Ifa Annual 2015.Pdf

Institute of Fine Arts • ANNUAL 2014 - 2015 THE INSTITUTE IS DEDICATED TO GRADUATE TEACHING AND ADVANCED RESEARCH IN THE HISTORY OF ART, ARCHAEOLOGY, AND THE CONSERVATION AND TECHNOLOGY OF WORKS OF ART. Table of Contents

Art History and Archaeology The James B. Duke House 1 East 78th Street, New York, NY 10075 Tel: (212) 992 5800 Fax: (212) 992 5807 [email protected]

The Conservation Center The Stephen Chan House 14 East 78th Street, New York, NY 10075 Tel: (212) 992 5847 Inside cover: Conservation Center students Harry Fax: (212) 992 5851 DeBauche, Nan Feng, and Rebecca Gridley in The Conservation Treatment of Stone Sculpture [email protected]

ifa.nyu.edu Welcome from the Director

It is my pleasure to welcome you to the How we best maintain and promote their 2014-2015 edition of the Institute of Fine relevance has been the question asked Arts Annual. Each year the Annual takes in strategic planning sessions held by the a retrospective and a prospective view of Institute throughout the year, convening our activities, reporting on what we have external and internal groups to consider the been doing and looking forward to what specifi c pathways the Institute should chart is to come. Selectively reporting – the for its future, in envisioning directions for Institute year cannot be confi ned between our research, in our teaching methods, and these covers and I encourage you to visit in collaborations within NYU, New York City, our website to fi nd out more about those and beyond. activities in the classroom, in the lecture The features that follow here prove the hall, and in the fi eld. dynamism of our faculty, students, and The Institute website is newsworthy in itself. alumni, who together form an extensive 2 It is an international destination. In the last and vibrant network. It is a dynamic that Institute year there have been 729,925 visits to its challenges complacent thinking and pages; 64% of this traffi c reached a new conventional wisdom. It is also one that

of audience, spread throughout the many and faces its own challenges. The Institute is Fine Arts Annual 2014 - 2015 Annual Arts Fine varied sections of the site, which is one of the profoundly grateful to its Board of Trustees means we use to position the Institute as an and its supporters for sharing our conviction intellectual hub. Livestreaming and archiving that critical looking, critical thinking, and our public lectures and seminars have material understanding are essential skills become powerful hooks for grabbing and and that the history of the future depends holding the attention of a wide audience. on the ability to engage deeply and The lectures in the IFA archive have been imaginatively with the present and the past. watched 12,070 times in the last year and a total of 35,000 times since we started recording videos in 2009. The videos have been viewed in 144 different countries and shared on 250 different websites worldwide. Our high, and very stylish, visibility owes Patricia Rubin much to its creative oversight by webmaster Judy and Michael Steinhardt Director Jason Varone. Institute of Fine Arts Our visibility is not vanity. It is driven by a desire to engage with our peers and our public at the highest levels and to lead conversations on key issues within our discipline. Over the past four years the activities of the Research Initiative funded by the Andrew W. Mellon Foundation have provided an exciting way for us to identify those issues. Colleagues of all generations from around the world participated in workshops, conferences, and committees, bringing diverse expertise, approaches, and concerns to the conversations. Now concluded, the ﬁ ndings of the Initiative are published in the report, Pathways to the Future, which has been widely circulated and can be downloaded from the website. When you read it, you will see that the Institute’s core ﬁ elds – art history, archaeology, and conservation – are robust and relevant. Message from the Chairman

It has been an honor to serve as Chairman of valuable benefi ts, members are gratifi ed that the Institute of Fine Arts Board of Trustees this they have had a positive impact on the Insti- year. Our faculty’s passion and groundbreaking tute’s ability to fl ourish in the future. Since scholarship, our students’ curiosity and disci- the Society’s inception, the IFA has received pline, and the generosity of so many staunch over $6 million in bequest commitments from supporters are both remarkable and inspiring. generous alumni, faculty, and friends. With two years remaining in the $50 million We were delighted to welcome alumna Nancy Momentum Campaign for student support, we Lee to the Institute’s Board this year. Based are nearly half way to reaching our goal. While in Hong Kong, Nancy is the Chairman of the there is still a great deal of progress to be Friends of the Hong Kong Museum of Art. made, I am confi dent that we will achieve our She studied eighteenth-century Spanish ambitious objectives. Particularly encouraging painting under Professor Jonathan Brown, in this regard is the fact that the Institute con- Carroll and Milton Petrie Professor of Fine sistently has among the highest rates of alumni 3

Arts; and early Chinese ceramics under Institute giving of any school at New York University. Professor Jonathan Hay, Alisa Mellon Bruce The Connoisseurs Circle is unlike any arts pa- Professor of Fine Arts. tron group in New York City. Offering the priv- of I hope you will take advantage of all that the 2014 - 2015 Annual Arts Fine ilege of auditing an array of courses with the Institute's renowned faculty as well as special Institute has to offer. From its unique donor access to leading private collections, museum opportunities, to public lectures, to contem- exhibitions, and artist studios, the Connois- porary exhibitions in the Great Hall, the Insti- seurs Circle provides opportunities for those tute is rich in history and looking eagerly to with a passion for art to engage in its study in the future. I look forward to seeing you at the in-depth and unique ways (see page 68). James B. Duke House in the year to come. Last fall, the Institute launched the IFA Legacy Society, an important donor group that recognizes those who have made a provision for the Institute in their estate Stephen S. Lash plans (see page 69). In addition to receiving Chairman

Board of Trustees Stephen S. Lash, Chairman Anne Poulet Anne Ehrenkranz, Vice Chairman Lauren Berkley Saunders Sheldon H. Solow, Chairman Emeritus Deanie Stein Judy Steinhardt, Chairman Emerita Maurice Tempelsman Suzanne Deal Booth Marica Vilcek Deborah Loeb Brice Ex-Ofﬁ ciis Estrellita Brodsky Martin Dorph Gail Engelberg David W. McLaughlin Mark Fisch Philippe de Montebello Larry Gagosian Roberta Huber Patricia Rubin Nancy Lee John Sexton James R. McCredie Luke Syson Alexandra Munroe Ann Temkin

ifa.nyu.edu IFA Staff

Director’s Ofﬁ ce Conservation Center Library (212) 992 5806 (212) 992 5888 (212) 992 5825 Patricia Rubin Hannelore Roemich Amy Lucker Judy and Michael Sherman Fairchild Chairman Associate Curator Steinhardt Director of the Conservation Center Daniel Biddle Jonathan Hay Canelle Boughton Supervisor, Conservation Deputy Director for Faculty Assistant to the Chairman Center Library and Administration for Administration and Development Shirin Khaki Alexander Nagel Serials Receiving Assistant Deputy Director for Catherine Lukaszewski Kimberly Hannah Academic Affairs Manager, Laboratories and Study Collection Collections Assistant 4 Brenda Phifer Shrobe

Institute Michael Hughes Assistant to the Director for Kevin Martin Academic Advisor Assistant Curator Administration and Human Resources Gary Speziale of Building Offi ce Fine Arts Annual 2014 - 2015 Annual Arts Fine (212) 992 5811 Special Projects Assistant Development and Public Affairs Offi ce Richard Malloy Public Safety (212) 992 5812 Assistant Director, (212) 992 5808 FCM Operations Hope O’Reilly James Cook Director of Development Wilfred Manzo Public Safety Offi cer and Public Affairs Facilities Supervisor Egerton Kelly Andrea Yglesias Robert Doucette Public Safety Offi cer Development and Building Operator Alumni Affairs Offi cer Ivan Singh Digital Media Services Building Operator and Image Archive Christina Drayer (212) 992 5810 Development Offi cer, Computer Services Jenni Rodda Corporate Relations and (212) 992 5884 Special Events Manager, Digital Joe Rosario Media Services Joseph Moffett Computer Services Manager Development Assistant Jason Varone George L. Cintron Web and Electronic Academic Offi ce Computer and Network Media Manager (212) 992 5868 Support Technician Nita Lee Roberts Sarah Johnson Finance Offi ce Fine Arts Photographer Administrator for (212) 992 5895 Fatima Tanglao Academic Programs Jennifer Chung Administrative Secretary Betty Tsang Director of Budget Academic Advisor and Planning Hope Spence Lisa McGhie Assistant to the Administrator Financial Analyst Thelma Thomas, Associate Professor of Fine Arts, visiting the Metropolitan Museum of Art with her class, Visualizing World and Cosmos in Late Antiquity Brief History

Art history became a dedicated ﬁ eld of study at New York University in 1922, when the young scholar-architect Fiske Kimball was appointed the Morse Professor of the Literature of Arts and Design. He laid the foundation for much of what still distinguishes the Institute of Fine Arts: its core faculty of the highest quality, special relationships with New York’s museums, liberal use of the expertise of visiting faculty, and twin commitments to graduate education and advanced research. IFA Library In 1932, NYU’s graduate program in art history moved to the Upper East Side in order to teach Panofsky, Walter Friedlaender, Karl Lehmann, 6 in the collections of The Metropolitan Museum Julius Held, and Richard Krautheimer set the Institute of Art. Under the energetic leadership of its Institute on its course of rigorous, creative, and chairman, Walter W. S. Cook, the program pluralistic scholarship and strong worldwide

of became one of the world’s most distinguished

Fine Arts Annual 2014 - 2015 Annual Arts Fine connections. The National Endowment for centers for art historical research and educa- the Humanities has commended the Institute tion, and was renamed the Institute of Fine Arts in 1937. The Institute was strengthened as a national asset for its leadership role in greatly by refugee professors from the Ger- art historical scholarship and training. The man and Austrian institutions that had given Endowment is one of numerous institutional birth to the modern discipline of art history. and private benefactors that continue to Foundational art historians such as Erwin support the Institute’s work.

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

1932 1937 1958 A Graduate The name is changed to Curatorial Studies Department in Institute of Fine Arts. program established. Fine Arts is founded separate from Washington Square and moves Directors of the Institute of Fine Arts uptown to Munn 1931 Walter W. S. Cook House, opposite the Plaza Hotel. 1951 Craig Hugh Smyth 1973 Jonathan Brown 1979 A. Richard Turner 1983 James R. McCredie 2002 Mariët Westermann 2008 Michele D. Marincola, Interim Director 2009 Patricia Rubin was designed as a “three-legged stool” by which the conservator is supported in equal measure by art historical study, scientiﬁ c training, and practical experience—an interdisciplinary approach that still forms the core of the program. Initially located in the former kitchen of the Duke House, the Conservation Center has been housed in the Stephen Chan House across the street since 1983. Almost from its inception, the Institute has Paintings conservator Sheldon Keck in the 1960s conducted signiﬁ cant archaeological projects staffed by its faculty and students. Excavations In 1958, Nanaline Duke and her daughter are currently thriving at Aphrodisias, Turkey Doris Duke presented the Institute with the 7

(conducted jointly with NYU’s Faculty of Arts Institute James B. Duke House at 1 East 78th Street. and Science); at the Sanctuary of the Great By the end of the year, Robert Venturi had Gods in Samothrace; at Abydos, Egypt; and completed the remodeling of the house at Selinunte, Sicily. In the course of its history, of for the Institute’s use. Two years later, the 2014 - 2015 Annual Arts Fine the Institute of Fine Arts has conferred over Institute became the ﬁ rst graduate program 2,600 advanced degrees and trained a high in the United States to offer an advanced number of the world’s most distinguished art degree in conservation. There was the history professors, curators, museum admin- conviction that a new kind of conservator istrators, and conservators. would be trained at the Center, an alterna- tive to the artist-technician. The curriculum

The Stephen Chan House Institute of Fine Institute of Fine Arts opens as the Conservation Arts celebrates its marks the James B. Duke Center’s new home. 75th anniversary. House centennial. 1983 2007-08 2012

1960 2004 2010 Conservation Faculty expansion The Conservation Center celebrates Center founded. initiative begins its 50th anniversary. with NYU funding. The IFA welcomes its ﬁ rst entering class of the new MA program.

Chairmen of the Conservation Center 1961 Sheldon Keck 1967 Lawrence J. Majewski 1975 Norbert S. Baer and Lawrence J. Majewski, Co-Chairmen 1987 Margaret Holben Ellis 2002 Michele D. Marincola 2008 Hannelore Roemich, Acting Chair 2011 Michele D. Marincola 2014 Hannelore Roemich

ifa.nyu.edu Who We Are 9 Institute of Fine Arts Annual 2014 - 2015 ifa.nyu.edu ltration to Greek statehood, ltration to Greek rst millennium BCE; political origin Jean-Louis Cohen Jean-Louis the History of in Solow Professor Sheldon H. Architecture architec- and twentieth-century Nineteenth- France, Italy, and urbanism in Germany, ture contemporary Russia, and North America; planning, and town issues in architecture, landscape design Thomas Crow of ModernRosalie Solow Professor Art; Arts for the Associate Provost art; Seventeenth- and eighteenth-century art; nineteenth- and twentieth-century contemporary art Colin Eisler of Fine Arts Robert Lehman Professor and GermanEarly Netherlandish, French, art; art; graphic arts; history of Quattrocento collecting; Jewish art issues Finbarr Barry Flood Humani- of the Professor William R. Kenan Jr. Arts ties, Institute of Fine Arts and College of and Science of the Islamic world; Art and architecture dimensions of Islamic material cross-cultural theories and practices of image- culture; art making; technologies of representation; and methodology, historical historiography, theory; Orientalism Günter H. Kopcke in the Humanities Foundation Professor Avalon Art and the second millennium BCE; Medi- art and Greek terranean integration: Crete; inﬁ from progress second to ﬁ of Classical art and role Robert Lubar of Fine Arts Associate Professor art (France and European Twentieth-century and America; Spain); art since 1945 in Europe critical theory

preventive conservation issues preventive environment; glass and enamels, active and environment; non-destructive testing of art objects; indoor non-destructive testing of art objects; indoor Conservation of works of art and artifacts; Conservation of works of art and artifacts; Hall Exhibitions page: Opening night of the Great Previous November 2014 featuring the artwork of Marta Chilindron, Conservation Science Chair of the Conservation Center; Professor of Chair of the Conservation Center; Professor seventeenth century Hannelore Roemich Hannelore courts, history of collecting; art at European and Greece) Spanish and new Spanish painting, 1500-1800; periods (particularly in Rome, Italy, Turkey, Turkey, periods (particularly in Rome, Italy, of Fine Arts and Milton Petrie Professor Carroll Hellenistic/Republican and Roman Imperial Hellenistic/Republican and Roman Imperial and Archaeology Jonathan Brown Architecture, sculpture, and painting of the sculpture, Architecture, Faculty in the History of Art Aphrodisias of Fine Arts; Deputy Director, Excavations at Excavations of Fine Arts; Deputy Director, Director of Masters Studies; Associate Professor Director Katherine Welch relations between artistic practice and art theory relations Renaissance art; the history of the history of art;Renaissance art; the history of the history of Graduate Studies; Professor of Fine Arts of Graduate Studies; Professor Deputy Director for Academic Affairs; Director Director Affairs; for Academic Deputy Director Alexander Nagel art; art historical theory and method art; art historical theory History of Chinese art; contemporary Chinese History of Chinese art; Ailsa Mellon Bruce Professor of Fine Arts Ailsa Mellon Bruce Professor Deputy Director for Faculty and Administration; for Faculty Deputy Director Jonathan Hay portraiture; graphic arts portraiture; and cultural patrimony; historiography; and cultural patrimony; Italian Renaissance art; museums, collecting, Italian Renaissance Professor of Fine Arts of Fine Professor Judy and Michael Steinhardt Director; Director; Michael Steinhardt Judy and Patricia Rubin Administrators Faculty and Fields of Study of Fields and Faculty Faculty and Fields of Study

Clemente Marconi James R. McCredie Professor New Faculty in the History of Greek Art and Archaeology; University Kent Minturn Professor Visiting Assistant Professor of Fine Arts Archaic and Classical Greek art and architecture; the Kent Minturn specializes in European and American Modern- reception and the histori- ism. Before his appointment at the IFA, he was Director of ography of ancient art and Columbia University’s MA program in Modern Art, Critical architecture; the archaeology and Curatorial Studies (MODA). Much of his research focuses of ancient Sicily on Jean Dubuffet, art brut, and modernism’s reception of l’art des fous. He is also interested in the history of cinema Robert Maxwell and photography, and theories of the historical avant-garde. 10 Associate Professor in the He is preparing Contre-Histoire: The Art and Writings of

Institute History of Western European Jean Dubuffet for Penn State University Press’ Reﬁ guring Medieval Art Modernism book series and editing an OCTOBER Files Early Christian, Byzantine, volume on Jean Dubuffet (MIT Press, forthcoming 2016). of

Fine Arts Annual 2014 - 2015 Annual Arts Fine and Western Medieval Art Recently, Minturn was awarded The Morgan-Menil Fel- lowship from the Drawing Institute at the Morgan Library Kent Minturn & Museum. Last year he participated in MoMA’s Museum Visiting Assistant Professor of Research Consortium and the IFA Conservation Center’s Fine Arts “Structures of Art” workshop. This summer he will be a European and American Dedalus Foundation Visiting Scholar at the Archives of Modernism; History of American Art, Washington, DC. Photography and Cinema Ancient Egyptian art history and Roland R. R. Smith Mia M. Mochizuki archaeology; ancient Nubia Lincoln Professor of Classical Associate Professor of the art history and archaeology Archaeology, University of History of Art, NYU Abu Dhabi Oxford; Director, Excavations and Institute of Fine Arts Hsueh-man Shen at Aphrodisias Iconoclasms and the recycling Assistant Professor of Fine Art and visual cultures of the of art; material cultures of Re- Arts; Ehrenkranz Chair in ancient Mediterranean world; naissance and Reformation; World Art historical interpretation of early modern art networks Funerary and religious prac- ancient representation and its and the poetics of place; tices in pre-modern China; relationship with social and global methods of art history; word and image in the visual political culture; archaeology constructions of the Baroque culture of East Asia; art and of Greek cities of Eastern material culture along the Philippe de Montebello Roman Empire ancient Silk Road Fiske Kimball Professor in Edward J. Sullivan the History and Culture of Robert Slifkin Helen Gould Sheppard Pro- Museums Associate Professor of Fine Arts fessor in the History of Art; Early Netherlandish art; Contemporary art; history of Institute of Fine Arts and history of collecting; history photography; nineteenth- College of Arts and Science of museums; issues of and twentieth-century Latin American art, colonial and cultural patrimony American art modern periods; Iberian art; art David O'Connor Priscilla P. Soucek of the Caribbean; Brazilian art Lila Acheson Wallace Professor John Langeloth Loeb Professor Thelma K. Thomas of Ancient Egyptian Art; in the History of Art Associate Professor of Fine Arts Co-Director, Yale University- Persian and Arabic manu- University of Pennsylvania- Late Antique, Byzantine, and scripts; portraiture; history Eastern Christian art and Institute of Fine Arts, NYU of collecting Excavations at Abydos architecture Marvin Trachtenberg Michele D. Marincola Associate Faculty Edith Kitzmiller Professor of Sherman Fairchild Distin- the History of Fine Arts guished Professor of Con- Dipti Khera servation; Conservator, The Assistant Professor of Art Romanesque, Gothic, and History, Institute of Fine Arts Renaissance architecture and Cloisters, The Metropolitan urbanism; problems of tem- Museum of Art (part-time); Art and architecture of South porality in architecture and Conservation Consultant, Villa Asia; cartographic cultures, historiography; problematics La Pietra art, and urban topography; of architectural authorship; Conservation and techni- global art histories, theory, and the origins of perspective cal art history of medieval methodology; historiography sculpture; decoration of late of cross-cultural encounters; Kathleen Weil-Garris Brandt medieval German sculpture; collecting, museums, and Professor of Fine Arts, Institute conservation of modern contemporary heritage land- of Fine Arts and College of sculpture scapes; postcolonial studies 11

Arts and Science Institute Meredith Martin Italian Renaissance art Emeritus Faculty Associate Professor of Art and culture

Jonathan J. G. Alexander History, Institute of Fine Arts of Fine Arts Annual 2014 - 2015 Annual Arts Fine Conservation Sherman Fairchild Professor Eighteenth- and nineteenth- Emeritus of Fine Arts Center Faculty century French and British Medieval European art, espe- art, architecture, material Norbert S. Baer cially manuscript illumination culture, and landscape de- Hagop Kevorkian Professor of sign; art and gender politics, Conservation, Conservation Egbert Haverkamp-Begemann cross-cultural encounters in Center John Langeloth Loeb Professor European art; interiors and Emeritus in the History of Art; identity; historical revivalism Application of physiochemical Adjunct Professor of Fine Arts; methods to the study and and contemporary art Coordinating Scholar, Robert preservation of cultural prop- Michele Matteini erty; environmental policy Lehman Collection Scholarly Catalogue Assistant Professor of Art and damage to materials; History, Institute of Fine Arts application of risk assessment Dutch and Flemish art history Late Imperial Chinese paint- and risk management to of prints and drawings ing and material culture; the preservation of cultural Thomas F. Mathews antiquarianism and collecting property John Langeloth Loeb Professor culture; Qing history; artistic Margaret Holben Ellis Emeritus in the History of Art exchanges; eighteenth-cen- Eugene Thaw Professor of Early Christian and Byzantine tury art and globalism; craft Paper Conservation; Director, art and architecture and embodied knowledge; Thaw Conservation Center, anthropology and art history; The Morgan Library & Muse- James R. McCredie historiography. um (part-time); Conservation Sherman Fairchild Professor Consultant, Villa La Pietra Emeritus of Fine Arts; Director, Afﬁ liated Faculty in Excavations in Samothrace Technical connoisseurship of the History of Art works of art on paper; conser- Greek archaeology and and Archaeology vation treatment of prints and architecture Carrie Rebora Barratt drawings; twentieth-century Linda Nochlin materials and techniques of Associate Director for Collec- Lila Acheson Wallace Profes- tions and Administration, The works of art on paper; ethical sor Emerita of Modern Art issues in art conservation Metropolitan Museum of Art; Nineteenth- and twentieth- Member, Joint Committee on century painting and sculpture; Curatorial Studies contemporary art and theory; women and art ifa.nyu.edu Faculty and Fields of Study

