Number 11 2010/2011 Graduate Alumni News

February 2011 Boston University Department of History of Art and Architecture

History

In this issue:

Faculty News..…2

Alumni Updates…3

Alumni Support…6

Graduate

Symposium…. 6

BU Alumna Marcella Beccaria, curator at the Castello di Rivoli Museum in ,

BU Art History Alumna is the Curator of the

Castello di Rivoli Museum, Turin In this edition of the Newsletter, Martina specifically Contemporary Art. It helped me ability to share their knowledge with students. Tanga interviewed Marcella Beccaria (MA understand some major issues that are highly But more than this, they were sensitive human 1994). Marcella is the curator at the Castello important to me as a curator. Professors at beings. As a student coming from abroad I di Rivoli Museum, an important center for Boston University taught me to train my eyes was in need of more than just a teacher; in all contemporary art in Italy. She has curated as well as my critical skills. Not only did they of them it was possible to find a wonderful shows of acclaimed international artists such give me a complete academic overview of Art person behind the professor. Last but not least, as Vito Acconci, Thomas Demand, Yang History, they also helped me understand the I am in debt to Caroline Jones with whom I Fudong, Franz Ackermann, and Vanessa subject critically. I am not only talking about did my master’s thesis. She really followed Beecroft as well as emerging national artists the writing skills that a Masters gives you, but my studies. She is one of those teachers that such as Alice Guareschi, Grazia Toderi, and also the ability to solve problems and to think leaves you with something that stays with you Francesco Vezzoli. She also has numerous about the subject in different ways. I also want forever. publications in the field of contemporary art. to mention the extraordinary international Marcella received her Masters from Boston environment I encountered at BU. This proved What was your first job after completing University in 1994 completing her Master’s to be very important in my job as a curator at your MA at Boston University? paper Piero Manzoni Responds to an international level with artists working I started working at the ICA in Boston while with Professor Caroline Jones. from different cultures. finishing my degree. Originally I planned to spend one or two years in the States, but then I What did you learn at Boston University Was there anything that stands out as ended up working there for an additional four that helped you in your early career and special about Boston University Faculty? years as an assistant curator. That was a then land the curatorial position at the The faculty was wonderful – in particular I wonderful experience for me because, at the Castello di Rivoli Museum? remember Hellmut Wohl and his course on time, the ICA was really focused on the My Masters from Boston University gave me Renaissance Art and studying American Art an essential education in Art History and with Patricia Hills. Overall they had a great Interview continued on page 4 Graduate Alumni News Page 2 News from the desk of Patricia Hills, Faculty Liaison for the Art History Graduate Alumni Association

