of photographs of aban- Tine L. Meganck *03 is a researcher at the Royal doned and active quarries in Indiana, Kentucky, Museum of Fine Arts of Belgium in Brussels, where and Ohio executed over the course of several years. she is working on paintings by Pieter Bruegel the A French edition of Kevin’s first book, Jacques Elder. Among other projects, she is finishing a book Henri Lartigue: The Invention of an Artist (Princeton manuscript titled Pieter Bruegel the Elder’s Fall of University Press, 2004), was published this year as the Rebel Angels (1562): Art, Knowledge, and Poli- Jacques Henri Lartigue: L’invention d’un artiste, trans- tics on the Eve of the Dutch Revolt. With Koenraad lated by Thomas Constantinesco (Editions Textuel, Jonckheere and Sabine van Sprang, she is co-orga- 2012). The new edition is part of a series of theo- nizing the symposium “Two Sides of the Same retical works on photography edited by Clément Coin? Nature and History at the Time of Pieter Chéroux, curator of photography at the Centre Bruegel and Michiel Coxcie (c. 1540–1585),” Pompidou. [[email protected]] which will take place on December 13–14, 2013, Peter Morrin *74 (M.A.), director of the Center Kevin Moore *02, Jacques Henri at M–Museum, Leuven, and the Royal Museum for Arts and Culture Partnerships at the University Lartigue: L’invention d’un artiste fall   1 3 41 of Louisville and director emeritus of Steven F. Ostrow *87 recently published “Paul the Speed Art Museum, was cocura- V, the Column of the Virgin, and the New Pax tor of the exhibition Color Ignited: Glass Romana,” in the Journal of the Society of Architec- 1962–2012 at the Toledo Museum tural Historians (2010); “(Re)presenting Francesco of Art (June–September 2012) and I d’Este: An Allegorical Still Life in the Minneapo- contributed to the accompanying lis Institute of Arts,” in Artibus et Historiae (2011); catalogue. The exhibition surveyed and “‘The ireF of Art’? A Historiography of Bernini’s the work of more than 50 artists, Bozzetti,” in Bernini: Sculpting in Clay, the catalogue from pioneers of studio glass to the of an exhibition shown at the Metropolitan Museum current generation of younger glass of Art in New York and the Kimbell Art Museum artists, tracing the cultural, histori- in Fort Worth (Yale University Press, 2012). With cal, and technological influences that Anthony Colantuono, he coedited and contrib- have shaped their attitudes toward the uted an essay to Critical Perspectives on Early Modern chromatic properties of glass and its Roman Sculpture (Penn State University Press, 2013). expressive possibilities. [peter.morrin@ Steven presented papers on Bernini’s bozzetti at the Color Ignited: Glass 1962–2012, cata- louisville.edu] University of Iowa, the University of Toronto, the logue of the exhibition cocurated by Amy Ogata *96’s book Designing the Creative Kimbell Art Museum, and the 2013 annual confer- Peter Morrin *74 (M.A.) Child: Playthings and Places in Midcentury America ence of the Renaissance Society of America (RSA); was published by the University of Minnesota Press on sculptors’ signatures in Seicento Rome at the in May. The volume focuses on the postwar cult of 2012 annual conference of the RSA; and on the childhood creativity, exploring how the idea of chil- cartellino in Spanish Golden Age painting as the dren as imaginative was constructed, disseminated, George Levitine Lecture at the 2011 Middle Atlantic and consumed in the United States after World War Symposium in the History of Art. Steven is professor II, and how educational toys, playgrounds, middle- and chair of the Department of Art History at the class houses, schools, and children’s museums were University of Minnesota. [[email protected]] designed to cultivate imagination in the growing Jessica Paga *12 defended her dissertation, “Archi- cohort of baby-boom children. Amy, who is associ- tectural Agency and the Construction of Athenian ate professor at the Bard Graduate Center in New Democracy,” in September 2012. She was visiting York, is now working on a book on the material- assistant professor in the Classical Studies Depart- ity of metal in Second Empire France. [ogata@bgc. ment at William & Mary in 2012–13, and she has ❉bard.edu] been awarded a two-year Andrew W. Mellon post- Roberta J. M. Olson *76’s award-winning Audu- doctoral fellowship in Modeling Interdisciplinary bon’s Aviary: The Original Watercolors for “The Birds Inquiry at Washington University in St. Louis for Designing the Creative Child of America” was published by Skira/Rizzoli and the 2013–15. Jess has also accepted a tenure-track posi- ❉ tion at William & Mary, which will begin in the PLAYTHINGS AND PLACES IN MIDCENTURY AMERICA New-York Historical Society (N-YHS) in 2012. Amy F. Ogata It accompanies Audubon’s Aviary: The Complete fall of 2015. She is currently involved in the archi- Flock, a series of three exhibitions