Andrea Bayer Curator, European Paintings, New Associate Faculty The Metropolitan Museum of Associate Faculty members teach three undergraduate Art; Member, Joint Commit- courses per year in NYU’s Department of Art History tee on Curatorial Studies and one graduate course at the IFA. Brigitte Miriam Bedos-Rezak Professor, Department of Michele Matteini History, New York University Michele Matteini comes to NYU after Barbara Boehm four years at Reed College, where he Curator of Medieval Art and was Assistant Professor of Chinese The Cloisters, The Metropoli- Art and Humanities. His research tan Museum of Art; Coor- interests are on late Imperial Chinese 12 dinating Curator, Curatorial painting, with a special focus on the

Institute Studies Program; Member, late eighteenth and early nineteenth Joint Committee on Curato- century. He is completing a book rial Studies manuscript on the exchange between of Fine Arts Annual 2014 - 2015 Annual Arts Fine Thomas P. Campbell painting and antiquarian studies in the Director, The Metropolitan late eighteenth century, and working a new project on the Museum of Art; Co-Chair, artistic life of Beijing outside the imperial court. Joint Committee on Curato- rial Studies; Member, Joint Peggy Fogelman Rebecca Rabinow Committee on Curatorial Frederick P. and Sandra P. Curator, Department of Mod- Studies Rose Chairman of Education, ern and Contemporary Art, The Metropolitan Museum of The Metropolitan Museum of S. Hollis Clayson Art; Member, Joint Commit- Art; Member, Joint Commit- Kirk Varnedoe Visiting Profes- tee on Curatorial Studies tee on Curatorial Studies sor of Modern Art (Fall 2015); Professor of Art History and Michael Gallagher Louise Rice Bergen Evans Professor in the Sherman Fairchild Conser- Associate Professor of Art Humanities, Northwestern vator in Charge, Paintings History, NYU Conservation, The Metropoli- University Robert Storr tan Museum of Art; Member, Dean, School of Art, Yale Jim Coddington Joint Committee on Curatorial University 2015-2016 IFA Honorary Studies Fellow; Chief Conservator, Adrian Sudhalter William Hood Museum of Modern Art Visiting Professor, Institute of Visiting Professor, Institute Fine Arts Malcolm Daniel of Fine Arts; Mildred C. Jay Senior Curator, Department Professor Emeritus, Oberlin Luke Syson of Photographs, The Met- College Iris and B. Gerald Cantor ropolitan Museum of Art; Curator in Charge, Depart- Denise Leidy Member, Joint Committee on ment of European Sculpture Curator, Department of Asian Curatorial Studies and Decorative Arts, The Art, The Metropolitan Mu- Metropolitan Museum of Art; Reindert Falkenburg seum of Art; Member, Joint Member, Joint Committee on Dean of Arts and Humanities, Committee on Curatorial Curatorial Studies Vice Provost for Intellectual Studies and Cultural Outreach, Faculty Ann Temkin Eve Meltzer Director of the Institute, NYU Visiting Professor, Institute of Associate Professor of Visual Abu Dhabi Fine Arts; Marie-Josée and Studies, NYU Henry Kravis Chief Curator of Painting and Sculpture, Museum of Modern Art Lillian Tseng Alexis Hagadorn Judith Praska Associate Professor of East Head of Conservation, Co- Asian Art and Archaeology, lumbia University Libraries, Distinguished Visiting Institute for the Study of the Columbia University Professor in Conser- Ancient World - NYU Nora Kennedy vation and Technical Jeffrey Weiss Sherman Fairchild Conser- Studies Senior Curator, Guggenheim vator of Photographs, The Cathleen Baker (Fall 2015) Museum, New York Metropolitan Museum of Art Conservation Librarian and Linda Wolk-Simon Marco Leona Exhibit Conservator, University Visiting Professor, Institute of Head Scientist, The Metro- of Michigan Library Fine Arts; Director and Chief politan Museum of Art Salvador Muñoz Viñas Curator, Bellarmine Museum, (Spring 2015) Fairﬁ eld University Dianne Dwyer Modestini Paintings Conservator, Professor, Universidad 13 Institute Lecturers Kress Program in Painting Politécnica de Valencia, Spain Institute Conservation; Research for the Conservation Additional Conserva-

Scholar, Conservation Center of Center 2014 - 2015 Annual Arts Fine Nica Gutman Rieppi tion Consultants Villa Drew Anderson Paintings Conservator la Pietra Conservator, The Metropolitan Pam Hatchﬁ eld Museum of Art Katherine Sanderson Assistant Photograph Con- Robert P. and Carol T. Sarah Barack servator, The Metropolitan Henderson Head of Objects Objects Conservator Museum of Art Conservation, Museum of Fine Arts, Boston John Childs Suzanne Siano Head of Conservation Services, Paintings Conservator Jack Soultanian, Jr. National September 11 Conservator, The Metropolitan Karen Stamm Memorial & Museum Museum of Art Conservator, The Metropolitan Jean Dommermuth Museum of Art Deborah Trupin Paintings Conservator; Textile Conservator, NY State Steven Weintraub Conservation Consultant, Bureau of Historic Sites Villa La Pietra Conservator Maria Fredericks Drue Heinz Book Conservator, The Morgan Library & Muse- Institute of Fine Arts um, Conservation Consultant, Villa La Pietra Honorary Fellows Christine Frohnert 2015 Jim Coddington, Chief 2012 Ann Temkin, Marie- Conservator of Contemporary Conservator, Museum Josée and Henry Art, Modern Materials and of Modern Art Kravis Chief Curator of Painting and Sculp- Media 2014 Leonard Barkan, Class ture, Museum of of 1943 University Christine Giuntini Modern Art Conservator, Department of Professor, Princeton the Arts of Africa, Oceania, and University 2011 Carol Mancusi-Ungaro, Associate Director the Americas, Metropolitan 2013 Irene J. Winter, for Conservation and Museum of Art William Dorr Board Research, Whitney Mu- Professor of Fine Arts seum of American Art Emerita, Harvard University

ifa.nyu.edu Faculty and Fields of Study

George Wheeler Yaelle S. Amir Jack A. Josephson Director of Conservation Research Scholar; Andrew W. Research Associate in Research, Graduate School Mellon Research Activities Egyptian Art of Architecture, Planning and Coordinator Stephen Koob Preservation, Columbia Uni- Margarita Berg Consulting Conservator, versity; Research Scientist, The Samuel H. Kress Fellow in Excavations in Samothrace Metropolitan Museum of Art Paintings Conservation Christine Lilyquist Institute of Fine Arts Brian Castriota Research Associate, Excava- Research Associates Supervising Conservator, tions in Mendes, Egypt; Wal- Excavations at Aphrodisias lace Curator of Egyptology Matthew Adams Emerita, The Metropolitan Noémie Etienne Senior Research Scholar; Museum of Art Associate Director, Yale Andrew W. Mellon Foundation 14 University-University of Penn- Postdoctoral Fellow, 2013-2015 Anna Serotta Institute Consulting Conservator, sylvania-Institute of Fine Arts, Andrew Finegold Selinunte Excavations NYU Excavations at Abydos Andrew W. Mellon Foundation of Postdoctoral Fellow, 2015-2016 Alexander Sokolicek Fine Arts Annual 2014 - 2015 Annual Arts Fine Field Director, NYU Excava- tions at Aphrodisias

Honors & Awards Jean-Louis Cohen Michele Marincola 2014 Elected to the Académie 2015 Samuel H. Kress Publication Fellowship, d’architecture, Paris. 2015-2016, for Michele D. Marincola 2014 Special mention of the Jury, 14th and Lucretia Kargère, The Conservation Venice Architecture Biennale. of Medieval Polychrome Wood Sculp- ture (forthcoming, Getty Publications). 2014 Fellow of the John Simon Guggenheim Memorial Foundation. Mia Mochizuki 2014 Visiting Research Scholar Fellowship, 2014 Elected to a three-year visiting International Research Center for Japa- professorship at the Collège de nese Studies (Nichibunken), Fall 2014. France, Paris, 2014-2016. Philippe de Montebello Thomas Crow 2017 Paul Mellon Lecturer designate, 2014 Elected to the Académie des Beaux National Gallery, London, and Arts, Paris. Center for British Art, New Haven. 2014 Hamilton Fish award from Desmond 2015 Terra Professor designate, Terra Fish Library, Garrison NY. Foundation, Giverny, Summer 2015. 2015 A.W. Mellon Lecturer in the Fine Arts, National Gallery of Art. 2014 J.S. Guggenheim Foundation Fellow, 2014-2015. 2014 Michael Holly Fellow, Clark Art Institute, Fall 2014. Finbarr Barry Flood 2016 American Council for Learned Societies Collaborative Research Fellowship, Thomas Crow delivering the keynote lecture for The with Prof. Beate Fricke, UC Berkeley. Koons Effect, organized in conjunction with the Whitney Museum of American Art. Photo Credit: FilipWolak SPECIAL APPOINTMENTS Kirk Varnedoe Visiting Judith Praska Professorship Distinguished

The Kirk Varnedoe Visiting Professorship Visiting Professor in brings a distinguished scholar to the Insti- tute to teach a course and give a series Conservation and of public lectures. The Professorship was endowed in 2006 by the late Professor Technical Studies Varnedoe’s friends and colleagues to honor and perpetuate his legacy of innovative teaching and remarkable public presence. Thanks to a generous, anonymous Past holders of this position include donation, a new visiting professorship Briony Fer (2014), Thierry de Duve (2013), in conservation and technical studies Okwui Enwezor (2012), Wu Hung (2011), was inaugurated in Fall 2012. The Judith David Joselit (2010), Alexander Potts Praska Distinguished Visiting Professor 15 (2009), Molly Nesbit (2008), and in Conservation is named in honor of the Institute Jeffrey Weiss (2007). donor’s grandmother and will run through Spring 2016. This position is awarded to 2015 Varnedoe Visiting Professor prominent conservators or scientists who of

S. Hollis Clayson can bring to the IFA and our conservation 2014 - 2015 Annual Arts Fine Professor of Art History and Bergen program new areas for research and teach- Evans Professor in the Humanities ing. The Praska Professors are invited for Northwestern University a semester to the IFA to teach in their S. Hollis Clayson is a historian of modern area of specialty, particularly in courses art who specializes in nineteenth-century designed for both conservation and art Europe, especially France, and transat- history students. The Professors also give a lantic exchanges between France and public lecture on their research during their the United States. She is currently Professor semester at the IFA. of Art History and Bergen Evans Professor in the Humanities at Northwestern Uni- In Spring 2015, we versity. Her books include Painted Love: welcomed Salvador Prostitution in French Art of the Impres- Muñoz Viñas from Va- sionist Era, Understanding Paintings: lencia, Spain. He is a Themes in Art Explored and Explained, Professor in the Poly- and Paris in Despair: Art and Everyday technic University of Life Under Siege (1870-71). In 2013, Valencia (UPV), Head she curated the exhibition ELECTRIC of the paper con- PARIS at the Clark Art Institute. Her servation section of related book studies the visual cultures the UPV Conservation Research Institute, of the City of Light in the era of and Director of the Conservation Depart- Thomas Edison. ment of the UPV. His current work revolves around conservation theory and the technical aspects of paper conservation. In Fall 2015, Cathleen Baker, Conservation Librarian and Exhibit Conservator at the University of Michigan Library, will join the Institute as our sixth Judith Praska Distin- guished Visiting Professor in Conservation. Professor Baker is a skilled and knowledge- able paper and book conservator, paper historian, art historian, biographer, and artist, as well as the talented and percep- tive proprietor, editor, and designer of The Legacy Press.

ifa.nyu.edu SPECIAL APPOINTMENTS Jim Coddington The Fifth IFA Honorary Fellow

The IFA Honorary Fellowship recognizes dis- have risen to keep my attention on Pollock, tinguished scholars in art history, archaeology, most recently the three major Pollock paintings conservation and related disciplines, or out- Jennifer Hickey [MA, Advanced Certifi cate in standing fi gures in the visual arts. This award Conservation,] and I worked on a few years acknowledges their contribution to learning, back. teaching, and practice in these fi elds. Talk about your current research at For the academic year 2015-2016, we welcome Q the museum. Jim Coddington as our fi fth IFA Honorary Fel- For years I’ve been interested in documenta- low. Mr. Coddington is the Agnes Gund Chief tion and imaging documentation. While at the Conservator at the Museum of Modern Art in Met, a fair amount of time was spent talking New York City. IFA conservation student Megan about differential changes in the colors in a 16 Randall, currently completing her fourth-year Institute painting over time. MoMA’s collection is a internship at MoMA, recently interviewed young one and many things come here Mr. Coddington: essentially unchanged. Rather than have a of

Fine Arts Annual 2014 - 2015 Annual Arts Fine Prior to coming to MoMA, I read the discussion years from now on “how much has Q 2010 Wall Street Journal article on it changed?” can we develop documentation your weekly games of squash. I am curious if procedures that will say “it has changed this you think playing squash may or may not be much”? Then, future conservators can be informative in your career. talking about a narrower range of differences, and they will have better information to more [Laughs] That’s an interesting question. That responsibly restore that piece to something article captures one of the great ironies for me closer to what it originally was. Being able to about people doing things well and not getting document the color of something to a higher recognition for it. I would wager more people degree than what was previously possible has in the world, as a result of that article, have read been something MoMA has worked on for a about my squash playing than the best squash long time. To that end, we’ve worked with the players in the world…they’re phenomenal Rochester Institute of Technology to help them athletes, but they don’t have the sort of position develop the Sinar Color to Match camera, a that affords them this level of exposure. six-channel color capture system. It relates to what conservators do, too, in that Any predictions for the future in we really don’t seek recognition for our pro- conservation? fessional successes. It’s an old trope but one Q that I subscribe to, that if nobody knows we Documentation is taking up a substantial have been there then we have done our job. amount of a conservator’s time these days. Contemporary art, for example, raised the Is there a treatment or artist on which potential for far more documentation. Having you have worked that stands out as Q the artist available increases the amount of particularly challenging or rewarding? documentation, and the complexity of what Circumstances and personal interests have many artists are doing increases the need for directed my attention toward Jackson Pollock. more documentation. That complexity also It began with Kirk Varnedoe’s 1998 retrospec- leads to a much greater uncertainty concern- tive, when Kirk said that many stories had been ing appropriate treatments. My motivation told about Jackson Pollock, but one that had for a better color capture system was about not (at least to that point) was “How did he do contemporary art. It is in a state that if we this? How did he make these things?” Kirk was could capture the color better, everyone in really dedicated to making those questions an the future would be better off for it. The other essential part of the exhibition. That opened thing driving this increased time devoted to the door to Pollock for me, and in the 15+ documentation is technology. There is more years after that, a number of opportunities technology that is readily available. We can point and shoot more instruments at things What prompted that change? now and we need to collect that information. Q What kind of focuses do you think are Our increased collaboration with art historians. Q essential for preparation in the ﬁ eld? They come to us to learn our language, but I do not see the opposite happening as much. I think a real problem is that there are more I could be wrong in that, but I think that it and more demands on conservators, espe- should happen. It would be more productive cially in museums. There is a lot of time spent in every way. telling people about what we do now. Go to any museum website and you’ll see the The ﬁ nal thing I see as an issue for training is increased amount of material that gets pub- what are we going to do about technology- lished, in their journals and elsewhere. Having based works of art. I think that for technology- 17 to put our thoughts down in an orderly and based works of art, students are going to need Institute comprehensible way is something that is some additional training, like an extra year more and more expected of us. of school, or take additional coursework in of

information sciences, video technology, and in- 2014 - 2015 Annual Arts Fine Similarly, I do feel like there is a real need, troductory stuff like that. I think art historians again of museum conservators, to have a will be learning to code, and conservators will really solid grounding in art history. This is a need to learn to code, too. I don’t think that nice pitch to the IFA, but I really believe it. will be a surprising thought in ﬁ ve years. It is something that I would not have been nearly as strong about 10 years ago. For the full interview, please visit the IFA website.

Andrew W. Mellon Foundation Postdoctoral Fellow During their time at the IFA, Mellon Post- vessels, the so-called Resurrection Plate was doctoral Fellows are given the opportunity pierced with a hole typically interpreted as to pursue a research project while gaining “killing” it – releasing its spirit and ending teaching experience at a graduate level. its functionality following the death of its owner. However, the congruence of this Andrew Finegold, 2015-2016 Mellon perforation with the iconography painted Postdoctoral Fellow on the dish suggests the drilling of the ves- Andrew Finegold received his doctorate in sel was understood as being akin to several Pre-Columbian art history from Columbia distinct, yet related ritual activities associ- University in 2012, completing a disserta- ated with creation, abundance, and life: the tion on the visual rhetoric of narrativity in breaking of the living earth to release its wall paintings depicting battle scenes from agricultural bounty, the drilling of fi re as an Epiclassic period Mesoamerica. He has act of temporal renewal, and the piercing of since held teaching positions at Skidmore human fl esh in auto-sacrifi cial rites. As these College and Wake Forest University and of- ideas are examined in successive chapters, fered courses on Ancient American topics at the discussion will be expanded to include Columbia University and Pratt Institute. a range of beliefs, practices, and material His current book project, which centers on culture that together serve to demonstrate a close analysis of a single Classic Maya the consistent, widespread, and transme- dish, examines the creative potentials attrib- dial experience of voids as fecund nodes uted to negative spaces by ancient Meso- of generative potential in ancient Meso- americans. As with dozens of other Maya america.

ifa.nyu.edu What We Do 19 Institute of Fine Arts Annual 2014 - 2015 ifa.nyu.edu ts of increased ts of increased t from individual project- t from awareness about environmental risks and about environmental awareness substantial countermeasures are appropriate of the collection at the for the preservation Egyptian Museum. In the spring of 2014, the Conservation Center, of 2014, the Conservation In the spring the American a grant through from with support a provided in Egypt (ARCE), Center Research in preventive training program highly focused Conservator for Eman H. Zidan, conservation This pilot program at the Egyptian Museum. audit advanced training allowed Ms. Zidan to courses and to benefi concluded program based instruction. The condition assessment with an environmental Museum. In case study at the Egyptian Roemich traveled to December 2014, Dr. Zidan selected with Ms. to co-present Cairo the staff to the pilot program from results the Egyptian Museum. and administration at for the refurbishment plan A comprehensive of the Egyptian Museum is under development; conservators none of the museum’s however, training in preventive the appropriate received of conservation to be involved in the survey conditions and the implemen- environmental there Currently, measures. tation of preventive is no opportunity for training in preventive conservation conservation in Egypt. Preventive on communication amongst experts of relies of a the hierarchy disciplines across different museum. The goal is to have conservators, and higher manage- curators, technical staff, to face these challenges ment joining forces the long-term of and improve preservation the collection. The benefi - The Egyptian Muse- Egypt, um in Cairo, houses one of the signifi most world’s cant collections of Egyptian antiquities. Even after the new Grand Egyptian Museum opens select and receives sections of the collection, the building will Square at Tahrir Current light conditions in the Egyptian Museum. Photo credit: Eman Zidan light conditions in the Egyptian Museum. Photo credit: Current cant part of the collection will not be Previous page: PhD candidate Katie Wright during the during the page: PhD candidate Katie Wright Previous exhibition. opening of the Martha Chilindron signifi immediate response to the current needs, a to the current immediate response available for display in the future. pyrus, is cumulative and irreversible. Withoutpyrus, is cumulative and irreversible. as the fading of dyes or embrittlement of pa- as the fading of dyes or embrittlement of greatest risk. Damage caused by light, such greatest organic objects, like textiles and wood, are at objects, like textiles and wood, are organic tional museum guidelines. Especially sensitive levels for example, are not in line with interna- levels for example, are the Egyptian Museum in Cairo. the Egyptian Museum lightconditions at the Egyptian Museum, high ongoing collaboration between the IFA and between the IFA ongoing collaboration environmental and scholars in Egypt. Currently, science. For the IFA Annual, she describes an science. For the IFA one of the main attractions for tourists remain on preventive conservation and conservation conservation on preventive and enamel technology. She teaches courses and enamel technology. of the environment on artworks, and glass on artworks, of the environment non-destructive testing of artworks, the effects the effects testing of artworks, non-destructive Science. Professor Roemich’s research includes research Roemich’s Science. Professor vation Center and Professor of Conservation and Professor vation Center Hannelore Roemich is Chairman Roemich of the Conser- Hannelore CURRENT RESEARCH CURRENT Roemich Hannelore CURRENT RESEARCH The Arts of China: Jonathan Hay, Hsueh-man Shen, Michele Matteini

With three China specialists on the faculty, the not abandoned the Early Modern period, Institute is a leading center for the study of the however. For the last several years I have been art and archaeology of China, particularly for part of an interdisciplinary team of seven the period from the fourth century to the pres- scholars writing a collectively authored study ent. Chinese art and archaeology is a major of a transformative sixteenth-century ﬁ gure, strength of the University. Complementing the Xu Wei (1521-1593). Xu was not only a major IFA’s faculty, two specialists of earlier periods painter, but also a calligrapher, dramatist, and of Chinese archaeology, Lillian Tseng and Rod poet of the highest importance. Alongside Campbell, are on the faculty of the Institute these historical research projects, I continue for the Study of the Ancient World, and are to publish theoretical essays whose purpose also afﬁ liated faculty of the IFA. is to contribute to a new epistemological 20 framework for art historical interpretation in