Dear Alumni and Friends, Parrish, Natania Remba, Deborah Hartry version of Community by Design: The Olmsted Stein, Jing Sun, Katherine Shoemaker Firm and the Planning of Brookline, This year the Alumni Newsletter is publishing Sutlive, Deanna West. Christina, Lynne, Massachusetts, 1880-1936, to be published in an interview our current doctoral student, Melanee, Sarah, and Deborah are continuing 2011. In January, he begins his sabbatical with a Martina Tanga, conducted with Marcella into the PhD program. trip to Africa and India to see architecture and to Beccaria (MA, 1994), who is now the Curator visit family and friends. at the Castello di Rivoli Museum in Turin. We We thank Martina Tanga, a doctoral student are pleased that our graduates are located around in our department, our editor for this issue. Paolo Scrivano has been working on his next the globe. book, titled Building Transatlantic Brief Recent News from the Faculty: Italy: Architectural Dialogues with Postwar Professor Fred S. Kleiner, Chair of the America; he aims to complete the manuscript by Department of History of Art and Architecture Emine Fetvaci gave a paper at the Biennial the end of the year. In addition, he is in the final and Professor Patricia Hills hope to see many of Symposium of the Historians of Islamic Art stages of preparation of the special issue you at the CAA conference in New York this Association about a seventeenth-century “Intersection of Photography and Architecture” February 2011. The BU Art History Alumni Ottoman album. She also gave two talks at for the journal Visual Resources: An Breakfast will be held from 7:30 – 9 am on BU, one was for the Faculty Lunch Series of International Journal of Documentation, co- Friday, February 11, in the Lincoln Suite, 4th the Institute for the Study of Muslim Societies edited with Maria Antonella Pelizzari (Hunter Floor, New York Hilton, 1335 Avenue of the and Civilizations, and the other was a part of College, CUNY). Americas, NY, NY. We will be joined by the conference, Leisure and the State Across faculty and students from the School of Visual Eurasia, organized by BU's Center for the Kim Sichel is Director of American and New Arts at BU. Study of Asia. England Studies. She is organizing a yearlong seminar series titled "House and Home in At CAA Sang Seung Yeon will be presenting a Melanie Hall has turned a conference paper American Culture" for the program. talk, "Cultural Essence and National Ceramics: into a publishable version, for the edited She published an essay, "Deadpan Geometries: ‘Hybrid’ Ceramic Production from the Japan volume of the conference, “Plunder or Mapping, Aerial Photography and the American House Kilns during the 17th to 18th Centuries" Preservation? Negotiating an Anglo-American Landscape," in Reframing the New at the Japan Art History Forum Graduate Heritage in the Later Nineteenth Century in Topographics (ed. Greg Foster-Rice and John Student Panel on Thurs, February 10. BU the Old World and the New,” which will be Rohrbach), Center for American Places, 2010. faculty member Professor Jessica Sewell will be published as part of the Proceedings of the She is also publishing an article on Lyonel presenting a paper, “Seduction Machine: The British Academy. Feininger's photographs. She is researching for a Libidinous of the Bachelor Pad,” in new book project about "reading photographic the Visual Culture Caucus session "Let's Talk Patricia Hills reports that she plans to visit books," with case studies that span the 1920s to about Sex" (Not Gender): Sex and Modernist Cuba the first week of March 2011 with a 1960s in Europe. Practices,” on Friday, February 11. Alumna group from the American Association of Frances Altvater (PhD) will discuss “The Museums. While there she will be exploring Alice Tseng: Professor Tseng spent the Sound of Art: Audio-Casting and Student possibilities for an exhibition of Cuban art to summer of 2010 researching the controversy Engagement,” in the session sponsored by Art be shown at the Boston University Art that surrounded the design competition in 1990 Historians Interested in Pedagogy and Gallery. During 2010 she gave several lectures for the mega-structure known as the Kyoto Technology, on Wednesday, February 9. on her book Painting Harlem Modern: The Station Building. Her larger book project on Alumnus Paul H. D. Kaplan (PhD 1982), will Art of Jacob Lawrence (University of modern Kyoto architecture and urbanism speak on “George of Freecastle: Giorgio da California Press). On April 3 she will be investigates the challenges and tensions arising Castelfranco’s Self-Promotion as a Martial lecturing on Lawrence at the Meadows from the modernization of an old capital. Painter,” at the session sponsored by the Italian Museum in Shreveport, Louisiana. Art Society, on Fri, February 11. Gregory Williams delivered a paper “Retreat Also at CAA Ross Barrett (PhD 2009) will Keith Morgan has given invited papers at to the Private Sphere: In-Jokes in West German receive the Arthur Kingsley Porter Prize for his several conferences this fall including Art of the 1980s,” in October 2010 at the annual article, “Rioting Refigured: George Henry Hall “The Pre-Modern New England Collegiate conference of the German Studies Association and the Picturing of American Political Landscape,” at Shaking Their Yankee in Oakland. He is currently in the final Violence,” published in the September 2010 Foundations. He also submitted the final (grueling) stage of gathering all images and issue of The Art Bulletin, and BU faculty copyright permissions for his book, Permission member Patricia Hills will received the to Laugh: Humor and Politics in Contemporary “Distinguished Teaching of Art History Award.” German Art, to be published by the University BU at CAA 2010 of Chicago Press. During 2010 the following received the PhD Join us for the annual Boston degree: Stacey McCarroll Cutshaw, John University Alumni Breakfast, Michael Zell has an article, "Rembrandt's Keith Doherty, Holly Markowitz Goldstein, hosted by Fred Kleiner and Gifts: A Case Study of Actor-Network- Dalia Habib Linssen, and Ellen Roberts. Theory," in press with JHNA, the electronic Patricia Hills, which will be held journal of the Historians of Netherlandish The following received their M.A. degrees: from 7:30 – 9am on Friday, Art. Professor Zell has also completed another th Christina Lee An, Hannah Williams Blunt, February 11 in the Lincoln article, entitled "'Liefde baart kunst': Vermeer's th Karaugh Brown, Martha H. Clawson, Lynne Suit, 4 Floor, at the New York Poetics of Painting," and is continuing work on Cooney, Jenny L. Ernst, Melanee C. Harvey, Hilton, 1335 Avenue of the the manuscript of his next book, For the Love of Amy Huang, Lili Camille Mugnier, Sarah Americas, NY, NY. Art: Rembrandt, Vermeer, and the Gift in Seventeenth-Century Dutch Culture.