in 2013–15 at tectural study of the Sanctuary of the Great Gods Amy Ogata *96, Designing the Cre- the N-YHS, where Roberta is curator of draw- on Samothrace, where she is working on the Altar ative Child: Playthings and Places in Court. Her article on the Southeast Fountain House Midcentury America ings. Among her recent publications are “Art for a New Audience in the Risorgimento: A Meditation,” in the Athenian Agora is forthcoming in the jour- in Journal of Modern Italian Studies (2013); “The nal Hesperia, and her entries on the Greek theater ‘Early Birds’ of John James Audubon,” in Master and Attic sanctuaries will appear in the Blackwell Drawings (2012); entries in the exhibition catalogue Companion to Greek Architecture, edited by Margaret Florence at the Dawn of the Renaissance: Painting and Miles *80. Jess also contributed to the forthcoming Illumination, 1300–1350 (J. Paul Getty Museum, Handbook of Greek Architecture (De Gruyter refer- 2012); “New Methods for Studying Serialization ence series) and the proceedings of the conference in the Workshop of Andrea della Robbia . . . ,” in Theory in Ancient Greek Archaeology. She is currently Della Robbia: Dieci anni di studi (Sagep, 2011); “‘A collaborating with Josiah Ober on an edited volume Magnificent Obsession’: Durand’s Trees as Spiritual of articles on democracy and archaeology from the Sentinels of Nature,” in The American Landscapes journal Hesperia. [[email protected]] of Asher B. Durand (1796–1886) (Fundación Juan Sheryl E. Reiss *92 teaches in the Department of March, 2010); “Are Two Better than One? The Art History at the University of Southern Califor- Collaboration of Franz Kaiserman and Bartolomeo nia and is editor-in-chief of caa.reviews. Two of her Pinelli,” in Master Drawings (2010); “Blinded by articles were published this spring: “A Taxonomy of the Light: Solar Eclipses in Art,” in The Inspiration Art Patronage in Renaissance Italy,” in A Compan- of Astronomical Phenomena VI (Astronomical Soci- ion to Renaissance and Baroque Art (Wiley-Blackwell, ety of the Pacific, 2011); and entries in Dutch New 2013), and “Beyond Isabella and Beyond: Secular Roberta J. M. Olson *76, Audubon’s York Between East & West (Yale University Press, Women Patrons in Early Modern Europe,” in The Aviary: The Original Watercolors for “The Birds of America” 2009). [[email protected]] Ashgate Research Companion to Women and Gender in Early Modern Europe (Ashgate, 2013). The paper 42 fall   1 3 she presented last June at the Museo Nacional and the University of Zurich. The second edition del Prado in Madrid, “Raphael, Pope Leo X, and of her 2002 book on Karl Blossfeldt’s contact print Cardinal Giulio de’ Medici,” is forthcoming in the sheets, Arbeitscollagen, was published last year proceedings of the museum’s late Raphael sympo- by Schirmer/Mosel, and her essay on the photo sium (Brepols). In February 2013, Sheryl was book appeared in a volume on the history of The named executive vice president of the Italian Art Most Beautiful Swiss Books Award. She was also Society. [[email protected]] appointed photography expert for Pro Helvetia, the Shelley Rice *76, arts professor at NYU, served as Swiss Arts Council, and served as a member of the an invited blogger for the Jeu de Paume museum in jury of the Swiss Federal Design Award for 2013. Paris in 2012, posting personal essays and reviews of Ulrike participated in two rounds of the Photobook contemporary exhibitions, books, and performances Quartet at the Fotostiftung Schweiz, as well as in seen at home or during her travels. With Mike Nash a panel discussion at the Ludwick Fleck Zentrum. and Jonno Rattman, she curated the exhibition The She is currently completing her dissertation on Karl Robert Polidori: Selected Works, View from Left Field, a selection of images from the Blossfeldt’s photo book Urformen der Kunst. 1985–2009, catalogue of the exhi- photo morgue of the Daily Worker, the newspa- [[email protected]] bition curated by Daniel Strong per published for much of the 20th century by the Joshua P. Waterman *07 and coauthor Maryan W. *93 (M.A.) American Communist Party, whose archives were Ainsworth published the catalogue German Paint- donated to NYU’s Tamiment Library in 2006. The ings in the Metropolitan Museum of Art, 1350–1600 exhibition was on view in the (Metropolitan Museum of Art, university galleries throughout the distributed by Yale University academic year. Shelley was named Press, 2013). This new volume a Fellow in the NYU Humanities presents the most comprehen- Initiative for the academic year sive collection of early German, 2012–13; the grant supported de Jesus © Carlos Austrian, and Swiss paintings research for her ongoing book in the United States, including project “Local Space/Global major works by Albrecht Dürer, Visions: Archives, Networks, and Lucas Cranach the Elder, and Visual Geography around 1900.” Shelley