Institute Jonathan Hay general. A study of the city of Beijing ca. 1450 (in press) proposes an ecological approach to the study of urban form. An essay on the of

Fine Arts Annual 2014 - 2015 Annual Arts Fine concept of ornament (in press) takes issue with the prevailing assumption that ornament has a phenomenological reality. A recently published essay on copying argues that the practice of Chinese painting entails cyborg technologies of different kinds. A forthcoming essay reconceptualizes the image in quantum terms as an entanglement of instantly seized impact image and immersive imagescape. All my articles and essays are posted on my faculty page for downloading as they appear. Jonathan Hay teaching his lecture course How to Look at Chinese Paintings. Photo credit: Marvin Trachtenberg. Hsueh-man Shen

Although known for my work on Early Modern painting and decorative arts, during the last few years I have concentrated on a much earlier period, the tenth century. I will soon complete a short book on the polymath, Guo Zhongshu (928-977). Guo was a paleographer, calligrapher, and painter who also participated in major architectural projects. Guo attracted my attention because a more detailed account of his life and achievements can be written for him than for any Chinese artist before the year 1000. This study is a spin-off from a larger Currently I am completing a book titled book project, provisionally entitled Murderous Authentic Replicas, which explores the idea Times: Chinese Painting, 886-976. Recent and practice of reproduction in the making archeological discoveries and my own archival of Buddhist art and material culture during research are making it possible to write a pre- the middle periods. Drawing upon various liminary history of this crucial but little under- examples ranging from manuscripts, woodcut stood period. The book will reconfi gure our prints, reliquaries, votive plaques, to wall understanding of the origins of Song painting. paintings and sculptures, I reconsider the Since this is a long-term project, some parts relevance of such art historical concepts as of the research are appearing as articles. I have originality and authenticity within the Chinese context. 21 Institute of Fine Arts Annual 2014 - 2015 ifa.nyu.edu eld of the British Library, eld of the British Library, gure painting, and nineteenth-century gure antiquarianism. Next year, I will begin to teach year, antiquarianism. Next whom I plan to exploregraduate students, with and future facets of my current more Workshop The China Project is a forum for now in its fourth year, The CPW, in and discussion of projects the presentation The workshop meets eight times a progress. September to December and February year, and is open to the public. The work- to May, shop is very well attended, having immediate- the many ly established itself as a place where specialists of Chinese art and archaeology Presenta- can meet each other. in New York a to ensure by invitation in order tions are balance of topics and expertise. The format explanation is an unusual one. A 1,000-word in is circulated to be presented of the project the advance to the mailing list. On the day, has a maximum of 30 minutes to presenter this is followed by up to the project; present 2014- 90 minutes of moderated discussion. In from 2015 we have so far had presentations of the Internationalthe Director Dunhuang Susan Whitfi Project, the Assistant book project; on her current Museum, Curator of Asian Art at the Brooklyn of the Susan Benningson, on the reinstallation at Senior Vice President Wang, galleries; Tao on the collecting history of an an- Sotheby’s, Muck, indepen- Freda cient Chinese bronze; on the on an article in progress dent scholar, of an eleventh-century painting; interpretation and the Curator of Chinese and Central Asian Collections at the British Museum, Clarissa into Chinese paint- von Spee, on her research ing multiples. The upcoming presentations include François Louis, Associate Professor, Graduate Center in the Decorative Arts, Bard on a on his upcoming exhibition centered “literati” tradition, in favor of new modes of in favor of “literati” tradition, happens when the But what visual immediacy. did not corre- sought to revive past that they by many generations spond to that canonized hold a dual appoint- them? At NYU, I before of Art History and ment at the Department Arts. I am developing new the Institute of Fine aspects of East courses on different lecture as well as culture Asian art and material on eighteenth-century seminars upper-division court art, fi oject rst Cave work of the an exhibition to open at the Getty to open at the an exhibition cance of Dunhuang in relation to spirituality to cance of Dunhuang in relation brush or the monochrome of the so-called of the so-called brush or the monochrome rejecting, for example, the authority of the for example, the authority of the rejecting, put the history of painting under scrutiny, put the history of painting under scrutiny, that were at the margins of canonical practices, at the margins that were facts. Artists, drawn to pictorial traditions prompted by the rediscovery of ancient arti- by the rediscovery prompted profound critical revision of the past that was critical revision profound The eighteenth century was a moment of a tangible object that could be experienced. transformed past into an abstract idea of the interested in the ways artistic practices interested his patrons in Beijing, but I am more broadly broadly in Beijing, but I am more his patrons the exchange between the artist Luo Ping and the exchange between the artist Luo Ping in the late eighteenth century. My focus is on in the late eighteenth century. between scholarship and pictorial imagination My research investigates the interconnections investigates the interconnections My research Michele Matteini conceptual blending. foreground the complexity of its subsequent foreground between verbal and visual languages, to between verbal and visual languages, to each other during the process of translation each other during the process project, I examine how text and image inform I examine how text project, the issue of translation. In this book-length the issue of translation. A separate line of my current research concerns research current A separate line of my and artistic practices. and artistic practices. Research Institute in May 2016. As the fi Institute in May Research signifi Silk Road, pr in the U.S., the exhibition of Dunhuang the history and presents while also Academy, Temples of Dunhuang: Buddhist Art on China’s China’s Buddhist Art on of Dunhuang: Temples conservation-related major art historical and the long-term collaborative features Institute and Dunhuang Getty Conservation I am also involved in the planning of in the planning I am also involved CURRENT RESEARCH The Arts of China: Jonathan Hay, Hsueh-man Shen, Michele Matteini

tenth-century illustrated text; and Yunru Chen, Study of the Ancient World, and NYU, and Curator of Chinese Paintings at the National also Jonathan Hay, delivered papers, with re- Palace Museum, Taipei, on the legacy of Song sponses from Hsueh-man Shen, François Louis Emperor Huizong in East Asian art. (Bard Graduate Center), and Olga Panova (Visiting Scholar at the IFA, Russian University On October 24, 2014, the CPW sponsored its for the Humanities). The workshop, which was ﬁ rst one-day graduate student workshop on open to the public, was also livestreamed, the theme “Painting under the Five Dynasties, with more than a hundred people following Liao, and Northern Song Dynasties.” Seven the workshop in Europe, North America, and students from the IFA, the Institute for the East Asia.

22 Institute IFA Portals of Fine Arts Annual 2014 - 2015 Annual Arts Fine

IFA Portals is a new system of thematically the fi fth to the twentieth century. Another specifi c, content-rich websites that provide feature of the portal will be a series of glos- a range of useful resources for a specifi c saries. The fi rst of these glossaries, “Epis- area. The Historiography portal is devoted temologies of Ink Painting,” includes 270 to historiography as a subgenre of art art historical terms, each of which is given historical writing. The core of the portal is a a defi nition of one or two paragraphs or book-length text by Jonathan Hay, “Histori- more followed by relevant bibliography, and cal Writing on Art: A Cross-Cultural History.” illustrated through hyperlinks. The glossary This text is hyperlinked to biographies of is densely cross-referenced with hyperlinks. writers and excerpts from texts. Among the A third portal, Generating Histories, is de- other features of the portal are extensive voted to the Institute itself as an institution. reference resources and historiographic Within an architecture carefully designed for writings by IFA faculty past and present, ease of use, it makes available a vast trove and alumni. A second portal is devoted to of materials relating to the ongoing history Chinese Pictorial Art. One of its features will of the Institute. The fi rst three portals will be entire lecture courses, made available become available to the IFA community both as lecture texts and videotaped lec- in Fall 2015, and to the public at large in tures. The initial lecture course by Jonathan Spring 2016. New portals will be added Hay, “How to Look at Chinese Paintings,” gradually. is a macrohistory of Chinese painting from CURRENT RESEARCH Kress Paintings Research Initiatives

23 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Margarita Berg leads a discussion during the Conservation Center’s Fall 2014 Open House

The dispersed Samuel H. Kress Collection, held The many early Italian paintings in the Collec- in more than 90 institutions in 33 states, encom- tion with gold grounds or other forms of gold passes over 1000 Italian paintings, including embellishment prompted the title of our new approximately 500 examples of early Italian blog, “Our Gilt-y Obsessions.” This initiative works on panel. Twenty-fi ve years ago, the is intended to highlight interesting aspects of Kress Program in Paintings Conservation was ongoing treatments and research conducted established in order to train students in the at the Conservation Center. In our fi rst blog conservation and restoration of Old Master post, “Punchwork with Personality,” third-year paintings. As with the fi eld, the initial treatment- student Annika Finne discusses the elaborate oriented approach has been augmented by gilded decorations in a panel painting by the greater emphasis on research and technical Sienese master Sano di Pietro. analysis. These expanded online features have been The Conservation Center’s redesigned Kress developed by Rita Berg, the newly appointed Paintings Research website is dedicated to the Kress Fellow in Paintings Conservation, and study, technical examination, and scientifi c former student of Dianne Modestini, founder analysis of paintings in the Kress Collection. It and head of the Kress paintings program. In will make this valuable information available the next year, we anticipate adding a number to other collections with similar works of art. of new publications on ongoing research and A new publication by Kristin Robinson, a 2012 recently treated paintings from diverse Kress graduate of the Conservation Center and regional museums and study collections. presently Conservator at Cranmer Art Group, discusses the technical examination of a gold ground Crucifi xion by Lorenzo di Bicci, bringing into focus several aspects of workshop practice in Florence during the late trecento and early quattrocento.

ifa.nyu.edu Work-In-Progress Series

24 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Thelma Thomas gives a presentation in the Works in Progress seminar

The Work-In-Progress series was initiated in 2013 by the Graduate Student Association to 2014-2015 Academic Year create a collegial forum where faculty and Presenters advanced doctoral students can present current and ongoing research. Open to current Fall students and faculty, the series aspires to Katie Wright facilitate conversations beyond the classroom about methodologies and research, about Noémie Etienne speciﬁ c projects and interdisciplinary issues. The Work-In-Progress talks augment the rich Alexander Nagel intellectual exchange between students and Rachel Kaplan faculty, and among colleagues, of the Institute of Fine Arts. In the 2014-2015 academic year, Patrick C. Salland participants included Professors Nagel, Shen, and Thomas, post-doctoral fellow Noémie Spring Etienne, and doctoral candidates Ami Brett, Kate Holohan Marya Fisher, Kate Holohan, Rachel Kaplan, Brett Lazer, Patrick C. Salland, and Katie Ami Brett Wright. These presentations covered topics from graphic arts culture in Los Angeles in the Marya Fisher 1960s to representations of ﬂ ora and fauna Brett Lazer in royal palace paintings in New Kingdom Egypt; from anthropological dioramas on the Thelma Thomas East Coast around 1900 to Spanish Habsburg collecting of Latin American art and artifacts. Hsueh-Man Shen FACULTY RESEARCH Exhibitions and Selected Publications

Jonathan Brown Exhibitions In the Shadow of Velázquez. A Life in Art History. “Le Corbusier, An Atlas of Modern Landscapes,” (New Haven: Yale University Press, 2014) CaixaForum Barcelona, January-May 2014; CaixaForum Mardrid, June-October 2014 Co-editor, with Luisa Elena Alcala: Painting in Latin America 1550-1820: From Conquest to French pavilion at the 2014 Venice Architecture Independence. (New Haven: Yale University Biennale, June-November 2014 Press, 2013) “Architecture in Uniform, Designing and Jean-Louis Cohen Building for the Second World War,” Cité de Publications l’architecture et du patrimoine, Paris, April- “L’Architecture au XXe siècle en France: September 2014; MAXXI, Rome, December modernité et continuité,” in Modern Architec- 2014-May 2015 tures in History. (London: Reaktion Books, 2015) “Une architecture de l’engagement: l’AUA Editor, with Ariella Masboungi: New York, (1960-1985),” Cité de l’architecture et du pat- 25 réguler pour innover: les années Bloomberg. rimoine, Paris, October 2015-February 2016 Institute (Marseille: Parenthèses, 2014) Thomas Crow of

Editor, with Vanessa Grossman: La modernité, The Long March of Pop: Art, Design, and 2014 - 2015 Annual Arts Fine promesse ou menace? France, 101 bâtiments Music 1930-1995. (New Haven: Yale University 1914-2014. (Paris: Dominique Carré, 2014) Press, 2015) Foreword to Jacques Barsac, Charlotte Perriand: Margaret Holben Ellis Complete Works, vol. 1. 1903-1940 (Paris: Readings in Conservation: Historical Perspectives Norma, 2014), 6-12 in the Conservation of Works of Art on Paper. “Milano-Mosca: le attese di Guido Canella,” (Los Angeles: J. Paul Getty Trust, 2014) in Enrico Bordogna, Gentucca Canella, Elvio Finbarr Barry Flood Manganaro, eds., Guido Canella 1931-2009 “Bodies and Becoming: Mimesis, Mediation (Milan: Franco Angeli, 2014), 420-428 and the Ingestion of the Sacred in Christianity “‘Le Corbusier: Buildings in Europe and and Islam,” in Sensational Religion: Sensory India’: la photographie prise en gage,” in Cultures in Material Practice, ed. Sally M. Anouk Hellmann, Michel Richard, eds. Promey (New Haven: Yale University Press, Le Corbusier. Aventures photographiques 2014), 459-493 (Paris: Éditions de la Villette, 2014), 140-153 Jonathan Hay “[American] Objects of [Soviet] Desire,” in Iain “The Reproductive Hand,” in Between East Borden, Murray Fraser, Barbara Penner, eds. and West in Art, ed. Shigetoshi Osano (Cra- Forty Ways to Think About Architecture. cow: Artibus et Historae, 2014), 319-333 Architectural History and Theory Today “The Passage of the Other,” in Ornament: (Chichester: Wiley, 2014), 127-133 Between Global and Local,” eds. Gülru “Architekten als Kriegsexperten 1939-1945,” Necipog˘ lu, Alina Payne (Princeton: Princeton in Winfried Nerdinger, ed., Architektur und University Press, 2015) Verbrechen. Die Rolle von Architekten im Green Beijing: Ecologies of Movement in Nationalsozialismus (Göttingen: Wallstein the New Capital, ca. 1450. (London: British Verlag, 2014), 65-92 Museum, 2015) “Modernité et internationalisation,” in R Günter H. Kopcke evue de l'Art (n. 186, 2014): 37-43 “Carpathian Gold,” in Saluting Ellen N. Davis: “Le Corbusier’s Modulor and the Debate on Papers from a New York Aegean Bronze Age Proportion in France,” in Architectural Histories Memorial Symposium, Roosevelt House, 2(1):23 (2014), DOI:http://dx.doi.org/ Hunter College, City University of New York, 10.5334/ah.by September 13, 2014, eds. Robert B. Koehl, Larissa Bonfante (in press)

ifa.nyu.edu FACULTY RESEARCH Exhibitions and Selected Publications

Clemente Marconi Robert Maxwell Editor, The Oxford Handbook of Greek and With M. Gil, M. Späth, A. Vilain de Bruyne, L. Roman Art and Architecture. (Oxford and Hablot, “Debat: Héraldique, Sigillographie, New York: Oxford University Press, 2015) et Dimplomatique, leurs contributions en l’histoire de l’art médiévale,” in Perspective: “Introduction: Advocating a Hermeneutic la revue de l’INHA (2014) Approach, ” in The Oxford Handbook of Greek and Roman Art and Architecture, ed. “Accounting for Taste: American Collectors of C. Marconi (Oxford and New York: Oxford Twelfth-Century French Sculpture,” in Journal University Press, 2015), 1-17 of the History of Collections (Oxford: Oxford University Press, 2015) “Nuovi dati sui culti del settore meridionale del grande santuario urbano di Selinunte,” in “Visual Argument and the Interpretation of κατα` κορυφη~ν φα´ ος. Studi in onore di Graziella Dreams in the Illuminated Chronicle of John 26 Fiorentini (Pisa and Rome: Fabrizio Serra of Worcester,” in The Medieval Chronicle,

Institute Editore, 2014), 263-271 vol. 8 (Leiden: Brill, 2014) “A New Analysis of Major Greek Sculptures in “Le portail roman en Aquitaine et ses impli-

of the Metropolitan Museum: Petrological and cations funéraires,” in Cahiers de Saint-Michel Fine Arts Annual 2014 - 2015 Annual Arts Fine Stylistic, ” with L. Lazzarini, in Metropolitan de Cuxa, 45 (2014) Museum Journal, 49 (2014): 119-142 Mia Mochizuki “The Mozia Charioteer: A Revision,” in Ap- “The Luso-Baroque Republic of Things and the proaching the Ancient Artifact: Representation, Contingency of Contact,” in Ellipsis. Journal of Narrative, and Function, eds. Amalia Avrami- the American Portuguese Studies Association, dou, Denise Demetriou (Berlin and New York: Vincent Barletta, ed., The Lusophone Baroque Walter De Gruyter, 2014), 435-447 [Special issue] 12 (2014), 143-71 “Two New Aulos Fragments from Selinunte: “The Diaspora of a Jesuit Press: Mimetic Cult, Music and Spectacle in the Main Urban Imitation on the World Stage,” in Feike Dietz, Sanctuary of a Greek Colony in the West,” in Adam Morton, Lien Roggen, Els Stronks and Musica, culti e riti nell’Occidente greco Marc van Vaeck, eds., Illustrated Religious (Studia Erudita 18), ed. A. Bellia (Pisa and Texts in the North of Europe, 1500-1800 Rome: Fabrizio Serra, 2014), 105-116 (Farnham: Ashgate, 2014), 113-34 Michele Marincola “Shock Value: The Jesuit Martyrs of Japan Editor, with Johannes Taubert, Polychrome and the Ethics of Sight,” in Sally M. Promey, Sculpture: Meaning, Form, Conservation. ed., Sensational Religion: Sensory Cultures in (Los Angeles: Getty Publications, 2015) Material Practice (New Haven: Yale University Press, 2014), 375-97

Recent publications by IFA faculty 27 Institute of Fine Arts Annual 2014 - 2015

From From Through Through ifa.nyu.edu Istanbuler Mit- 63 (2014), 325-77 (Art Gallery of On- Oxford Bibliographies Oxford R. Etlin, Series, vol. 2, Early (2015) Dee Clayman, ed. (Oxford: Oxford Oxford Dee Clayman, ed. (Oxford: Cambridge World History of ReligiousCambridge World (forthcoming) San Juan to Paris and Back: Francisco to Paris and Back: Francisco San Juan (New Haven: Yale University Press, 2014) University Press, Yale (New Haven: Exchange along the Silk Roads between Exchange along the Silk Roads between Istanbuler Mitteilungen, “The scaenae frons (theater façade) of Zoilos and“The scaenae frons Monuments of Two the Stadium at Aphrodisias: Katherine Welch and “The Achilles With M. Gensheimer, the Tetrastyle from Penthesilea Statue Group ” Court of the Hadrianic Baths at Aphrodisias, in Architecture, ed. (New Christian and Byzantine, A. Yasin, 2015) Cambridge University Press, York: Marvin Trachtenberg in Florence: San Lorenzo “Building and Writing in and Prior,” Patron Biographer, Architect, Art Bulletin B. Hildebrandt and M.-L. Nosch, eds., Ancient B. Hildebrandt and M.-L. Nosch, eds., Ancient forthcoming) Series (Oxbow Press: Textiles Space in Late Antique and Coptic “Sacred Egypt,” in Tierra del Fuego to the Arctic: Landscape del Fuego to the Arctic: Tierra Painting in the Americas Withinthe Lens: Haiti from and Without, Museum of Art (2015) Ft. Lauderdale Thelma Thomas “Late Antique Art,” in in Classics, Rome and China in Antiquity: The Silk Trade, Edward Sullivan Edward From of Impression- Art in the Era Oller & Caribbean ism. The Land as Resource “Landscapes of Desire: exhibition catalog in the Caribbean,” in tario, 2015) Deux décennies “‘La magie de l’authenticité’: de l’art haïtien aux d’exposition et d’étude Gradhiva. États-Unis et en Grande-Bretagne,” des Arts, et d’Histoire Revue d’Anthropologie 21 (2015), 207-221 Painters and Photog- the Lens: “Artists Before raphers in Haiti,” in exhibition catalog 2014) University Press, “Perspectives on the Wide of Luxury: World Syria and Egypt,” Late Antique Silk Finds from for Augustan imperial victory,” in Augustan imperial victory,” teilungen

ed. óka’s óka’s Egypt äche der Stephen Francis Alys Reel- Women in Clothes, Women July 15, 2014 Die Oberfl ed. Ulrike Tarnow ed. Ulrike Tarnow Rendez-vous with Art. Rendez-vous Brooklyn Rail, Brooklyn Allegory of the Cave Painting, Allegory of the Cave Beiträge zur Islamischen Archäol- eds. Julia Gonnella, Rania Abdel- catalogue of the exhibition catalogue of the exhibition (Milan: Mandadori Electra, 2014), 89-118 Between East and West: Reproductions in in Reproductions Between East and West: Unreel “Painting/Withdrawing,” in Robert Slifkin in Samarra, 2014),107-122 Reichert Verlag, ogie, vol. 4: A Hundred Years of Excavations Years ogie, vol. 4: A Hundred Ludwig latif, Simone Struth (Wiesbaden: Dr. Century” in in the Indian Ocean Trade during the Ninth during in the Indian Ocean Trade “Copies without the Original: King As in Naruto, Japan, 15th-18th January 2013, Chinese Polychromes “Familiar Differences: Hsueh-man Shen of the 2013 CIHA Colloquium Art, Proceedings House, 2014), 227-236 The Old Kingdom Town at Buhen. The Old Kingdom Town 2014) Egypt Exploration Society, in (Kraków: IRSA Publishing of Milosz Wozny David O’Connor 106 (London: Exploration Society Memoir, China” 84,000 Stupas and Their Replications in Shigetoshi Osano with special collaboration on Visual Art, “Beyond the Relic Cult of Art,” Held Essays “Beyond the Relic Cult of Art,” Held Essays (New York: Penguin, 2014) (New York: eds. Sheila Heti, Heidi Julavits, Leanne Shapton “On Style: An Interview,” in “On Style: An Interview,” Publishing, 2015) “Stephen Andrews in Effect,” in in in Effect,” “Stephen Andrews in and Michelangelo,” pocene,” in Vincent van Gerven Oei (Milan: Mousse Alexander Nagel Alexander da Vinci in Leonardo “Allegories of Art-Making in der frühen Neuzeit, Anthro- in the Long “Incidents of Time-Travel City Kunsthal, Antwerp, eds. Mihnea Mircan, (New York: Thames & Hudson, 2015) Thames & Hudson, (New York: Andrews, Gallery of Ontario, 2015) Art (Toronto: Zeichen: Zur Hermeneutik visueller Strukturen (Paderborn: Wilhelm Fink, 2015) exhibition at Extra to accompany the reader With Marin Gayford, Philippe de Montebello Philippe de STUDENT VOICES Thomas Brown

28 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Thomas Brown is a second year M.A. student only the sieges, but prints from all stages of focusing on seventeenth century French his career, as well depictions of other sieges prints. His master’s thesis, written under the by his contemporaries, such as Stefano Della guidance of Colin Eisler, is a study of Jacques Bella. The time spent with these artworks only Callot’s large-scale prints commemorating the deepened my interest and inspired me to siege of La Rochelle. travel to Washington to see more of Callot’s work at the National Gallery of Art. I came to the IFA to study the art of the past, expecting that for the next two years my work Callot excelled at portraying the minutiae would have nothing to do with the twenty-ﬁ rst of military life, and the marshy landscape in century. Current events and the media’s ten- his Siege of La Rochelle, seen from above in dency to spin news were a hidden inspiration a bird’s-eye perspective, is alive with every for a seminar paper on how prints made to imaginable activity, from the triumphal entry praise Louis XIV were marketed in the French into the defeated city down to laundresses periodical, the Mercure Gallant. In 1628 or washing uniforms in the sea. Taken together, 1629 the Lorraine etcher Jacques Callot was the works seem almost literary, forming hired by Louis XIII of France to make two sets something like a panoramic novel of life in of prints celebrating the successful siege of a seventeenth-century army. the Protestant-held city of La Rochelle. The work is essential for understanding Callot, While researching a paper on Callot’s Siege of the environment in which he worked, the Breda for the Foundations I: Practices of Art artistic value of the prints, and the artist who History course, I noticed that his French sieges would go on to create The Miseries and have been comparatively neglected, and when Misfortunes of War. it was time to choose a master’s thesis topic, I remembered Callot. The Institute of Fine Arts afﬁ liation with the Metropolitan Museum allowed me access to the Metropolitan Museum’s Print Room to look at his work, not SPOTLIGHT ON STUDENTS AND ALUMNI Jennifer Casler Price

Jennifer Casler Price earned her Master’s degree internship in the Asian art department at the from the Institute in 1986 and a Curatorial Stud- Metropolitan Museum that led to a full-time ies certiﬁ cate in 1990. Jennifer is the Curator position as curatorial assistant to the senior for Asian and Non-Western Art at the Kimbell curator of Chinese art. During my three years Art Museum in Fort Worth, Texas where she there, I had the opportunity to handle works focuses on the collections of Asian, African and of art on a regular basis and learn the nuts Pre-Columbian art. For the Annual, Jennifer and bolts of mounting exhibitions. discusses how her studies at the IFA prepared I have been at the Kimbell since 1993, where I her for the challenges of curating a diverse am responsible for the collections of Chinese, range of areas for the past 21 years. Japanese, Indian, Himalayan, Southeast Asian, African, and Precolumbian art. During my tenure, When I was studying Chinese art history at the I have curated exhibitions of Chinese antiquities, IFA I don’t think I ever imagined that my cura- Buddhist sculpture, Japanese ukiyo-e painting, torial career would encompass such a diverse Samurai armor, Tibetan Esoteric Buddhist paint- 29

range of ﬁ elds. However, in the course of Institute ing, Egyptian faience, Mughal manuscripts, my studies, three critical experiences helped African and Oceanic sculpture, Maya and Wari prepare me for what lay ahead.

art. In 2012, I had the honor of organizing of The ﬁ rst was Professor Harry Bober’s Connois- and installing the Kimbell’s 40th Anniversary 2014 - 2015 Annual Arts Fine seurship seminar. For his class, Harry would exhibition in the iconic Louis Kahn building. bring a shopping bag ﬁ lled with treasures from Most recently, I installed my collections in the his personal collection – the students would Kimbell’s new Renzo Piano Pavilion. I have have to describe them on the spot. Harry taught made acquisitions in all of the areas I curate – me how to use my eyes and how to speak con- the latest is a pair of seventh-century Maya cisely and articulately about art. Second, I was terracotta Incensarios. My work travels have able to spend two years in Taipei, studying taken me around the world – throughout Asia Chinese language and art. During this time I and across Europe. I love the challenges that traveled through China, Nepal, Burma, Thailand, being curator of half the globe brings, as I am and Indonesia – absorbing the art and archi- constantly learning something new, and I love tecture of these diverse Asian cultures that sharing that knowledge with our audiences at I was not able to study formally. Third, my the Kimbell.

ifa.nyu.edu STUDENT VOICES Amy Brost

Amy Brost is a third-year conservation student had the opportunity to study not only modern specializing in photography and variable media and contemporary art history and traditional art. She is the fi rst student to complete a cus- conservation treatment, but also digital pres- tomized interdisciplinary curriculum in media ervation, born-digital archiving, and custodi- art conservation. Her fourth-year internships anship of complex media works. will be in the media art conservation labs at My MA thesis is on the evolution of the notion the Museum of Modern Art and Solomon R. of authenticity in variable media art. My talk Guggenheim Museum, both in New York City. for the Association of North American Graduate Programs in Conservation (ANAGPIC) student conference, April 2015, is titled “Digital Media in Art: Meaning, Materiality, Digital Forensics Workfl ows, and Conservation.” I show how the identity of a media artwork is explored in 30 order to guide conservation treatment and Institute preservation planning, and how digital forensics workfl ows in born-digital archives are inform-

of ing the way that museums approach artworks Fine Arts Annual 2014 - 2015 Annual Arts Fine originally acquired on legacy data carriers. As micron-scale images of magnetic hard disk drives and discs show, the inscription of data on these carriers is as material as the writing on parchment or a cuneiform tablet. In addition to maintaining each data carrier as acquired, I am interested in how, and how much, its material nature ultimately matters to the authentic presentation of the artwork.

Photo by Harvey Wang, 2014

Media art conservation is an emerging specialization. The pioneers in the ﬁ eld were often mid-career in other specializations when they were thrust into this new world. To train for a career in media art conservation, the Conservation Center faculty worked with me to develop a customized curriculum rooted in conservation ethics and methodology to provide a ﬁ rm conceptual foundation. This is critically important, given the diversity of artworks SEM micrograph of compact disc comprised of all manner of technologies, including analog and digital media, electron- ics, playback and display equipment. I have learned that the actions taken in the name of conservation are guided by a thorough understanding of the very identity of the artwork – the qualities or physical elements that can be changed or replaced as the work ages, and those that cannot. During the program, I have SPOTLIGHT ON STUDENTS AND ALUMNI Suzanne Davis

Suzanne Davis earned her Master’s degree in I also value the multi-disciplinary nature 1997 and her Conservation Certiﬁ cate in 1998 of archaeological conservation, and this is at the Institute of Fine Arts. Herein, Suzanne something for which the Institute of Fine Arts shares how her IFA experience translated into did a good job of preparing me. I had a great a successful career that involves conservation cohort of conservation students, but my clos- and archeology. est friends in graduate school were pursuing doctoral degrees in art history. Those relation- As the Associate ships have remained incredibly important as Curator and Head we’ve all continued in our chosen careers. Of of Conservation course, it probably helps that we met on one for the University of the IFA’s archaeological excavations: Samo- of Michigan’s thrace! For me, the IFA’s Conservation Center Kelsey Museum offered important ﬂ exibility to structure my of Archaeology, own education through both coursework I have a rare and 31

and internships. I still think the Conservation Institute (I think) enviable Center excels at empowering students to craft job. The Kelsey their own career paths.

is a small, quirky, of academic museum 2014 - 2015 Annual Arts Fine that also happens to be a powerhouse in ancient archaeology. I’m responsible for the care of the museum’s 110,000+ collection of archaeological artifacts, but I also have the privilege of working at several of the Kelsey’s archaeological excavations: the Abydos Middle Cemetery, in Egypt; Tel Kedesh, in Israel; El Kurru, in the Republic of the Sudan; and Notion, in Turkey. For an archaeological conservator, it’s truly the best of both worlds. My work in the museum is driven by exhibitions, loans, teaching, and the research conducted by University of Michigan faculty and students. In the ﬁ eld, conservation activities vary from site to site. Recent conservation research at Abydos has focused on solving problems with preservation of archaeological wood, and this research has involved two other IFA alumnae – Pamela Hatchﬁ eld and Rae Beaubien. Work at El Kurru and Notion, on other hand, is primarily concerned with preservation of architectural remains. In both the museum and on-site, one of my favorite things is working with archaeologists and conservators who are just starting out. Not only am I inspired by their energy and enthusiasm, I learn a lot from them, too. Abydos excavation, 2014. Photo credit: Greg Maka.

ifa.nyu.edu STUDENT VOICES Susanna Temkin and Katharine J. Wright

Susanna Temkin is a PhD candidate special- In addition to the installation of these two izing in modern art exhibitions, a major goal of our curatorial of the Americas. Her work was to bridge the presentation of art dissertation research with the academic aims of the Institute. Thus, focuses on the painter we have fostered new research about the art Marcelo Pogolotti, a on display through interactive digital publica- member of Cuba's ﬁ rst tions. These catalogues will be available for generation of modern download on the Great Hall Exhibition page artists and a partici- of the Institute’s website. pant in the European We have also worked to engage with students avant-garde of the and professors at the Institute, as well as 1930s. members of the broader academic commu- Katharine J. Wright is a seventh year doctoral nity and general public, through extensive 32 student specializing in programming. This programming has includ- Institute American modern and ed opening receptions, artist conversations contemporary art. Her (held in collaboration with the Latin American

of dissertation research Forum), and workshops on conservation and Fine Arts Annual 2014 - 2015 Annual Arts Fine focuses on the inter- installation practices. In the spring we are section between print working with the Felix Gonzalez-Torres Foun- advertising and ﬁ ne art dation to provide stipends to scholars whose in the work of con- research opens up new dialogues about the temporary artists such artist and his time. These papers will then be as Lynda Benglis,Ed published on the IFA website. Ruscha, and Judy This year’s exhibitions, receiving positive reviews Chicago. from a number of press outlets, have allowed As aspiring curators and doctoral candidates us to successfully promote the Institute’s on- at the Institute, we have been honored to going commitment to art historical innovation spearhead the 2014-2015 Great Hall Exhibition and excellence in a novel way. series. Building upon the success of the program’s inaugural year, we worked to promote the series as an innovative platform for the study and display of contemporary art at the Institute. In the fall of 2014, seven manipulable sculptures by Marta Chilindron enlivened the lobby and vestibule of the James B. Duke House with their colorful and Constructivist- inspired geometries. In the spring, we pair two artworks encompassing the different media and conceptual practices of artist Felix Gonzalez-Torres. One of the greatest challenges of this exhibition series is its presentation in the Institute’s main point of circulation: the Great Hall. Yet, installing works in this ornate Beaux Arts atrium is also one its greatest opportunities, as it provides a uniquely historic backdrop in which to situ- ate an artist’s contemporary concerns, while simultaneously offering a setting that encour- Marta Chilindron’s Mobius in the Fall 2014 ages a maximal level of visitor interaction. Great Hall Exhibition STUDENT VOICES Madeline Murphy Turner

33 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Madeline Murphy Turner is a second-year MA Gallery. In conjunction with the exhibitions, student specializing in modern and contem- the NYU Curatorial Collaborative has hosted porary Latin American and Spanish art. For two discussions. The fi rst, held at the Barney the IFA Annual, Madeline discusses the New Building, focused on Absence/Presence and York University Curatorial Collaborative and included a panel of the artists involved. The its fi rst year of exhibitions. second took place at the IFA and featured a discussion with the artists and curators of the Last fall, the Institute of Fine Arts and the NYU senior honors exhibitions at 80WSE. In addition Steinhardt School came together to inaugurate to the exhibitions, the greatest achievement the New York University Curatorial Collabora- of this project has been developing the rela- tive. An initiative to bring graduate curators tionship between the uptown and downtown and BFA artists together, the NYU Curatorial departments, and the opportunity to discuss Collaborative has taken full form during Spring our shared passion. 2015 with two gallery spaces, six exhibitions, ten curators, and twenty artists. When I fi rst Throughout this Spring semester, we have seen discussed this project with the Steinhardt a merging of artistic and curatorial creativity coordinators, Tammy Brown and Ian Cooper, in many forms: a melting ice block in front of we couldn’t have possibly imagined the Washington Square Park, marks left from a innovative and unique exhibitions that were basketball bounced against a white gallery wall, ultimately produced. dyed and cracked eggshells accompanied by A team of fi ve IFA students curated our fi rst a sound installation. This intense collaborative exhibition, Absence/Presence, which ran for process is rare in the gallery and museum two weeks at the Rosenberg and Commons world. Nevertheless, it seems that through Galleries. For this exhibition, the curators had these exhibitions we have come to challenge complete freedom to pick whichever artists the strict binary between artist and curator. and however many works they wanted. The We hope to develop this project next year fi ve subsequent exhibitions were each curated with more exhibitions, artists, curators, and by one IFA student and featured the work events, in addition to a possible collaboration of two senior honors studio artists at 80WSE with the MFA program.

ifa.nyu.edu Alumni Dispatch

The Institute of Fine Arts offers programming Professional Development that fosters professional development and Positioning our students to translate their lasting connections among its alumni. degrees into meaningful careers is a top priority at the Institute of Fine Arts. Our new Profes- Mapping IFA Alumni sional Development Series brings together alumni, trustees, and friends who are leaders in their ﬁ elds to provide professional advice, guidance, and support to IFA students. The Series includes the annual Alumni Careers panel, featuring alumni working in traditional and nontraditional careers; Trustee-Student Roundtables, where IFA Trustees discuss their career paths and offer advice to students 34 interested in their ﬁ elds; Skills Workshops that

Institute are co-hosted by an alum who is established in a given ﬁ eld and an alum who has just entered the ﬁ eld; and IFA Mentors, a program of

Fine Arts Annual 2014 - 2015 Annual Arts Fine which pairs students and recent alumni with established alumni for professional guidance. Amy Hamlin, Juliana Kreinik, Peter De Staebler, Karen Leader and Cristin Tierney at the 2015 Alumni Reunion. “ As a former IFA student, I Visit any visual arts institution in the world and chances are that Institute alumni are among know what a great beneﬁ t it its staff. This year we are pleased to bring you is to have professional guid- Mapping IFA Alumni, an interactive map on ance from Institute alumni. I our website that allows users to see, with a click of the mouse, in which institutions IFA volunteer in IFA Mentors as a alumni are working across the globe. This online way to give back and support network will serve to connect IFA alumni with those students following in one another and with the Institute. If you are an IFA alum and would like to learn more about my footsteps.” being included in the project, please email - Lauren Berkley Saunders [email protected] with “Alumni Map” in the (MA ‘99 and IFA Trustee) subject line.

Samuel Sachs II, President of the Pollock-Krasner Foundation and Tia Chapman, Deputy Director of External Affairs at The Frick Collection. 35 Institute of Fine Arts Annual 2014 - 2015 ights ifa.nyu.edu by Jongil Ma, May 2014 William Sky” Smith, “Flowers of the Christopher Smith, “Alabaster and Albacore” “Wishes: Hawkesworth, Timothy Horses” Jongil Ma, “Wolf” “Hunted” Eliana Pérez, “Glitter: Dreamsequence Dean Dempsey, Film Stills” Michael Kirk, “Norway” Beatrice Pediconi, “Ephemeral Pigments” Kiss” TR Ericsson, “Lucifer’s Love Letters” William Hempel, “Dirty Words: Benjamin Cottam, “Collateral Damage” Conceptual Spaces Exhibitions to Date ourished with the blessing of Judy and Michael the containment and limitations of the space, the containment and limitations of the to wonderful creations they have brought these cases. Thus the series was born. It has fl Patricia Rubin and those Director Steinhardt who pause on the landings between fl of art in of stairs to engage with the presence this space. ect. exhibition owed with ned space within the WOLF: ConstructionsWOLF: in Wood and Mirror Conceptual Spaces owers and trees. I relined the I relined owers and trees. of landscapes, fl ment. They suggest the need to stop and refl book and elaborated with delicate paintings Motivation for the in move- people are transitional space, where to Responding the quiet of vitrines in a library. bled from an eighteenth-century astronomy an eighteenth-century astronomy bled from cases in black felt, and exhibitions fl seasonal rhythm. series is simple: the cases stand in a liminal/ Many artists work in intimate ways, suited to unique artist book and separate folios, assem- responded to the confi responded in the work of William who showed a Smith, I had an idea to show contemporary art that I had an idea to show contemporary art I brought Library Director, the IFA’s Amy Lucker, had previously lain. The cases lay fallow. had previously vitrines. With Jenni and from encouragement rickrack. Dust marked where the photographs rickrack. Dust marked where with faded red brocade, trimmed with gold brocade, with faded red context. Vitrines in the Great Hall were lined Hall were context. Vitrines in the Great to light sensitivity. They require labels and They require to light sensitivity. graphs are delicate and rarely on view, due on view, delicate and rarely graphs are collection and its display. Historical photo- collection and its display. discussed the evolution of the visual resources discussed the evolution of the visual resources Media Services and the Image Archive. We We Media Services and the Image Archive. with Jenni Rodda, the Manager of Digital with Jenni Rodda, the Manager of Digital Two summers ago I stopped in to catch up Two Lisa A. Banner (PhD, ’05) Great Hall Display Cases Great Digital Media Initiatives

IFA’s Digital Media Services department works Viewers in more than 145 countries have “tuned closely with students and faculty on any research in” to IFA lectures since 2012 — everywhere project that incorporates images. Supported from Australia to Singapore. We are also now projects now include data visualizations, archival able to support on-line question-and-answer access, presentations in a variety of media, periods, in which remote viewers submit web-based investigations, and image searches. questions through our website for the day’s The department also manages and develops speakers as the events are being held. This the Institute’s contributions to NYU’s campus- service was especially helpful during the wide image database, visible through the “Workshop on Digital Tools” symposium, held Artstor Digital Library. IFA’s on-line resources as part of the Mellon Research Initiative. We now number more than 200,000 images and were able to accommodate viewers and ques- sound recordings. tioners from around the country during the symposium, increasing the Institute’s ability to 36 Video reach scholars beyond the doors of the Duke

Institute Since 2010, Digital Media Services has been House and include their ideas in important video recording and archiving important discussions. presentations made at the Institute. Video of

Fine Arts Annual 2014 - 2015 Annual Arts Fine recording allows interested people to see and hear lectures, even if they cannot attend an event in person. The recordings are helpful to students who might want to review or revisit a lecture important to their own work. The archive currently includes over 190 publicly accessible videos, arranged in 24 collections that parallel specifi c symposia or lecture groups. To date, IFA’s video archive, maintained through Vimeo, has logged more than 35,000 views, and been linked to more than 250 other websites around the world. Videos of importance or timeliness are noted in the “video spotlight” link on the IFA’s website, which ties in with specifi c events at the Institute. A notable example is the “Oral Histories” interview with Jonathan Brown, who talks about The Institute’s fi rst Instagram post. The James B. Duke his tenure as Director of the Institute during House in 1910 and 2014. the 1970s. Social Media In 2012, Digital Media Services initiated its The Institute uses a wide variety of social media livestreaming service. Another outreach tool, outlets to alert people to upcoming events, to livestreaming occurs in real time, synchronously increase interest in the activities and work of with the lecture being broadcast. Anyone in resident faculty and students, and to maintain the world with an Internet connection can view contact with graduates and friends beyond important lectures and events as they are oc- the Duke and Chan Houses. For direct links to curring at IFA, greatly expanding the capacity IFA’s social media outlets described here, scan of our lecture hall. This service was especially the QR code on the next page. effective during the symposium “The Koons Effect,” held in conjunction with the Whitney • Blogs: Do you want to know what new Museum in September 2014, when every seat research might be underway at the in the Duke House lecture hall was fi lled and Institute? Visit www.ifaresearch.org for 388 viewers from 17 countries made use of the latest information. the livestream feed. 37 Institute of Fine Arts Annual 2014 - 2015 ifa.nyu.edu Thomas Crow at the Thomas Crow National Gallery of Art Thomas Crow This spring, Professor the Sixty-Fourth Annual A.W. presented in the Fine Arts at the Mellon Lectures D.C. The National Gallery in Washington, in the Fine Arts were Mellon Lectures A.W. to “to bring inaugurated in 1949 in order to the people of the United States the of the best contemporary thought results and scholarship bearing upon the subject in Crow’s of the Fine Arts.” The lectures on “Restoration as Event series centered 1814-1820.” The and Idea: Art in Europe, a title with a seminar taught topic shares in Spring 2013. The at the IFA by Crow had their own social lectures prestigious and media hashtag (#MellonLectures), information by way of about them spread social media network. Audio and IFA’s available are presentations video of Crow’s website on the National Gallery of Art’s [http://www.nga.gov/content/ngaweb/ audio-video.html]. IFA Research Labs Research IFA to experiment desire the growing to In response to art historical as it applies with technology the Digital Media and pedagogy, research a site has developed Services department Labs The Research for experimental projects. of such projects, site now hosts a number and collaborative including data visualizations from that engage scholars projects research the wider and from NYU, within and across Of special note is the scholarly community. brings ArchaeoCore project. “ArchaeoCore” librarians, and visual together archaeologists, the Universi- IFA, from professionals resources and and Massachusetts/Boston, ties of Virginia specialists from Princeton; and technology is of the project The prime objective Artstor. metadata structure to develop a relational and to allow both records, for archaeological researchers specialists and general interest dis- materials from access to archaeological a single web page parate institutions through site is expected to portal. The ArchaeoCore go live sometime in late 2015. Scan this code for direct links Scan this code for direct to the Institute's social media accounts. rst to learnrst to about events, rst Tumblr post. A hand colored Vimeo: Watch videos of important lectures lectures videos of important Vimeo: Watch by and events, and oral histories collected the Alumni Association. Twitter: Go to Twitter for the most succinct Go to Twitter Twitter: its activities, people, and connection to IFA, time by our staff. events, tapped out in real “Follow” us to learn more. Tumblr: An online archive of images from of images from An online archive Tumblr: each our historic collections, updated twice week, available for viewing and research. LinkedIn: You can go to this online network can LinkedIn: You their through for alumni as they progress professional — “the” place for careers connections and information. On LinkedIn, and share group alumni can join a private discussions that are job postings and start community. only visible to the IFA Facebook: Be the fi Facebook: a look at images made by Instagram: Take community members of students and other life at IFA. live broadcasts, and activities at IFA, updated and activities at IFA, live broadcasts, our scholars with images of illustrated daily, to include “Like” our page and their work. in your timeline. news the Institute’s The Institute's fi lantern slide of the Arch of Constantine. • • • • • • Mellon Research Initiative