and David at the Meat Hans Holbein the Younger, as She will complete the book in Market, photo from Shelley Rice well as important examples by Maryan W. Ainsworth and Joshua spring 2014, when she will serve *76’s blog for the Jeu de Paume lesser-known masters. Joshua P. Waterman *07, German Paint- as NYU’s Remarque Fellow at the museum is now a research associate at ings in the Metropolitan Museum of École Normale Supérieure in Paris. the Germanisches Nationalmu- Art, 1350–1600 On a more contemporary note, during the spring seum, Nuremberg, where he is collaborating on a 2013 semester she team-taught the graduate and collection catalogue of the museum’s late medieval undergraduate seminar “Global Issues in Contem- paintings. [[email protected]] porary Photography” with curator Okwui Enwezor, Marta Weiss *08 curated the exhibition Light from who was Global Distinguished Professor in NYU’s the Middle East: New Photography, which was on Department of Art History. [sr29@nyu] view November 2012–April 2013 at the Victoria Daniel Strong *93 (M.A.) has been at the Faulconer and Albert Museum (V&A), where she is curator Gallery of Grinnell College in Iowa for 14 years and of photographs. The first major museum exhibi- is now associate director and curator of exhibitions. tion of contemporary Middle Eastern photography, He is primarily a curator of contemporary art, with it drew more than 300,000 visitors. Marta authored a focus on photography. In January–March 2013, the accompanying catalogue (Steidl, distributed by he gave the noted architectural and editorial photog- Thames & Hudson, 2012), which included essays rapher Robert Polidori his first career retrospective by Venetia Porter, Stephen Deuchar, and Kate Best. in the United States. The accompanying full-color, She also curated a small exhibition, Making It Up: hardcover catalogue, Robert Polidori: Selected Works, Photographic Fictions, which displays 19th-century Light from the Middle East: 1985–2009, copublished by Steidl, features 100 and contemporary staged photographs from the New Photography, catalogue of Polidori’s color photographs from sites around V&A’s permanent collection. The show will be on of the exhibition curated by the world, including Amman, Beirut, post-human view though March 18, 2015. Marta contributed Marta Weiss *08 Chernobyl, Havana, New Orleans, New York, Vara- to the book Photography: The Whole nasi, and the Palace of Versailles. Daniel’s next Story (Thames & Hudson, 2012) and exhibition will be the American debut of John Scott, spoke at the colloquium “Photography one of the most important, but little-known, Cana- and the Arab Crossroads” at NYU Abu dian artists. [[email protected]] Dhabi in May 2012. She is currently Ulrike Meyer Stump *96 (M.A.) was appointed doing research for an exhibition and affiliated researcher at the Collegium Helveticum, a catalogue on the Victorian photogra- cross-disciplinary institute of advanced studies run pher Julia Margaret Cameron, which jointly by the Swiss Federal Institute of Technology will open in 2015, the bicentenary of Cameron’s birth. [[email protected]] fall   1 3 43 The Department of Art and Department of Art and Archaeology Non-Profit Mail Archaeology Newsletter is McCormick Hall U.S. postage produced by the Publications Princeton University PAID Office of the Department of Art Princeton, NJ - Permit no.186 and Archaeology and the Office Princeton, NJ of Communications, Princeton University. Editor: Christopher Moss Design: Maggie Westergaard Photography: Denise Applewhite; Nathan Arrington; Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn; Jess Atwood- Gibson; John Blazejewski; Dora Ching; David Connelly; Carlos de Jesus; Christina Halperin; Lily Healey ’13; John Herr Photography; Cary Liu; Sarah Magagna ’13; Medelhavsmuseet, Stockholm; Metropolitan Museum of Art; Christopher Moss; Kathryn Koca Polite; Jacyln Sweet; Pierre Verger; Bruce M. White Illustrations: JoAnn Boscarino Cover illustration: Egyptian, mummy mask, 60–70 c.e., cartonnage, plaster, paint, and plant fibers. The Metropolitan Museum of Art, Rogers Fund, 1919 (19.2.6). Image © The Metropolitan Museum of Art. Reproduction of any kind is prohibited without express written permission in advance from The Metropolitan Museum of Art. Department of Art and Archaeology Comments and news or information from newsletters are available in PDF our readers on recent activities are always format on the Web at welcome, as are inquiries regarding the www.princeton.edu/ artandarchaeology/newsletter. program. Please submit news items for the Copyright © 2013 by next issue to Newsletter, Department of The Trustees of Princeton University Art and Archaeology, McCormick Hall, In the Nation’s Service and in the Service of All Nations Princeton University, Princeton, NJ - , or email [email protected].

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