In March 2010, the Institute of Fine Arts was From ‘Surface’ to ‘Substrate’: The Archaeology awarded a grant from the Andrew W. Mellon and Art History of Material Transfers Foundation to support a four-year project to (November 2014) examine the state of advanced research in the Convened by David Wengrow, this conference ﬁ elds that are the primary components of the brought together world-leading researchers program at the IFA: art history, archaeology, in anthropology, art history, conservation, and and conservation. The aim of the project was archaeological science to discuss the impact of to ask where these areas are going, what are the material sciences on these disciplines. the strengths in given areas of study, what do Field/Work: Object and Site (February 2015) they require in terms of resources to pursue Organized in conjunction with the College Art advanced research, how these resources are Association's annual conference, the Institute best managed, and how is learning best deliv- convened three panels with the theme of Field/ ered in curriculum and training programs. The Work in order to explore topics arising from the project acknowledged the Institute’s leading 38 work of the Mellon Research Initiative on key

Institute role in these ﬁ elds, but was also intended to questions regarding future directions in graduate review the IFA’s current position, organization, training, in teaching, and in research. and research activities and to suggest ways to of

Fine Arts Annual 2014 - 2015 Annual Arts Fine enhance and to forward its leadership. Surfaces (Fifteenth – Nineteenth Centuries) (March 2015) The Initiative was divided into four components: Organized by Mellon Postdoctoral Fellow 1. Workshops and conferences designed to Noémie Etienne, this symposium addressed the explore trends, themes, and topics in cur- issue of surface in paintings, sculpture, architec- rent research. 2. Advisory groups convened ture, and the decorative arts in Europe between to study institutional aspects of research the fi fteenth and nineteenth centuries. and to review the IFA's place in promoting present and future research. 3. Student affi liation through reading groups and research grants attached to the conferences. 4. Postdoctoral fellowships. For more information on the Fellows’ research at the IFA, please see page 17. The project culminated with the release of Noemie Etienne, 2013-2015 Mellon Postdoctoral Fellow and Aaron Wile, 2014-2016 Anne L. Poulet Pathways to the Future, a publication that Curatorial Fellow at the Frick details the Initiative’s programming and the conclusions from its contributors’ research. Student Affi liation Workshops and Conferences Student Reading Group Three external coordinators were invited in 2011 In its fourth year, the Mellon reading group to develop conferences exploring key issues provided the opportunity for IFA students in conservation, archaeology, and art history to discuss key texts related to the series and as separate and as interlocking disciplines themes of the Mellon conferences. Organized and in relation to other fi elds: Jim Coddington by Robert Slifkin and the Mellon Postdoctoral (Chief Conservator, Museum of Modern Art); Fellows, the group’s aim was to provide a Jas´ Elsner (Humfrey Payne Senior Research congenial forum for discussing conceptual Fellow in Classical Archaeology and Art, Corpus and methodological issues across the fi elds Christi College, Oxford University, and Visiting of art history, archaeology, and conservation, Professor of Art History at the University of and enable a deeper engagement with the Chicago); and David Wengrow (Professor of Mellon events. Comparative Archaeology, Institute of Archaeol- ogy, University College London). Videos of the events are available on the IFA’s Vimeo page. 39 Institute of Fine Arts Annual 2014 - 2015 Las ned as ifa.nyu.edu have cen-

Las Meninas rst time a truly massive Las Meninas. Subsequently, an attempt is made Subsequently, production of multiple images from a single of multiple images from production pro- negative. A myriad of variations of the very quickly: fermentedcess appeared and non-fermented albumen, single and double this coatings, and matte variations. Why did encourage so many surface particular process variations? How did the aging and deteriora- to tion of the albumen surface contribute and consumption? This paper its reception both intends to answer these questions from We a material and art historical perspective. that by looking at the aesthetic quali- argue ties of albumen photography we can expand our understanding of the images and what they represent. “Distant Strokes”: The Surface and the The Surface “Distant Strokes”: Painter in on its narrative and almost exclusively tered This paper discusses compositional aspects. the hermeneutic by distortions engendered on in the literature the omission of surface Meninas. of surface with the work’s to link the parameter by connecting Velázquez’s symbolic apparatus, painter and courtier as a noble self-presentation with the intellectual of the king in the proximity through of painting as proclaimed nature performativebrushwork. of Depth: Deterioration and In Search Consumption of Albumen Photographs and Juanita Solano Laura Panadero was The invention of the albumen process in the nineteenth century: it a revelation permitted for the ﬁ Francisco Chaparro and Matthew Hayes and Matthew Chaparro Francisco once deﬁ having been Notwithstanding “the largest oil sketch ever painted,” interpre- oil sketch ever painted,” “the largest tations of Velázquez’s

is a generates nished aes- conferences, nishedness, Pathways to the Future nished work of art. This paper From ‘Surface’ to ‘Substrate’: ‘Surface’ From nish were of utmost concernnish were to Pathways to the Future Student Presentation Abstracts Student Presentation More information the students’ More about Surfaces (Fifteenth to Nineteenth and instability. thetic could imply theatricality, malleability, malleability, thetic could imply theatricality, of techniques reveals how an unfi of techniques reveals of handling for distinct purposes. Close study French artists deployed unorthodox modes French this paper reveals how eighteenth-century this paper reveals the competing conceptions of fi nard and Hubert Robert. By investigating nard focusing on the works of Jean-Honoré Frago- explores the tensions of these two paradigms, explores through the unfi through imagination — of both artist and spectator — imagination — of both artist and spectator Piles had championed the engagement of the Piles had championed the engagement “licked” surface. The theoretician Roger de “licked” surface. The theoretician striving for what would later be called a striving for what would later be called a suppressing evidence of their brushstrokes, evidence of their brushstrokes, suppressing Academic artists were preoccupied with preoccupied Academic artists were question of fi Repeatedly discussed in various The construction of the surface and the The construction of the surface and the painters of the eighteenth century. French Daniella Berman and Kari Rayner of Finish in the French Eighteenth Century of Finish in the French Centuries) of painting?”: The Question “Is this the stuff Mellon publication http://bit.ly/IFA-Mellon. We hope that the We http://bit.ly/IFA-Mellon. available for download via the IFA website: website: available for download via the IFA strengths, weaknesses, and strategies. It is weaknesses, and strengths, The publication situation, about and intellectual professional page on the IFA website. website. page on the IFA Pathways to the Future our disciplines, about their conversations about Transfers. Initiative’s Research be found on the Mellon to vital and ongoing is intended to contribute with the event with the event of Material and Art History The Archaeology can presentations and videos of their research Initiative. The report culmination of the Mellon were awarded to IFA students in conjunction students in conjunction to IFA awarded were As part of the Mellon Initiative, research grants research the Mellon Initiative, As part of Student Research Grants Student Research conservation. and research in art history, archaeology and archaeology in art history, and research around the topics it raises regarding training the topics it raises regarding around discussion and stimulates further thoughts discussion and stimulates further thoughts THE IFA OFFERS A UNIQUE EXPERIENCE TO ITS STUDENTS THROUGH A RANGE OF SPONSORED ARCHAEOLOGICAL PROJECTS. STUDENTS OF ANY DISCIPLINE ARE INVITED TO PARTICIPATE IN ANNUAL EXCAVATIONS, TO ENHANCE THEIR HISTORICAL STUDIES WITH OBJECT-BASED RESEARCH.

For more information visit: http://ifa.nyu.edu

Abydos excavation, 2014. Photo credit: Greg Maka.

IFA Excavations

Abydos, Egypt In collaboration with Yale University and the University of Pennsylvania, the IFA is engaged in an ambitious long-term archaeological study of the history of the signiﬁ cant site of Abydos in southern Egypt. Abydos is known as the burial place of Egypt’s ﬁ rst kings, and later became the primary cult place of the god Osiris, ruler of the Land of the Dead. The excavations aim to build a comprehensive understanding of the ancient activities at the site, how its operations Samothrace excavation, 2014 and meaning evolved over time, and its relation to the broader context of Egyptian history and Selinunte, Sicily 42 culture. Selinunte was famous throughout the Classical

Institute world for the richness of its farmland and monumental temples. It enjoyed a prosperous existence from the second half of the seventh of

Fine Arts Annual 2014 - 2015 Annual Arts Fine century BCE through the middle of the third century BCE, and its sanctuaries, temples, fortifi cations, and houses are well preserved. In 2007, the IFA began its excavation on the Acropolis of Selinunte in western Sicily, focusing on the area of the main urban sanctuary of the ancient Greek colony. The excavations document the social history, as well as the Abydos excavation, 2014. Photo credit: Greg Maka. architectural and visual culture of an ancient Aphrodisias,Turkey city in unusually fi ne detail. Fieldwork to date Aphrodisias is one of the most important ar- has already provided important evidence chaeological sites of the Greek and Roman peri- concerning the history of Selinunte prior to ods in Turkey and has been one of NYU’s major the arrival of the Greek colonists, as well as archaeological projects since 1961. The city was signifi cant fi nds of pottery and sculpture famous in antiquity for its cult of Aphrodite and originally dedicated as votive offerings in for its marble sculptures. It enjoyed a long, pros- the sanctuary area. perous existence from the second century BCE through the sixth century CE, and its buildings, marble sculpture, and public inscriptions are remarkably well preserved. The current excavation focuses on the recording and conservation of previously excavated monuments, establish- ing permanent systems for documentation and conservation, new targeted excavations, and scientifi c research and publication. Samothrace, Greece Since 1938, the IFA has worked in the Sanctuary Selinunte excavation, 2014 of the Great Gods, uncovering the home of its famous mystery cult with a series of great For additional information about these excava- marble buildings, dedicated by Philip II and tions view the IFA Archaeology Journal, a his successors, and seminal in the formation publication on the progress of research at the of Hellenistic architecture. At this stage, the IFA’s excavation sites: Abydos, Aphrodisias, project’s emphasis is on study and preparation Samothrace, and Selinunte. The Journal is available for download from the IFA’s website. of publications, as well as conservation. The Koons Effect, a symposium organized in conjunction with the Whitney Museumof American Art to discuss the work of American artist Jeff Koons. PUBLIC PROGRAMMING AT THE INSTITUTE Annual Lecture Series, Colloquia, and Consortia

Archaeological Research at Aphrodisias Tao Wang, Senior Vice President, Department This annual lecture brings together members Head, Chinese Works of Art, Sotheby’s: of the Aphrodisias excavation team to discuss Collecting Antiques, Collecting Friends: their fi ndings and research results from their The Collectors of the Owl-Headed Hu most recent trip to the site. Susan Whitfi eld, Director of the International The Fall 2014 lecture was presented by Roland Dunhuang Project, British Library: The Silk R.R. Smith, Director, Excavations at Aphrodisias; Road Contextualised: Stupas, Silk and Slaves Lincoln Professor of Classical Art and Archaeol- China Project Workshop Symposium: Painting ogy, University of Oxford; Research Professor, under the Five Dynasties, Liao, and Northern Institute of Fine Arts – NYU and Alexander Song Dynasties Sokolicek, Field Director of Excavations at 44 Aphrodisias, Institute of Fine Arts – NYU. Walter W.S. Cook Annual Lecture Institute The Walter W.S. Cook Lecture is organized by Artists at the Institute the IFA Alumni Association in honor of Profes- Taking advantage of the IFA’s location in one of sor Cook, Founding Director of the IFA and Fine Arts Annual 2014 - 2015 Annual Arts Fine of the world’s leading art centers, the Graduate historian of Medieval Spanish Art. Student Association invites artists to discuss their work at the Institute. Begun in 1983, these Ian Wardropper, Director, The Frick Collection: talks are now funded by a generous gift in The Notorious Guises: Portraits on a French memory of IFA Professor Kirk Varnedoe, who Renaissance Enamel Plaque in The Frick inspired the series. Collection In 2014-2015 we welcomed artists Simon Director’s Extracurricular Seminar Fujiwara, Sharon Hayes, Tehching Hsieh, The Director’s Extracurricular Seminar invites Charles Simonds. distinguished scholars to share and discuss their current research with the IFA community China Project Workshop and graduate students. The Fall 2014 event Established in 2011, The China Project featured a conversation with Sheena Wagstaff, Workshop is a discussion forum for work in Chairman of the Department of Modern and progress on topics in Chinese archaeology Contemporary Art, The Metropolitan Museum and art history. of Art. Susan Beningson, Assistant Curator of Asian Art, Brooklyn Museum: Bridging Past and Richard Ettinghausen Memorial Lecture Future: The New Chinese Art Galleries at the This annual lecture was established by Elizabeth Brooklyn Museum Ettinghausen in memory of her late husband Richard Ettinghausen, IFA professor of Islamic Yunru Chen, Curator of Chinese Paintings, Art. The lecture information for Fall 2015 will National Palace Museum, Taipei: The Legacy be announced in late summer. of Song Huizong in East Asian Art Judith Praska Distinguished Visiting Professor François Louis, Associate Professor, The Bard in Conservation and Technical Studies Lecture Graduate Center: Picturing Antiquity in China's This visiting professorship, established by an Middle Period: Nie Chongyi's Illustrations to anonymous donor and named in honor of the the Rites Classics donor’s grandmother, welcomes a prominent Freda Murck, Independent Scholar : Is Cui conservator or scientist each semester to the Bo's Magpie and Hare of 1061 an Allegory? IFA who is advancing new areas for research and teaching in art conservation. The professor- Clarissa von Spee, Curator, China, British ship will run for four years through Spring 2016. Museum: Multiples in Chinese Painting Salvador Muñoz Viñas, Professor and Head of Paper Conservation, Universitat Politècnica de València: Pride and Prejudice and Patina Samuel H. Kress Lecture Gülru Necipog˘ lu, Aga Khan Professor of The Samuel H. Kress Lecture is delivered an- Islamic Art, Harvard University: Persianate nually by a prominent scholar in conservation, Images Between Europe and China: The who presents important issues within the fi elds "Frankish Manner" in the Diez and Topkapı of painting conservation and technical art his- Albums, ca. 1350-1450 tory. This event is made possible through the Avinoam Shalem, Riggio Professor of the History generosity of the Samuel H. Kress Foundation. of the Arts of Islam, Columbia University: A Iris Schaefer, Head of the Department of Receptacle for the Absent Body: The Chasuble Technology and Conservation, Wallraf- of Thomas Becket in Fermo Richartz-Museum and Fondation Corboud, Imran bin Tajudeen, Assistant Professor, Cologne, Germany: New insights into the National University of Singapore: Regional Genesis of Stefan Lochner´s Altarpiece of 45 and Transregional Negotiations in Southeast Institute the Patron Saints of Cologne Asia’s Islamic Architecture: New Approaches

Islamization and Material Culture in Eastern of Africa: Recent Fieldwork 2014 - 2015 Annual Arts Fine Mark Horton, Professor in Archaeology, Uni- versity of Bristol: 1000 Years of Islam in East Africa: Materialities and Societies and Bertrand Hirsch, Professeur, Université de Paris-I; Directeur, Centre de Recherches Africaines: Ten years of research on medieval Islamic cities of the Horn of Africa : A Critical Review Art and Architecture of the Deccan: A Conversation Navina Haidar, Curator of Islamic Art, The Metropolitan Museum of Art and Phillip B. Wagoner, Professor of Art History and Archaeology, Wesleyan University Seminar on Greek and Roman Art and Architecture Margaret Holben Ellis and MA Candidate in The Seminar on Greek and Roman Art and Ar- Conservation Christine Haynes chitecture invites scholars to share their current research with the community. We gratefully Points of Contact: New Approaches to acknowledge the support of James R. McCredie Islamic Art and the New York University Center for Ancient This new series, supported by The Gulnar K. Studies for making the Seminar possible. Bosch Lecture Fund, and co-sponsored by NYU’s Hagop Kevorkian Center, introduces Verena Gassner, Professor, University of Vienna: some of the exciting new scholarship on The Hellenistic Sanctuaries of Velia transcultural dimensions of Islamic art, archi- Jeffrey Hurwit, Philip H. Knight Professor of tecture and archaeology. Art History and Classics, University of Oregon: Renata Holod, College for Women Class of Who Signed What? Artists and Signatures in 1963 Professor in the Humanities; Curator, Ancient Greece Near East Section, Museum of Archaeology Jenifer Neils, Elsie B. Smith Professor in the and Anthropology, University of Pennsylvania: Liberal Arts, Case Western Reserve University: A Tumulus in the Pontic Steppe: Reconstructing The Shield of the Athena Parthenos: A New Ritual, Community and Polity in the early Reconstruction Thirteenth Century CE ifa.nyu.edu PUBLIC PROGRAMMING AT THE INSTITUTE Annual Lecture Series, Colloquia, and Consortia

Michael Squire, Lecturer, King’s College, Alberro, Barnard College; Robert Slifkin, Institute London: Homer and the ekphrasists: Text and of Fine Arts – NYU; Moderated by Edward J. image in the Elder Philostratus’s Scamander Sullivan, Institute of Fine Arts – NYU (Imagines I.1) A Round Table on Curating Modern and Stefano Vassallo, Superintendency of Palermo: Contemporary Arts of the Americas The New Excavations in the Necropolis of Speakers: Richard Aste, Brooklyn Museum; Himera Gabriela Rangel, The Americas Society; Pablo León de la Barra, Guggenheim Museum; Iria Archaeological Research at Selinunte Candela, The Metropolitan Museum of Art; This lecture brings together the project’s Deborah Cullen, Miriam and Ira D. Wallach Art director, Clemente Marconi, and other mem- Gallery, Columbia University; Rocio Aranda- 46 bers of the team to discuss their ﬁ ndings and Alvarado, El Museo del Barrio; Moderated by Institute research from the Selinunte excavation in Sicily. Edward Sullivan, Institute of Fine Arts – NYU The Fall 2014 lecture was presented by Panel Discussion: Digital Torres-García of Clemente Marconi, Director of Excavations

Fine Arts Annual 2014 - 2015 Annual Arts Fine A panel discussion on the Uruguayan mod- at Selinunte; James R. McCredie Professor ernist artist, Joaquín Torres-García in the History of Greek Art and Archaeology, Speakers: Mari Carmen Ramírez, The Museum Institute of Fine Arts – NYU. of Fine Arts, Houston; Cecilia de Torres, Head Latin American Forum Sponsored by the of the catalogue raisonné project on the artist; Institute for Studies on Latin American Art Susanna Temkin, IFA PhD Candidate and Cecilia This forum – generously funded by the Institute de Torres, Ltd.; Moderated by Edward J. for Studies on Latin American Art (ISLAA) and Sullivan, Institute of Fine Arts – NYU coordinated by Professor Edward Sullivan – Jaime Davidovich: Pioneer in Video and invites distinguished visiting lecturers to the IFA Conceptual Art to foster greater understanding and recognition A panel discussion featuring the artist in con- of Latin American art around the world. junction with a major exhibition at The Bronx Susan Aberth, Associate Professor of Art Museum of the Arts. History, Bard College: The Visual Culture of Daniel H. Silberberg Lecture Series Occultism: Surrealist Women Artists in Context Planned and coordinated by the Graduate A Conversation with The Great Hall Exhibitions Student Association, this series of lectures Artist Marta Chilindron and Edward J. Sullivan, invites art historians, archaeologists, and Institute of Fine Arts – NYU conservators, specializing in a variety of peri- Panel Discussion: Modes of Deﬁ ance: Latin ods and genres to share their latest research American Art, 1970 to the Present with the IFA community and general public. A panel in conjunction with the exhibition The 2014-2015 Silberberg Lecture Series Bearing Witness: Art and Resistance in Cold addressed the paradoxical theme of Failure War Latin America at John Jay College in the study of art history by examining the Speakers: Joaquin Barriendos, Columbia deﬁ nitions of failure over a broad spectrum, University; Estrellita Brodsky, Independent considering the roles of artists, objects, critics, Curator; Claudia Calirman, John Jay College and art historians. of Criminal Justice; Jason Dubs, The Museum Carol Armstrong, Professor, History of Art, of Modern Art; Moderated by Edward J. Director of Undergraduate Studies, Yale Sullivan, Institute of Fine Arts – NYU University: Cézanne’s Gravity Panel Discussion: Conceptualism in Latin Caitlín Eilís Barrett, Assistant Professor and America: A Conversation with Luis Camnitzer, Director of Undergraduate Studies, Archaeology Alexander Alberro, and Robert Slifkin Program, Cornell University: Identifying with the Speakers: Luis Camnitzer, Artist; Alexander ‘Other’: Dining with Painted Pygmies in Pompeii Barry Bergdoll, Meyer Schapiro Professor Tristan Carter, Associate Professor of Anthro- of Art History and Archaeology, Columbia pology, McMaster University: All that glisters University: Exhibiting Failure(s): Architecture's is not gold: EB II Mochlos in its Eastern Medi- paradoxical life on display at MoMA since 1932 terranean Context Zirwat Chowdhury, Visiting Assistant Professor Konstantinos Chalikias, Postdoctoral Fellow, of Art History and Humanities, Reed College: University of Athens: Studying patterns of Architecture between Caricature and Failure maritime connectivity and offshore island ex- ploitation around Crete during the Bronze Age James Elkins, E.C. Chadbourne Professor of Art History, Theory, and Criticism, School of Susan Lupack, Editor, Hesperia, The Journal the Art Institute of Chicago: The End of the of the American School of Classical Study at Theory of the Gaze Athens: The Mycenaean Worship of an 47

Ancestral Wanax Institute Joshua Shannon, Associate Professor, Contem- porary Art History and Theory, University of Eleni Mantzourani, Professor of Archaeology,

Maryland: Photorealism: A History of Surfaces University of Athens; Onassis Foundation Vis- of iting Scholar: Modeling everyday life in Crete 2014 - 2015 Annual Arts Fine The Annual Kirk Varnedoe Memorial Lectures and Cyprus with reference to Egypt The Kirk Varnedoe Memorial Lectures were established in 2006 to honor and perpetuate Lyvia Morgan, Honorary Research Associate, the memory of Professor Varnedoe’s dedicat- University College London: A Room with a ed and innovative teaching, mentoring, and View: Kea Paintings and Social Context scholarship at the Institute of Fine Arts. The Lena Papazoglou-Manioudaki, Curator Emerita, series will resume next year as we welcome Prehistoric Collection, Athens National the 2015 and 2016 Kirk Varnedoe Visiting Archaeological Museum: Life and Death in Professors, Hollis Clayson and Robin Kelsey. Mycenaean Achaea: a new settlement and a Colloquium for Modern and Contemporary tholos tomb on Mygdalia hill, near Patras Art from the Middle East and South Asia Colloquium on Art in Spain and Latin America This Colloquium offers a platform from which For this series of informal lectures and panels, to explore modern and contemporary art and leading specialists are invited to the Institute the visual cultures from the Middle East and to explore art historical and broader contextual South Asia. Art historical scholarship on art issues relating to the arts of Spain and Latin from these regions is in a state of fl ux. Rather America. The series is coordinated by Professors than propose defi nitions, the colloquium aims Jonathan Brown, Robert Lubar, and Edward to support a long-term dialogue with a cumu- Sullivan. We gratefully acknowledge the lative impact on critical writing and the study continuing support of Roberta and Richard of modern and contemporary art histories of Huber for making the Colloquium possible. these regions. This series will resume in the 2015-2016 academic year. Denise Birkhofer, Curator of Modern and Contemporary Art, Allen Memorial Art Muse- New York Aegean Bronze Age Colloquium um, Oberlin College: The Body and the Void Founded in 1974, the New York Aegean in the Art of Mira Schendel and Eva Hesse Bronze Age Colloquium is celebrating its 40th year at the IFA. The Colloquium is internationally Thomas Kaufmann, Frederick Marquand recognized as a premier venue for presenting Professor of Art and Archaeology, Princeton new discoveries and ideas on Aegean Bronze University: Refl ections on World Art History Age and related Eastern Mediterranean pre- Niria E. Leyva-Gutiérrez, Assistant Professor history and art. of Art History and Museum Studies, Long Island University: Transfi gurations and Transformations: Religious Imagery in Seventeenth-Century Puebla ifa.nyu.edu PUBLIC PROGRAMMING AT THE INSTITUTE Annual Lecture Series, Colloquia, and Consortia

48 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Michelle Kuo, Editor at Artforum, Glenn Adamson, Director of the and Design, and Josiah McElheny, artist, discussing the artowork of Jeff Koons. Photo credit: Filip Wolak

Barbara Mundy, Professor, Art History, Fordham New York Renaissance Consortium University: The death of Aztec Tenochtitlan, The Renaissance Consortium was established the life of Mexico City to bring together scholars, students, curators, and others with interest in the arts of the Re- Irene Small, Assistant Professor, Princeton naissance. Now in its ﬁ fth year, the Consor- University: Poor Image and Meta-Medium: tium is a network for publicizing information Hércules Florence and the Invention of on research, lectures, workshops, and exhibi- Photography in Brazil tions in the New York area. The Consortium Rachel Weiss, Professor of Arts Administra- maintains an online calendar and a listserv, tion and Policy, School of the Art Institute and it regularly sponsors related events. of Chicago: The Tenuous Moonlight of an A Discussion with Professor Lina Bolzoni, Unrequited Past Scuola Normale Superiore, Pisa Contemporary Art Consortium Paul Hills, Professor Emeritus, The Courtauld The Contemporary Art Consortium functions Institute of Art, London: Clothing the Word: as an informal network and outlet for stu- Filippo Lippi, Donatello and Bellini dents and alumni interested in modern and contemporary art. In 2011, the Consortium established a blog (http://ifacontemporary. wordpress.com) to complement academic research and writing, providing a collaborative venue for the proposal and development of thoughts on art outside the classroom or workplace. 49 Institute of Fine Arts Annual 2014 - 2015

ifa.nyu.edu Surfaces elds that are the elds that are ve events as part of ve events as part The Art of Archaeology; an Art Histori- The Art of Archaeology; cal Perspective of Art Conservation and the Future From ‘Surface’ to ‘Substrate’: The Archaeol- ‘Surface’ to ‘Substrate’: From of Material Transfers ogy and Art History Centuries) Surfaces (15th-19th Object and Site CAA 2015: Field/Work: conference, please see page 39. The Research please see page 39. The Research conference, are and Initiative events have been recorded available in the Institute's website video at https://vimeo.com/ifa. archive primary components of the Institute: art his- primary components conservation. In 2014- and archaeology, tory, ﬁ 2105, the Institute held the Initiative: • • • - - - The Field of Art History and its Work attached to the For student projects Mellon Research Initiative Mellon Research of the Mel- the conclusion This year marks project Initiative, a four-year lon Research Mellon Foundation W. funded by the Andrew education and in graduate to identify trends in the ﬁ advanced research Surfaces (15th-19th Centuries) Surfaces (15th-19th eld — novice and expert. Los Angeles Psychedelic:

Regicide in the Bedroom: Jean Regicide in the Bedroom:

Two Volcanoes: Land Artists Volcanoes: Two

Elizabeth Buhe, Julia Bozer, to Latin America 1968-1970 Travel Le Pautre’s 1667 Folio Le Pautre’s Pinnacle Posters John van Hamersveld’s Sam Omans, IFA studentsIFA Matthew Hayes, Francisco Chaparro, Kari Rayner and Daniella Berman, during conference the Mellon Iniative Research 2015 • • • were given: were In 2014-2015, the following presentations presentations In 2014-2015, the following of which one is selected to represent the IFA. the IFA. to represent of which one is selected with colleagues in the ﬁ with colleagues in the students, IFA by three sium with presentations research papers in a public forum and to engage papers in a public forum research by an in-house sympo- This event is preceded art history the opportunity to deliver original art history the opportunity The symposium offers doctoral candidates in The symposium offers a symposium for graduate students in art history. students in art history. a symposium for graduate tion and the Institute of Fine Arts have hosted Institute of Fine tion and the For more than half a century, The Frick Collec- half a century, than For more The IFA-Frick Symposium The IFA-Frick Conferences and Symposia Conferences PUBLIC PROGRAMMING AT THE INSTITUTE Special Engagements

Representations of Musicians in the Coroplastic Substance and History: Donatello, color and Art of the Ancient World: Iconography, Ritual the stories of sculpture Contexts and Functions A lecture by Jim Harris, Andrew W. Mellon A conference organized by Angela Bellia and Teaching Curator, Ashmolean Museum, Ox- Clemente Marconi. ford, on the research concerning the polychromy of a number of large-scale scuptures The Koons Effect in London and Italy, focusing principally on Organized by the Whitney Museum on the the great limestone relief of the Entombment, occasion of the exhibition Jeff Koons: A Ret- carved by Donatello for the High Altar of the rospective, this symposium brought together Basilica of Sant’Antonio in Padua at the end artists, curators, and scholars to consider of the 1440s. Koons’s signiﬁ cance in contemporary art and culture as well as his dialogue with certain Pop-Up Workshop on Digital Art History: narratives of Western art history. Resources for Graduate Research 50 A special workshop organized by Jonathan Institute Summer Projects Series Hay and The Frick Collection on digital re- A series of informal talks by conservation sources for research. students about their summer work projects at of

Fine Arts Annual 2014 - 2015 Annual Arts Fine Villa La Pietra, IFA-sponsored excavations, Spotlight on New Talent and in museum laboratories, libraries, archives, An event highlighting research projects and private conservation studios: Digging by students and recent graduates of the Deeper: Conservation in the Field; Looking Conservation Center. Closer: Conservation in the Museum; La Dolce Villa! Conservation Projects at La Pietra. Château de Vaux le Vicomte A special talk by the owner of Vaux le Vicomte, Alexandre de Vogüé, about the restoration and conservation of the seventeenth-century Château. Absorbing the 2014 Biennale – French and Syrian Views on Architecture in Venice Jean-Louis Cohen, Sheldon H. Solow Professor in the History of Architecture, and PhD candidate Khaled Malas – both Institute of Fine Arts – NYU – reﬂ ected upon their participation in the 14th International Architecture Biennale. What Art Can Tell Us About the Brain A lecture by Margaret Livingstone, Takeda Professor of Neurobiology, Harvard Medical School, organized by the Conservation Center and co-sponsored by the Department of Sci- entiﬁ c Research at The Metropolitan Museum of Art. Practice Makes Imperfect: The problem of Joshua Reynolds's technique A lecture by Ashok Roy, Director of Collections, National Gallery, London examining the new technical work carried out at the National Gallery in collaboration with the Wallace Collection on paintings by Sir Joshua Reynolds. Study at the IFA Study at the IFA

The Institute of Fine Arts is dedicated to doctoral work in art history or archaeology. graduate teaching and advanced research in The program is two years of full-time study or the history of art and archaeology and in the three years of part-time study for those with conservation and technology of works of art. established professional careers, who wish to The Institute encourages students to excel continue working while attending the Institute. in historical and material investigation and to develop skills in close looking and critical Advanced Certiﬁ cate in Conservation thinking. It promotes independent judgment The Institute’s Conservation Center is dedicated and the highest standard of research. The to the study of the technology and conservation degree programs provide a focused and of works of art and historic artifacts. The Center rigorous experience supported by interaction prepares students for careers in conservation with leading scholars, and access to New York’s through a four-year program that combines museums, curators, conservators, archaeological practical experience in conservation with art 52 sites, and NYU’s Global Network. The PhD and historical, archaeological, curatorial, and sci-

Institute MA programs at the IFA offer a course of study entiﬁ c studies of the materials and construc- designed for the individual who wishes to tion of works of art. Students enroll in the MA investigate the role of the visual arts in culture program in art history and, at the same time, of

Fine Arts Annual 2014 - 2015 Annual Arts Fine through detailed, object-based examination, as undertake research projects, laboratory work, well as historical and theoretical interpretation. and seminars in special areas of conservation, such as advanced x-ray techniques and the Doctor of Philosophy treatment of modern and contemporary The PhD course prepares students to concep- paintings. tualize, plan, and execute ambitious and original Students gain intensive conservation experience research projects and to make contributions to scholarship. The program is designed through advanced fi eldwork and a nine-month for six years of full-time study. Students are internship. They are encouraged to obtain exposed to a wide range of questions and additional conservation experience during approaches through taking a combination of summer archaeological excavations or other courses that both introduce major historical formal work projects. The Conservation Center issues and allow students to specialize by also provides courses in connoisseurship and conducting in-depth research. Students have technical art history for those pursuing studies opportunities to pursue their studies in mu- in art history, archaeology, and curatorial studies, seum settings and in fi eldwork. Research-led which are intended to acquaint them with the teaching and close mentoring equip students physical structure of works of art, and need to work critically and creatively in specialist for preservation as well as the possibilities and fi elds and to take a sophisticated approach to limitations of conservation practices. Classes broader areas of art historical inquiry. are taught by the Center’s distinguished full- and part-time faculty, many of whom serve as Master of Arts conservators and scientists at New York City’s The Institute’s MA program in the History of prestigious museums. Art and Archaeology is intended for students who wish to further develop their writing and Curatorial Studies Certifi cate academic areas of interest before pursuing a This component of our doctoral program is PhD and for students with a developed interest offered jointly by the Institute of Fine Arts in the visual arts who wish to earn an advanced and The Metropolitan Museum of Art, under degree without the commitment to a doctoral the supervision of the Joint Committee on program. The MA degree will prove useful for Curatorial Studies, which is composed of students interested in careers in art museums, faculty, curators, and the Directors of both galleries, auction houses, cultural centers, arts institutions. The purpose of the program is to foundations, archaeological site management prepare students for curatorial careers in spe- and development, art conservation, or eventual cialized fi elds. The course of study normally Previous page: Ph.D. candidate Fatima Quraishi giving a presentation in Thelma Thomas’s seminar Visualizing World and Cosmos in Late Antiquity 53 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Margaret Holben Ellis teaching her course Technical Connoisseurship of 20th Century Works of Art on Paper

requires completion of three to four years of study in our doctoral program. The certiﬁ cate requirements include a paid nine-month resi- dency in a museum’s curatorial department, and participation in the offered curatorial studies courses: Curatorial Studies: Exhibition Practices and Curatorial Studies: Collections and Curating. Past exhibitions that have been featured in these courses: Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance; The World of Khubilai Khan: Chinese Art in the Yuan Dynasty; Venice and the Islamic World, 828–1797; Prague, The Crown of Bohemia, Robert Slifkin co-teaching a seminar with Ann Temkin, Chief Curator of Painting and Sculpture at the Museum 1347–1437; and the new installation of the of Modern Art New American Wing. Curatorial Studies alumni have held leadership positions at some of the world’s foremost art institutions, including The Art Institute of Chicago; Boston Museum of Fine Arts; The Frick Collection; Harvard Art Museums; J. Paul Getty Museum; Library of Congress; The Met- ropolitan Museum of Art; National Gallery, London; Philadelphia Museum of Art; and the Smithsonian Institutions.

Jonathan Brown leading a discussion at the Metropolitan Museum of Art

ifa.nyu.edu Tola Porter, Eloise Maxwell, Riad Kherdeen, Anna Blum, and Patryk Tomaszewski at the opening of the ﬁ rst exhibition in the NYU Curatorial Collaborative, January, 2015 2014-2015 PhD Graduates

Nora Burnett Abrams Galia Halpern Patrick Salland “Para-realism and the Early “Open Geography and the Illu- “Palatial Paintings and Pro- Sculpture of Rachel Whiteread minated Mandeville's Travels” grams: The Symbolic World of (Linda Nochlin) (Colin Eisler) the Egyptian Palace in the New Joseph Ackley Nina Harkrader Kingdom (c. 1550-1069 BCE)” “‘Offer him gold; that is true “Building for the Poor and the (David O’Connor) love’: Ottonian Gold Repous- Pauper: Architecture, Morality Ileana Selejan sé and the Western Medieval and Medical Models in Victo- “Postmodern Warfare in Church Treasury” rian England, 1850-1900” Images: The Aesthetics (Jonathan Alexander) (Jean-Louis Cohen) of War Photography in the Birgitta Augustin Titia Hulst Late 1970s and 1980s” “Painting Authenticity: Inter- “Leo Castelli and the Market for (Thomas Crow) sections in the Lives and Art of American Contemporary Art” Anooradha Siddiqi Zhang Yu, Huang Gongwang (Thomas Crow) “Just Add Water? Architec- 55 Institute and Ni Zan” Rachel Kaplan ture and Humanitarianism, (Jonathan Hay) “Mexican Modernism at 1991-2011”

William Bracken Home and Abroad: The (Jean-Louis Cohen) of Fine Arts Annual 2014 - 2015 Annual Arts Fine “Rembrandt as Creative Inventor” Legacy of Inés Amor and the Delia Solomons (Mariët Westermann) Galería de Arte Mexicano” “Installing Latin American Art Anna Brodbeck (Edward Sullivan) for Cold War Culture: U.S. “Charting the Course of Allyson McDavid Exhibitions (1959–1967)” Revolution: Artur Barrio and “The Hadrianic Baths of (Edward Sullivan) Artistic Education and Ex- Aphrodisias: A Study of Anna Swinbourne change in Brazil (1967-1971)” Monumentality and Transfor- “Marvelous Spectacle: The Role (Edward Sullivan) mation in Late Antiquity” of Ostend’s Benediction of the Andrea Bell (Thelma Thomas) Sea in Selected Paintings and “French Artists in Rome: An Nicole Myers Drawings by James Ensor” Examination of Eighteenth- “Courbet’s Nudes: Realism (Robert Lubar) Century Drawing Albums” and the Rococo Revival” Julia Valiela (Thomas Crow) (Linda Nochlin) “Model Women: Female Por- Carolina Carrasco Berit Potter trait Busts in Renaissance Italy” “The Lives of Working Objects: “Grace McCann Morley and (Beverly Brown) Functionalism and the Institu- the Dialectical Exchange of Michael Waters tion in the Archival ‘Ready- Modern Art in the Americas, “Materials, Materiality, and mades’ of George Maciunas” 1935-1958” Spolia in Italian Renaissance (Robert Storr) (Thomas Crow and Architecture” Clare Davies Edward Sullivan) (Marvin Trachtenberg) “Figure and Ground: Producing Zhijian Qian Shannon Wearing National Subjects in Egyptian “Modernism Re-oriented in a “Power and Style: The Liber Painting and Photography, Chinese Context: Painting of Feudorum Maior and the 1919-1936” Modernist Artiti in Wartime Court of Alfonso II, King of (Jeffrey Weiss) Chongqing, 1937-1945” Aragon and Court of Barce- Elizabeth Dospel Williams (Jonathan Hay) lona (r. 1162-1196)” “Worldly Adornments: David Jacob Rabinowitz (Jonathan Alexander) Women’s Precious Metal “Public Construction: Christo Daniel Williamson Jewelry in the Early Medieval and Jeanne-Claude’s Running "Modern Architecture Eastern Mediterranean Fence” and Capitalist Patronage (500-1100 CE)” (Jeffrey Weiss) in Ahmedabad, India, (Thelma Thomas) 1947-1969" (Jean-Louis Cohen)

ifa.nyu.edu 2014-2015 MA Graduates

Kaylee Alexander Laura IU Collier Arielle Ismail “‘Arrête! C’est ici l’empire de “The Castellani Chapel as “Maria Theresa: Gender, Politics la mort’: The Art of Life and Liminal Wilderness in an and Identity at Schönbrunn” Death in Subterranean Paris” Urban Franciscan Context” (Marvin Trachtenberg) (Meredith Martin) (Alexander Nagel) Harrison Jackson Antonia Veruska Vincenza Di Maggio “On the Cutting Edge: En- Giuseppina Bartoli “Giardini del Paradiso: The gravings by Cornelis Cort after “Examination of the Activities Islamic Paradise Garden in the Titian in the Collection of the and Enterprises of Dr. Ales- Architecture of the Palazzo dei Metropolitan Museum of Art” sandro ‘Sandro’ Morandotti Normanni in Palermo, Sicily” (Patricia Rubin) (1909-1979), Art Dealer, (Marvin Trachtenberg) Rebecca Kasmin Antiquarian and Publisher, Quinn Ferris “Interfaith Associations in between 1940 and 1945” “When East Meets West: 16th Roman Asia Minor: A Study 56 (Jonathan Hay)

Institute Century Dogale Bindings in of the Sardis Synagogue and Caroline Barnett The Morgan Library & Museum” the ‘Jews and God-Fearers’ “A Gray Area: Giving Context (Margaret Holben Ellis) Inscription at Aphrodisias” of to the Work of Cy Twombly, (Katherine Welch) Fine Arts Annual 2014 - 2015 Annual Arts Fine Sarah Getto 1966-1968” “Ghost Modernism: Cyber- Karen Klockner (Michele Marincola) netics in the Art of Frank “The Vienna Privileges and Chelsea Blance Stella and Ad Reinhardt” the Bell Tower of Ghent: Civic “The Image of a Living Hero: (Robert Slifkin) Patronage in Late Medieval The Genesis and Migration of Linda Mai Green Flanders” French Renaissance Armor” “The Horse, the Birds, and (Colin Eisler) (Colin Eisler) the Spy: Early Louise Lawler Sophia Kroft Thomas Brown (1972-84)” “The Unique Painted Tomb “Jacques Callot and the (Robert Slifkin) From Hierakonpolis: Its In- Siege of La Rochelle” Marc J. Hajjar terconnections with Multiple (Colin Eisler) “‘It Was the Eighties!’ How Forms of Early Egyptian Art” Halston Bruce a Critical Decade Marked a (David O'Connor) “From Within a Hybrid Imagi- Power Shift in the Art World” Genevra Le Voci nation: Performance to Enact (Jonathan Brown) “Female Bystanders as Me- Social Change in the U.S./ Julie Herzig Desnick diators of Time and Place in Mexico Borderlands” “From Myth to Reality: Fifteenth-Century Florentine (Edward Sullivan) Changing Perceptions and Religious Narrative” Gillian Canavan Representations of the Dwarf (Patricia Rubin) “Subtracting Solid: Memory from the François Vase to the Courtney Lynch and the Translation of Struc- Peytel Aryballos” “The Sculptures of Paul Klee, tures in Soft Material” (Clemente Marconi) 1915-1920” (Jonathan Hay) Mei Yee Ho (Robert Lubar) Paige Chandler “Solemnness: A Stylistic Ashley McNelis “Retainer Sacriﬁ ce in Egypt Analysis of the Liao Buddhist “The Performative Body and Sumer: A Closer Exami- Figural Representation in in Francesca Woodman's nation of the Early Dynastic Fengguosi, Yixian, Liaoning Photography” Tombs from Abydos and Ur” Province” (Robert Slifkin) (David O’Connor) (Hsueh-man Shen) Katerina Miras Hannah Howe “The Emulative Works of “Dan Flavin: Fluorescent Rooms” Goltzius and Dürer: Looking (Robert Slifkin) to the Quattrocento and Antique Art” (Colin Eisler) Verónica Muñoz-Nájar Luque Jin Sol Shim Jasmine Wahi “Conversion in the Margins “Whanki Kim in New York” “Magical Feminisms: Explor- of Colonial Peru: The Ocopa (Robert Slifkin) ing Fantasy and Diaspora in Martyrdom Series” Sarah Silverstein the Art of Chitra Ganesh” (Jonathan Brown) “S21; Exhibition and (Jonathan Hay) Stefano Paci Remembrance” Mary Waterﬁ eld “Mantegna’s House In (Jonathan Hay) “Enemies in Harmony: Civil Mantua: Casa All’antica? Or Jennie Sirignano War Sheet Music” Quattrocento Architectural “Martyrdom, Media and (Colin Eisler) Invention?” Memory: Gerhard Richter’s Jessica Walthew (Marvin Trachtenberg) October 18, 1977” “Case Study: A Reliquary Desirae Peters (Günter H. Kopcke) Bust of a Female Saint” “Conservation Through Ksenia M. Soboleva (Michele Marincola) 57

Conversation: Material and “Traces of the AIDS crisis in Zoe James Wilentz Institute Meaning in the Work of Dario Leonard's work: 1992-1999.” “Anatomical Illustration in Robleto” (Robert Slifkin) Sixteenth-Century France” (Michele Marincola) of Shuk Chaen Melissa Tan (Colin Eisler) 2014 - 2015 Annual Arts Fine Tola Porter “A Technical Examination of Anna Wilson “Henry Moore’s The Arch: a Song Dynasty Polychrome “Die Brücke Wood Sculpture: Civic Sculpture as Uninten- Wood Sculpture” A Visual Expression of tional Monument” (Michele Marincola) National Identity” (Jean-Louis Cohen) Abigail Teller (Robert Lubar) Sonia Porvaznikova “The New Resurrection, or Hannah Krystal Wong “Demystifying the Roots of The Immortality of the Author: “Ships Out of Water: Visualizing Slovak Cultural Identity: Irony Analyzing Gunther von Trade and Travel in Medieval in the Contemporary Art Scene” Hagens’ Plastinates” Islamic Art” (Jean-Louis Cohen) (Robert Slifkin) (Finbarr Barry Flood) Megan Randall Elizabeth Treptow Sylvia Fan Wu “Chinese Maritime Metal “Placing Early Dynastic Egypt “Interwoven Identities: Otto- Trade in Southeast Asia: The in the Context of the Ancient man and Safavid Silk Textiles Tang and Song Dynasties” Near East” in the Sixteenth and Seven- (Michele Marincola) (David O'Connor) teenth Centuries” Kari Rayner Madeline Murphy Turner (Finbarr Barry Flood) “All According to Design: “Nationalist Visions of Mary-Kathryn Zoni Jacopo Tintoretto’s Working Abstraction: The Signs “Fashioning the ‘New Man’: Methods and the Construction of Mathias Goeritz and The 1937 Groβe Deutsche of Reputation in Renaissance Antoni Tàpies” Kunstausstellung and the Venice” (Edward Sullivan) Art of Redemption in Hitler's (Patricia Rubin) Hannah Turpin Germany” John Parkman Sargent “Life Over Legend: A Feminist (Günter H. Kopcke) “Agnes Agonistes: Analysis of the Photographs Advanced Certiﬁ cate The Trial of Frau Dürer” of Mexican Revolutionary in Conservation (Colin Eisler) Soldadas/os” Quinn Ferris Cheng Shen (Edward Sullivan) Desirae Peters “Iris and Orchid and Mount Sara Garzon Vargas Megan Randall Taibo: Nanjing in the 1370s” “Looking at Self-Portrait Kari Rayner (Jonathan Hay) Looking at the Last Supper” Shuk Chaen Melissa Tan (Edward Sullivan) Jessica Walthew

ifa.nyu.edu IFA COURSE OFFERINGS Art History and Archaeology Courses 2014-2015

Fall 2014 City of Rome: Republic Architecture, Art, and the to Empire City: Frank Gehry Since 1960 Foundations I For M.A. (Seminar) (Seminar) Students: Practices of Katherine Welch Jean-Louis Cohen Art History (Lecture/Discussions) Spanish Painting 1550-1700 Contemporary Art and the Priscilla Soucek (Colloquium) Plight of Publicness Jonathan Brown (Lecture) The Album and Robert Slifkin Chinese Painting El Greco (Seminar) (Seminar) The Modern Monument Jonathan Hay Jonathan Brown (ProSeminar) 58 Robert Slifkin Alien Rule: Art and Material Word and Image in the Institute Culture in China from the French Renaissance Modernism in Four Latin Tenth to Fourteenth Centuries (Colloquium) American Centers (Mexico of (Lecture) Colin Eisler City, Havana, Rio/São Paulo, Fine Arts Annual 2014 - 2015 Annual Arts Fine Buenos Aires/Montevideo) Hsueh-man Shen Making Music in Northern 1920-1950 Renaissance Art Reproduction and Replication (Lecture) (Seminar) in the Art of Premodern China Edward Sullivan (Seminar) Colin Eisler Ars Brevis: The Vulnerability Hsueh-man Shen Medieval Art: Themes and of Art and the Instability of Interpretations Aleppo Reconsidered, Meaning (Lecture) Aleppo “Reconstructed” (Lecture) Robert Maxwell (Lecture) Philippe de Montebello Priscilla Soucek Advanced Study: The Image Late Antique Material Culture: in Movement Soft Furnishings (Seminar) (Seminar) Alexander Nagel Thelma Thomas COURSE HIGHLIGHTS Recent Research on the Art and Material Culture of Late Making Music in Northern Antiquity Along the Nile (Egypt, Nubia, and Ethiopia) Renaissance Art (Colloquium) Colin Eisler (Fall 2014) Thelma Thomas The presence of musical reference abounds in French, Tell El Amarna: A Unique and German, Netherlandish graphic arts, painting and other Controversial Initiative in An- areas. Netherlandish religious currents account for the cient Egyptian City Planning presence of so many musical references in the region's (Lecture) art. Special attention will be given to the art of Albrecht David O’Connor Dürer. Harmony's linkage to popular Neo-Platonic thought An Emerging Civilization: accounts for part of the abundance of images in France. New Discoveries About We will utilize New York’s Rare Book and Print Collections, Prehistoric And Early along with other resources to study this novel, signiﬁ cant Dynastic Egypt ﬁ eld. Students interested in ties between sight and sound (Seminar) in later periods would be welcome to join the seminar. David O’Connor Such topics as Watteau and music, French illustrated sheet music, cubism and music, and Kandinsky’s Klange are considered. Curatorial Studies: Exhibition The Art of Diplomacy: The Photojournalist Practices Jerusalem in the Cross-Cultural Exchange Imagination Middle Ages in France, C. 1660-1789 (Seminar) (Colloquium) (Seminar) Robert Slifkin Barbara Boehm and Meredith Martin The Hemispheric Nineteenth Melanie Holcomb Dreams and Visions in Century: Part One Spring 2015 Medieval Art (Seminar) (Seminar) Edward Sullivan How to Look at Chinese Robert Maxwell Paintings Made for Reproduction (Lecture) Truth/Fiction: Current (Colloquium) Jonathan Hay Research in Medieval Art Adrian Sudhalter 59

(Colloquium) Institute What was Conceptualism and Chinese Ceramics in Context Robert Maxwell (Colloquium) Why Won’t It Go Away?

Hsueh-man Shen Proto-Histories of Art: (Colloquium) of Art Conservation as Eve Meltzer 2014 - 2015 Annual Arts Fine The Mogao Cave-Temples Embedded Theory Curatorial Studies: Collections at Dunhuang (Colloquium) and Curating Works on Paper (Seminar) Alexander Nagel and Across Cultures Hsueh-man Shen Noemie Etienne (Colloquium) From Delhi to the Deccan: Visualizing World and Barbara Boehm Arts of Mobility in South Asia Cosmos in Late Antiquity Art on Display: Context, (Colloquium) (Seminar) Meaning, Affect Barry Flood and Dipti Khera Thelma Thomas (Colloquium) The Qur’an as Object, The Architectural Theory Philippe de Montebello Qur’an as Text and Practice in the Museums and Collecting (Seminar) Italian Renaissance Master Class Priscilla Soucek (Seminar) (Seminar) Marvin Trachtenberg By the People, Of the People: Patricia Rubin Greek Art 1600 BCE– 300 BCE Advanced Study in Medieval (Lecture) and Renaissance Architecture Günter Kopcke (Colloquium) Self-Reference and Quotation Marvin Trachtenberg in Greek and Roman Art Contemporary Architecture, (Seminar) from Postmodernism to Clemente Marconi Hypermodernism Cities of Vesuvius: Romans (Lecture) on the Bay of Naples Jean-Louis Cohen (Seminar) Russian Architecture and the Katherine Welch American Ideal Revisiting the Carracci (Seminar) Academy Jean-Louis Cohen (Seminar) Conceptual Art William Hood (Colloquium) Robert Slifkin

ifa.nyu.edu IFA COURSE OFFERINGS Conservation Center Courses 2014-2015

List as of April 2015. Please Examination & Conservation Introduction to the Conserva- check the IFA website for of Modern & Contemporary tion of Photography updates: http://ifa.nyu.edu Paintings I (Seminar and Laboratory) (Seminar and Laboratory) Nora Kennedy and Katie Fall 2014 Suzanne Siano Sanderson Courses for Conservators The Conservation Treatment Special Topics in the Conser- Material Science of Art & of Stone Sculpture vation & Exhibition of Rare Archaeology I (Seminar and Laboratory) Books & Manuscripts (Lecture) Michele D. Marincola (Seminar and Laboratory) Norbert Baer Maria Fredericks The Conservation Treatment 60 Technology & Structure of Decorative & Fine Art The Treatment of Bound

Institute of Works of Art I: Inorganic Objects Materials in the Research Organic Materials (Seminar and Laboratory) Library & Archive (Lecture and Laboratory) Sarah Barack (Seminar and Laboratory) of Conservation Center faculty Fine Arts Annual 2014 - 2015 Annual Arts Fine Alexis Hagadorn and consultants The Conservation of Coordinator: Michele Marincola Wooden Artifacts Color & Perception (Seminar and Laboratory) (Seminar and Laboratory) Instrumental Analysis I John Childs Conservation Center faculty (Lecture and Laboratory) and consultants The Conservation Treatment Dr. Marco Leona Coordinator: Hannelore of Prints & Drawings I Roemich Easel Paintings I (Seminar and Laboratory) (Seminar and Laboratory) Margaret Holben Ellis Individualized Instruction: Dianne Dwyer Modestini Treatment of Deteriorated Works of Art I COURSE HIGHLIGHTS (Seminar and Laboratory) Conservation Center faculty The Conservation of and consultants Wooden Artifacts Individualized Instruction: Examination & Analysis I John Childs (Fall 2014) (Seminar and Laboratory) Conservation Center faculty This course examined the structure of wood, its physical char- and consultants acteristics, and identifying characteristics of specifi c wood spe- cies commonly used in European and American sculpture and Conservation Courses for Art furniture. Mechanisms of physical and biological deterioration Historians and Archaeologists were covered, including light damage; structural damage The following courses fulfi ll caused by fl uctuations in RH, misuse, over-use, and accident; the Foundations II conserva- and insect and fungal damage. Preventive conservation meth- tion requirement for art ods, including light and climate modifi cation, integrated pest history students. management (IPM), proper housekeeping, and object han- The Technical Connoisseurship dling were emphasized. Historic and contemporary materials of Twentieth-Century Works and techniques of wood conservation treatment, structural of Art on Paper repair of damaged solid wood, plywood, and veneer, and (Seminar) replacement of loss were discussed. Emphasis was placed Margaret Holben Ellis on reversible, minimally intrusive treatment techniques, and Lascaux to 9/11: Case Studies decision-making that is cognizant of the mission, interpretive in Architecture Conservation goals, and condition of the specifi c museum, historic-house, (Colloquium) or private-collection setting for the object. Norbert Baer Spring 2015 The Treatment of Bound Connoisseurship: Materials & Materials in the Research Techniques of European & Courses for Conservators Library & Archive American Paintings, Material Science of Art & (Seminar and Laboratory) C. 1200-1900 Archaeology II Alexis Hagadorn (Colloquium) (Lecture) Dianne Dwyer Modestini Hannelore Roemich Individualized Instruction: Treatment of Deteriorated Art With a Plug: The Conser- Technology & Structure of Works of Art II vation of Artwork Containing Works of Art II: Inorganic (Seminar and Laboratory) Motion, Sound, Light, Moving Materials Conservation Center faculty Images & Interactivity (Lecture and Laboratory) and consultants (Seminar and Laboratory) Conservation Center faculty Christine Frohnert 61 and consultants Individualized Instruction: Institute Coordinator: Sarah Barack Examination & Analysis II Material, Recipe, Reconstruc- (Seminar and Laboratory) tion: New Methods in Techni-

Instrumental Analysis II of

Conservation Center faculty cal Art History 2014 - 2015 Annual Arts Fine (Lecture and Laboratory) and consultants (Seminar) Dr. Marco Leona Michele Marincola Conservation Courses for Art Principles of Conservation Historians and Archaeologists Why Conservation? Under- (Lecture and Laboratory) The following courses fulﬁ ll standing the Preservation & Conservation Center faculty the Foundations II conserva- Restoration of Cultural Heritage and consultants tion requirement for art history (Lecture) Coordinator: students. Salvador Muñoz Viñas Jean Dommermuth Preventive Conservation (Lecture and Laboratory) Hannelore Roemich and COURSE HIGHLIGHTS Steven Weintraub Why Conservation? Understanding Easel Paintings II (Seminar and Laboratory) the Preservation & Restoration of Nica Gutman Rieppi Cultural Heritage The Conservation of Glass (Seminar and Laboratory) Salvador Muñoz Viñas (Spring 2015) Karen Stamm and Conservation may (and does) shape the way we perceive Drew Anderson our most valuable artworks and landmarks, and thus has The Conservation Treatment an important impact on heritage, artistic or otherwise; Of Prints & Drawings II and yet, it is not always well understood. In this course, (Seminar and Laboratory) the core assumptions of conservation, from its ethical Salvador Muñoz Viñas principles to its very raison-d’être, were analyzed and Special Topics in the Conser- discussed. The evolving approaches to conservation, since vation & Exhibition of Rare its inception to its present incarnations, were reviewed. Books & Manuscripts The ethical and theoretical principles of conservation (Seminar and Laboratory) were also discussed and analyzed from a contemporary Maria Fredericks perspective — being aware of the different approaches to conservation, and of its theoretical strengths and weaknesses, allowing for a better understanding of art conservation, and of heritage conservation at large.

ifa.nyu.edu IFA COURSE OFFERINGS Art History and Archaeology Courses 2015-2016

List as of April 2015. Please Shipwrecks and Submerged In Search of Cultural Explana- check the IFA website for Worlds: Contesting Fields of tions: Great Works and the updates: http://ifa.nyu.edu Art, Archaeology, and Politics Questions They Raise (Colloquium) (Seminar) Fall 2015 Hsueh-man Shen Günter H. Kopcke Foundations I for MA The Global Popularity and A Brilliant Complexity: Per- Students: Practices in Trade in Blue-and-White spectives on the Art and Ar- Art History Ceramics chitecture of Middle Kingdom (Lecture) (Seminar) Egypt (ca. 1975-1640 BCE) Hsueh-man Shen Priscilla Soucek (Lecture) David O’Connor 62 Theorizing Your Project The Near East Before and

Institute (Seminar) After the Mongol Invasions The Meaning of the Signed Jonathan Hay (Lecture) (Seminar) Chinese Paintings of the Five Priscilla Soucek Colin Eisler of Fine Arts Annual 2014 - 2015 Annual Arts Fine Dynasties and Northern Song: Arts of Late Antiquity The Role of the Framed Questions of Attribution and New Rome (Colloquium) (Seminar) (Lecture) Colin Eisler Jonathan Hay Thelma Thomas Monumental Painting in In Search of Yang Sheng: The A Gathering of Wise Men: Rome, 1450-1655 “Boneless” Method and Its Late Antique Representations (Seminar) Histories (Seminar) William Hood (Seminar) Thelma Thomas Michele Matteini Introduction to Medieval Art: Greek Art in Light of the Themes and Interpretations Bronze Age (Lecture) (Lecture) Robert Maxwell Günter H. Kopcke Medieval Spanish Art (Seminar) COURSE HIGHLIGHTS Robert Maxwell The Prismatic View: Artists and The Prismatic View: Artists and Art Historians in Dialogue Art Historians in Dialogue (Seminar) Alexander Nagel Alexander Nagel (Fall 2015) Los Angeles 1955 to 1995 Knowing reference to an art-historical repertoire is common (Colloquium) in current art; sometimes the work directly concerns earlier Thomas Crow episodes in the history of art. In other words, much contemporary work comes close to the work we do as art Modernization and Nostalgia: historians. This course aims to make explicit what often Architecture in France under remains an implicit dialogue. Two different kinds of retro- Vichy spection meet, the artist's and the art historian's, creat- (Proseminar) ing a prismatic view. Students will work with an individual Jean-Louis Cohen artist, doing studio visits and visits to museums, one of Mies van der Rohe, from which will be conducted in the company of the seminar. Berlin to Chicago and Back Discussion will be focused on a particular work, to be (Lecture) identiﬁ ed in dialogue with the artist, but will branch out Jean-Louis Cohen into many other areas, among them the methodology of the history of art and the conditions of contemporary art. Barcelona-Paris-New York Later Islamic Empires Architectural Theory and (Seminar) (Lecture) Practice in Italian Renaissance Kent Minturn Priscilla Soucek (Seminar) Marvin Trachtenberg Art Between the Wars Body and Portrait in (Lecture) Late Antiquity Advanced Study in Medieval- Kent Minturn (Colloquium) Renaissance Architecture Thelma Thomas Culture After Abstract Expressionism: (Colloquium) Speciﬁ city, Heterogeneity, “The Esther Panels”: A Late Marvin Trachtenberg and Academicism in the Antique Painting on Cloth United States, 1955-1962 Recently Acquired by the Versailles Reconsidered (Seminar) Metropolitan Museum of Art (Seminar) 63

Robert Slifkin (Seminar) Meredith Martin Institute Thelma Thomas Photography and Facticity Art in Late Georgian England

(Lecture) Greek Sculpture (Seminar) of Robert Slifkin (Seminar) Thomas Crow 2014 - 2015 Annual Arts Fine Clemente Marconi Caribbean: Crossroads of Approaches to Advanced the World Dread, Interaction, and Research in Modern Art (Seminar) Humor: The Foreigner (Seminar) Edward Sullivan and the Foreign in Thomas Crow Ancient Egyptian Art Curatorial Studies: Arts and Crafts of the Metrop- (Lecture) Exhibition Practices olis: Architecture ca. 1900 David O’Connor (Colloquium) (Lecture) Barbara Boehm The Ancient Roman Empire: Jean-Louis Cohen Asia and Syria Provinces The History and Meaning Architecture in/as Photography (Seminar) of Museums (Seminar) Katherine Welch (Lecture) Jean-Louis Cohen Philippe de Montebello Prints that Matter: Fifteenth Avant-Garde Cinema and to Twentieth Centuries Painting Before 1945 Spring 2016 (Lecture) (Colloquium) Colin Eisler Complexity: Contemporary Kent Minturn Approaches Inspiration, Imagination, History and Theory of the (Colloquium) Imitation Avant-Garde Jonathan Hay (Seminar) (Seminar) Colin Eisler Sardonic: Painting and Kent Minturn Independent Opinion in Presence Curatorial Studies: Collections Eighteenth-Century China (Seminar) and Curating (Lecture) Andrew Finegold Jonathan Hay (Colloquium) Recent Research in Medieval Barbara Boehm The Library Cave at Dunhuang: Art: Liturgy and Space The Museum: An Imperfect Discovery, Contents, and (Colloquium) Construct Research Robert Maxwell (Seminar) (Colloquium) Hsueh-man Shen Word and Image in Philippe de Montebello Medieval Art Lost in Translation: (Seminar) Issues and Possibilities Robert Maxwell and (Seminar) Kathryn Smith Hsueh-man Shen ifa.nyu.edu Conservation Center Courses 2015-2016

List as of April 2015. Please Easel Paintings I Individualized Instruction: check the IFA website for (Seminar and Laboratory) Examination & Analysis I updates: http://ifa.nyu.edu Dianne Dwyer Modestini (Seminar and Laboratory) Conservation Center faculty The Conservation Treatment Fall 2015 and consultants of Metal Objects Courses for Conservators (Seminar and Laboratory) Conservation Courses for Art Material Science of Art & Lisa Bruno and Jakki Godfrey Historians and Archaeologists Archaeology I The following courses fulﬁ ll the The Conservation Treatment (Lecture) Foundations II conservation of Prints & Drawings I Norbert Baer requirement for art history (Seminar and Laboratory) students. 64 Technology & Structure of Dr. Cathleen Baker

Institute Works of Art I: Organic Understanding and Inter- Special Topics in the Conser- Materials preting What We See: The vation & Exhibition of Rare (Lecture and Laboratory) Examination of Works of of Conservation Center faculty Books & Manuscripts Fine Arts Annual 2014 - 2015 Annual Arts Fine Art on Paper (Seminar and Laboratory) and consultants (Lecture) Maria Fredericks Coordinators: Dr. Cathleen Baker Hannelore Roemich The Treatment of Bound Dating & Provenance Studies Materials in the Research Instrumental Analysis I in Art & Archaeology Library & Archive (Lecture and Laboratory) (Seminar/Colloquium) (Seminar and Laboratory) Dr. Marco Leona Norbert Baer Alexis Hagadorn Preventive Conservation (Lecture and Laboratory) Individualized Instruction: Hannelore Roemich and Treatment of Deteriorated Steven Weintraub Works of Art I (Seminar and Laboratory) Conservation Center faculty and consultants

COURSE HIGHLIGHTS Instrumental Analysis I Dr. Marco Leona (Fall 2015) The course provides an introduction to instrumental methods of examination and analysis that fi nd frequent use in the fi eld of conservation. As many of these methods invoke the use of x-rays, a signifi cant part of the course is devoted to an understanding of their properties and applications. Methods of x-ray analysis, including radiography, diffraction, and spectrometry, are reviewed and accompanied by hands-on demonstrations and laboratory exercises aimed toward developing student capability for independent use. Equipment housed in the Conservation Center and The Metropolitan Museum of Art is utilized and made available to the students. COURSE HIGHLIGHTS Technology & Structure of Works of Art II: Inorganic Materials Conservation Center faculty and consultants (Spring 2016) The course introduces fi rst-year conservation students to inorganic materials and the methods used to produce works of art, archaeological and ethnographic objects, and other historical artifacts, as well as to aspects of their deterioration and treatment histories. Emphasis is placed on the accurate identifi cation of materials and description of techniques, the identifi cation and evaluation of subsequent alterations, and an under- 65 standing of treatment history. Students learn by looking at and examining objects di- Institute rectly from the collections of The Metropolitan Museum of Art and The Frick Collection. of Fine Arts Annual 2014 - 2015 Annual Arts Fine Spring 2016 Polychromy & Monochromy: Individualized Instruction: Examination & Treatment of Treatment of Deteriorated Courses for Conservators Wooden Sculpture Works of Art II Material Science of Art & (Seminar and Laboratory) (Seminar and Laboratory) Archaeology II Michele Marincola Conservation Center faculty (Lecture) and consultants Norbert Baer Readings in Paper Conservation (Seminar) Individualized Instruction: Technology & Structure of Margaret Holben Ellis Examination & Analysis II Works of Art II: Inorganic (Seminar and Laboratory) Special Topics in the Conser- Materials Conservation Center faculty vation & Exhibition of Rare (Lecture and Laboratory) and consultants Conservation Center faculty Books & Manuscripts and consultants (Seminar and Laboratory) Conservation Courses for Art Coordinator: Hannelore Maria Fredericks Historians and Archaeologists The following courses fulfi ll the Roemich and Sarah Barack The Treatment of Bound Foundations II conservation Materials in the Research Instrumental Analysis II requirement for art history Library & Archive (Lecture and Laboratory) students. Dr. Marco Leona (Seminar and Laboratory) Alexis Hagadorn Issues in Conservation: Principles of Conservation Historical & Ethical Consider- Preventive Conservation: (Lecture and Laboratory) ations in the Development of Key Concepts and Their Conservation Center faculty a Discipline Implementation and consultants (Lecture) (Seminar and Laboratory) Coordinator: Michele Marincola Jean Dommermuth Hannelore Roemich Lascaux to 9/11: Case Studies Easel Paintings II In Architecture Conservation (Seminar and Laboratory) (Colloquium) Corey D’Augustine Norbert Baer

ifa.nyu.edu Support the IFA

The James B. Duke House

SUPPORT THE IFA Connoisseurs Circle

Membership to the Institute of Fine Arts’ patron sionist sculptor Mark di Suvero. Programs group, the Connoisseurs Circle, offers unpar- expand beyond New York City as well, with alleled access to our rich academic program, domestic day-trips and global experiences. renowned faculty, and to the art world in New To learn more about the Connoisseurs Circle York City and beyond. please contact Andrea Yglesias at Auditing Privileges [email protected] or (212) 992 5812 Connoisseurs Circle members receive the or visit the IFA website at ifa.nyu.edu privilege of auditing Institute courses that cover a range of topics within art history, conservation, and archaeology. Recent courses Connoisseurs Circle included Philippe de Montebello’s Art on Display: Context, Meaning, Affect; Prevention Executive Committee 68 Conservation with Hannelore Roemich; and Stephen R. Beckwith, Chair

Institute How to Look at Chinese Painting with Jonathan Hay, to name a few. William L. Bernhard Special Events of Jane Draizen Fine Arts Annual 2014 - 2015 Annual Arts Fine Members also receive invitations to art world events that are designed especially Roberta Huber for their benefi t. From artist studio visits to Stephen S. Lash faculty- and curator-led exhibition tours, to visits to some of New York’s fi nest private art Guillaume Malle collections, the Connoisseurs Circle offers something for every interest. Recent events Patricia Rubin (ex-offi cio) included a collection visit at the home of David Tobey Roberta and Richard Huber, leading collectors of Latin-American colonial art, as well as Alicia Volk a private studio visit with Abstract Expres-

Connoisseurs Circle members visit the private collection of Roberta and Richard Huber. SUPPORT THE IFA IFA Legacy Society

The IFA Legacy Society is a Corporate Patron Program special group of alumni, The Corporate Patron Program provides faculty, and the opportunity for corporations and small friends who businesses to align their philanthropy with have recog- their important business and marketing nized the objectives. Our institutional supporters importance of receive an array of signiﬁ cant beneﬁ ts in planning their addition to the unique ability to entertain philanthropy by providing for the Institute at our historic landmark building, The James through their wills and estates, or other gift B. Duke House. To learn more about the planning arrangements, such as gifts that Corporate Patron Program, please contact pay income to the donor. We are pleased to Andrea Yglesias at [email protected] 69 honor the generosity of our IFA Legacy Soci- or (212) 992-5812 or visit the IFA website Institute ety’s Founding members. Their loyalty to the at ifa.nyu.edu. Institute will further art history, conservation, of and archaeology scholarship into the future. B.I.K Orthopedics P.C 2014 - 2015 Annual Arts Fine To start planning your gift to the Institute or to alert us you have done so already, please contact Hope O’Reilly, Director of Development, at [email protected] or (212) 992 5869.

IFA Legacy Society Corrine Barsky Patricia and Stephen Beckwith Katherine F. Brush* Ruth Butler* Anne* and Joel Ehrenkranz Margaret Holben Ellis* Maria Fera* Paul Lott Michele D. Marincola* David T. Owsley* Anne Litle Poulet* Allen Rosenbaum* Virginia St. George Smith Marvin L. Trachtenberg* Joan Troccoli* Patricia Waddy* Phoebe Dent Weil* Eric Zafran* Anonymous (4)

*IFA alumni

ifa.nyu.edu SUPPORT THE IFA IFA Fellowships

Endowed Fellowships Elkow Muller Fellowship Lila Acheson Wallace Alfred Bader Fellowship For the study of the arts of Fellowship For the study of Dutch art Spain and Portugal, within For the study of Egyptian, in Holland and beyond the Peninsula, Modern, Ancient Near East, 1400-1900 Greek, and Roman art Andrew W. Mellon Foundation Fellowship Estrellita B. Brodsky Fellowship Marica and Jan Vilcek For the study of conservation for Latin American Art History Fellowship in Art History For the study of Latin To support doctoral Bader Fellowship in American art candidates Italian Art For the study of art in Italy Florance Waterbury Fellowship Marica and Jan Vilcek For students specializing in Fellowship in Conservation Barbara P. Altman Asian art and the art of the To support conservation Fellowship 70 western hemisphere students For student summer travel Institute Florence and Samuel Karlan Martin and Edith Beatrice Stocker Memorial Fellowship Weinberger Fund Fellowship

of To support a student who For scholarly purposes, Fine Arts Annual 2014 - 2015 Annual Arts Fine Tuition assistance for presents evidence of creativity including travel doctoral candidates and initiative Nancy Lee Fellowship Bernard Berenson Isabel and Alfred Bader Support for outstanding Fellowship Fellowship in Dutch Art doctoral candidates For doctoral study in the fi eld For the study of Dutch art at National Endowment for the of Italian art the IFA Humanities Fellowship Bernard V. Bothmer J. Paul Getty Trust Fellowship For the study of conservation Memorial Fellowship For internships in conservation For the study of ancient Paul Lott Fellowship Egyptian art James R. McCredie Tuition support for Summer Grant IFA students Charles and Rosanna For student summer travel to Pearson Travel Fellowship Batchelor Fund archaeological excavations in For student summer travel For student summer travel to classical lands study Mediterranean art and Peter Jay Sharp Foundation Jean B. Rosenwald Fund archaeology Fellowship For student summer travel Classical Art or Archaeology To provide tuition, living Fellowship in Honor of Leon Judy and Michael Steinhardt stipend, and travel bursary Levy and Shelby White Fellowship for an IFA student Support for doctoral candi- For doctoral candidates Phoebe Dent Weil Fund for dates at the discretion of the studying classical art and Art Conservation Education Director archaeology To support training and Cook Payer Fellowship Khalil R. Rizk Travel Fellowship research programs in art In memory of Walter For student travel in Italy conservation W.S. Cook Larry Gagosian Fellowship in Richard Krautheimer Donald S. Gray Fellowship Modern Art Fellowship For student travel For doctoral candidates For a distinguished student studying Modern art working in one of Professor Elizabeth A. Josephson Krautheimer’s fi elds of interest Fellowship Leon Levy and Shelby White Tuition assistance for doctoral Fellowship Robert Chambers candidates For internships in the fi eld of Memorial Fund conservation For student travel Robert Goldwater Fellowship Connoisseurs Circle Fellowship National Endowment for the Support for outstanding Support for outstanding Humanities Fellowship doctoral candidates doctoral candidates Support for conservation students Robert Lehman Fellowship Dedalus Foundation Fellowship for Graduate Study in the Support for a third-year Pierre and Tana Matisse Fine Arts conservation student Foundation Fellowship For students showing promise To increase the stipends for Donald P. Hansen Student of making distinguished doctoral candidates Travel Fund contributions to the fi eld To support student travel and Rachel Davidson and Mark Roslyn Scheinman Fellowship research in Ancient Near East- Fisch Fellowship To provide tuition assistance ern and Mediterranean art and Support for outstanding to IFA students who demon- archaeology doctoral candidates strate academic merit Elisabeth Hackspiel-Mikosch Richard Ettinghausen 71 Starr Foundation Fellowship Scholarship in Decorative Arts Fellowship in Islamic Art Institute For the study of Asian art To encourage the study of the Fellows supported by the decorative arts, in particular Hagop Kevorkian Fund Stein Family Fellowship of the study of textile arts or 2014 - 2015 Annual Arts Fine Support for outstanding Samuel H. Kress Foundation cultural history of dress. doctoral candidates Aphrodisias Fund Hagop Kevorkian Conservation To support conservation stu- The Fellowship in Greek and Fellowship dents traveling to Aphrodisias Roman Art and Archaeology Support for conservation For an outstanding doctoral Samuel H. Kress Foundation students candidate in the fi eld Selinunte Fund Ida and William Rosenthal To support conservation stu- Theodore Rousseau Fund Foundation Fellowship dents traveling to Selinunte For doctoral candidates who For the support of an incoming are considering museum Selz Foundation student at the IFA careers, for travel and study Conservation Fellowship abroad in the fi eld of John L. Loeb, Sr. Fellowship Support for conservation European painting To support fi rst- and second- students year students at the IFA Walter W. S. Cook Fellowship Shelby White and Leon Levy For study in Spain, or the Kaplan-Fisch Fellowship Travel Grant study of medieval art and Provides tuition, stipend, and To support travel for students architecture travel support for the connois- after the completion of their seurship of European paintings fi rst year Willner Family Fellowship For scholarly purposes, La Pietra Conservation including travel to Israel and Stipends To learn about ways in work at the Israel Museum, To support conservation which you can support IFA Jerusalem students traveling to students, please contact Villa La Pietra Andrea Yglesias at Annual Fellowships [email protected] Leon Levy Fellowship in Andrew W. Mellon Foundation or 212 992 5812. Fellowship Archaeological Conservation Support for conservation Provides fi nancial support students for visiting scholars studying archaeological conservation Baroness Zerilli-Marimò Travel Fund Mario Modestini Fellowship To support student in Paintings Conservation travel and research To support paintings conservation students

ifa.nyu.edu SUPPORT THE IFA Momentum Campaign

The Institute of Fine Arts, in conjunction with New York University’s $1 billion Momentum Campaign, has a goal to raise $50 million for student support by 2017, to ensure that future art historians, conservators and archaeologists have the chance to achieve their dreams, unlock their potential and unleash their ambition. We are nearly halfway to our goal having raised $23 million from the Institute’s trustees, alumni, faculty and friends. Join these visionaries and make your gift to support our future arts leaders today- a gift at any level is greatly appreciated.

Laurel Acevedo Judith W. Evnin Leon Levy Foundation Andrew W. Mellon Foundation Nancy B.* and Christina and Guillaume Malle Hart N. Fessenden, Jr. Antiquarium, Ltd. Mary S. Manges Rachel Davidson and Meg A. Armstrong* Claire Svetlik Mann* Mark Fisch 72 Patricia and Stephen Beckwith Mercedes Mestre Larry Gagosian Institute Lawrence B. Benenson Mario Modestini Foundation Lois Severini* and Catherine Cahill and Enrique Foster Gittes Charles S. Moffett* of

Fine Arts Annual 2014 - 2015 Annual Arts Fine William L. Bernhard Carol Hass Goldman Joanne D. Murphy Glenys and Kermit Birchfi eld Toni and James Goodale Terry Naini Debra and Leon Black Lorna B. Goodman Helen Nash Catherine Coleman Brawer* Jane Mack Gould Lucio A. Noto and Robert A. Brawer Isabella Hutchinson and Victoria and Deborah Loeb Brice Diego Gradowczyk Samuel I. Newhouse, Jr. Estrellita* and Daniel Brodsky Sharon Grotevant Michael A. O'Connor Ildiko and Gilbert Butler Debora A. Guthrie Dara J. Mitchell* and Ruth A. Butler* Michael Offi t Elisabeth Hackspiel-Mikosch* Sofi a Chappuis Janice Carlson Oresman* Gregory S. Hedberg* Marguerite and Purcell Palmer Kathryn Moore Heleniak* Kent Charugundla Peter Jay Sharp Foundation Roberta and Richard Huber Eileen and Michael Cohen Wendy M. Phillips Ida and William Rosenthal Evelyn Streit Cohen Foundation Pierre and Tana Matisse Amy Kathleen Cosgrove Foundation Institute for Studies on Margaret Culver Latin American Art Barbara Pine Lise Scott and D. Ronald Daniel Mary and Michael Jaharis Cynthia Hazen Polsky and Leon Polsky Georgia Riley de Havenon Daphne R. and Tom S. Kaplan and Michael de Havenon Laleh Javaheri-Saatchi and Patricia E. Karetzky* Cyrus Pouraghabagher Philippe de Montebello* Hagop Kevorkian Fund Jonathan D. Rabinowitz Dedalus Foundation Susan and Robert Klein Caroline Cummings Rafferty* Hester Diamond Samuel H. Kress Foundation Elizabeth and Reuben Richards Nancy P. Durr Stephen S. Lash Robert Lehman Foundation Anne* and Joel Ehrenkranz Nancy Lee* Curtis M. Roberts* Elizabeth B. Estabrook* Colleen Leth* 73 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Current students and recent alumni at the 2015 IFA Alumni Reunion.

Anne N. Rorimer* Judy and Michael Steinhardt Marie-Hélène Weill Kenneth J. Rosenbaum Stephanie Stokes* Felecia Weiss Elaine Rosenberg Mildred Suesser Maya Lin and Daniel Wolf Mimi and James B. Anna Marguerite McCann* Reva June Wolf* Rosenwald, Jr. and Robert D. Taggart Gina Xu Patricia Allen Ross Aso Tavitian Eric M. Zafran* Lisa A. Rotmil* Maurice Tempelsman Dale* and Rafael Zaklad Tina Samii Cristin Tierney* Baroness Mariuccia Fredric T. Schneider Susan B. Tirschwell Zerilli-Marimò Nancy Peretsman and Julie and David Tobey Nadia Zilkha Robert Scully Anne W. Umland* Nicholas S. Zoullas Lisa and Bernard T. Selz Jan T. and Marica Vilcek Anonymous (4) Christine M. Singer* Alicia and Norman Volk Betty Selly Smith* Stark* and Michael* Ward Virginia St. George Smith Susan M. Wasserstein Deanie and Jay Stein

Includes commitments of $1,000 or more made since the beginning of the Momentum Campaign on September 1, 2011. Please contact Hope O’Reilly, Director of Development at [email protected] or 212-992-5869 to discuss your giving priorities.

ifa.nyu.edu SUPPORT THE IFA Annual Donors to the Institute

Philanthropy plays an essential Institute for Studies on $5,000-9,999 role in fulﬁ lling the Institute’s Latin American Art Lawrence B. Benenson mission to educate future Estate of John H.B. Knowlton Catherine Cahill and generations of art historians, Alexandra Munroe* William L. Bernhard conservators and archaeologists. We gratefully acknowl- Pierre and Tana Matisse Glenys and Kermit Birchﬁ eld edge the generosity of our Foundation Laurie Bryk supporters. Lauren Berkley Saunders* and Nancy B.* and Hart N. John K. Saunders $5,000,000+ Fessenden, Jr World Monuments Fund Jan T. and Marica Vilcek Carol Hass Goldman Baroness Mariuccia Isabella Hutchinson and $1,000,000-4,999,999 Zerilli-Marimò Diego Gradowczyk Andrew W. Mellon Foundation 74 $10,000-24,999 Debora A. Guthrie

Institute Anne* and Joel Ehrenkranz American Research Center Mary S. Manges Nancy Lee* in Egypt James R. McCredie of Samuel H. Kress Foundation Patricia and Stephen Beckwith

Fine Arts Annual 2014 - 2015 Annual Arts Fine Helen Nash Judy and Michael Steinhardt Catherine Coleman Brawer* Lucio A. Noto and Robert A. Brawer Anonymous Janice Carlson Oresman* Marguerite and $400,000-999,999 Purcell Palmer Kent Charugundla Leon Levy Foundation Mariët Westermann* and Eileen and Michael Cohen Deanie and Jay Stein Charles H. Pardoe, II Lise Scott and Wendy M. Phillips $100,000-399,999 D. Ronald Daniel Barbara Pine 1984 Foundation Georgia Riley de Havenon Curtis M. Roberts* Larry Gagosian and Michael de Havenon Kenneth J. Rosenbaum Anonymous (3) Hester Diamond Lois Severini* and Fredric T. Schneider $50,000-99,999 Enrique Foster Gittes Wolfgang Schoellkopf Estrellita* and Daniel Brodsky Ida and William Rosenthal Mildred Suesser Marina Kellen French Foundation Virginia St. George Smith Hagop Kevorkian Fund Christina and Guillaume Malle Stephanie Stokes* J. M. Kaplan Fund, Inc. Dianne Dwyer Modestini Susan B. Tirschwell Daphne R. and Tom S. Kaplan Victoria and Samuel I. Maya Lin and Daniel Wolf Newhouse, Jr. Malcolm Hewitt Wiener Gina Xu Foundation Cynthia Hazen Polsky and Nadia Zilkha Lisa and Bernard T. Selz Leon Polsky Anonymous Jonathan D. Rabinowitz $25,000-49,999 This list includes commitments Elizabeth and Reuben Richards Arthur Loeb Foundation received from April 1, 2014 to Elaine L. Rosenberg Suzanne Deal Booth April 1, 2015. Patricia Allen Ross Deborah Loeb Brice *IFA alumna/us Mildred Suesser Dedalus Foundation Aso Tavitian Gail and Alfred Engelberg For information on how Julie and David Tobey you can support the IFA, Rachel Davidson and contact Andrea Yglesias at Mark Fisch Alicia and Norman Volk [email protected] Roberta and Richard Huber or (212) 992 5812. 75 Institute of Fine Arts Annual 2014 - 2015 Annual Arts Fine

Students looking at paintings from the Kress Collection in the Conservation Center.

Opening night of the Great Hall Exhibitions featuring the artwork of Felix Gonzalez-Torres.

ifa.nyu.edu

Abydos excavation, 2014. Photo credit: Greg Maka.