Graduate Alumni News Page 3

BU Art History Alumni Updates Giovanna de Appolonia (PhD 2009) is still Alicia Craig Faxon (PhD 1979) gave a talk Jillian E. Russo (MA 2004) wrote an essay teaching Italian language at Boston University on “Women Artists, Past and Present” at the for Glorious Sky: Herbert Katzman’s New and has just had a baby boy in May 2010. Loring-greenough House Museum in April York, an exhibition curated by Julia Blaut for 2010 and wrote three reviews for Art New the Museum of the City of New York in 2010- Janis Bell (MA 1974) is currently working on England. 11. a translation project with Claire Fargo. Michèle Furst (MA 2000) is senior associate M. Jeanne Tasse (PhD 1972) retired from John J. Bishop (PhD 1962) retired in 2007 vice president of Academic planning and Marietta College in 1991. after teaching at Vanderbilt University; support at Massachusetts College of Art and Bowling Green; State University, SUNY, Design. Nancy Tieken (MA 1989) recently moved to Buffalo; Florida Atlantic University; Palm Denver, where she will be working for the Beach Atlantic University. John also lectured Holly Markowitz Goldstein (PhD 2010) is Denver Art Museum. extensively on cruise ships in Europe during Assistant Professor at Savannah College of his career. Art and Design. In November a baby girl, Jennifer Uhrhane (MA 2006) is currently Eloise, was born to Holly and Jonathan working on freelance curatorial projects. She Carl Chiarenza (MA 1963) is Artist-in- Goldstein. is curating for the DeCordova Sculpture Park Residence, and Fanny Knapp Allen Professor and Museum on photojournalist Lucien Emeritus of Art History, at the University of Patricia Johnston (PhD 1988) has received a Aigner. She is also continuing to work with Rochester. Carl recently had an exhibition of fellowship from the National Endowment for private art collectors, cataloguing their his photography at the Photographic Recourse the Humanities for 2011-2012 to work on her collections in the Boston area. Center in Boston. book Visual Arts and Global Trade in the Early American Republic. This topic was the Ann Prentice Wagner (MA 1987) In 2009, George M. Cohen (PhD 1962) has recently basis of a international conference she co-curated with Deputy Chief Curator George retired from Hofstra University on Long organized in November 2010 in Salem, Gurney the exhibition 1934: A New Deal for Island. Massachusetts, with support from the Terra Artists at the Smithsonian American Art Foundation for American Art (website: Museum; She was lead author of the Amy E. Cohn (PhD 1976) has been managing http://terra.salemstate.edu). In summer 2009 exhibition catalogue of the same name. The design and construction projects in New York and summer 2010, she directed NEH Institutes exhibition is touring the country until 2014 City in various settings since completing her for school teachers, who explored how to and she will be speaking at some of the PhD. Currently she is overseeing the creation incorporate American art into their teaching venues. She also worked with Dr. Virginia of a new Visitor Center for the Lower East (website: http://picturingamerica.salemstate.ed Mecklenburg on the Smithsonian American Side Tenemont Museum and the construction u). In April, she will be an invited scholar at Art Museum exhibition and book Telling of a new 9 -story school building. Yale University Art Gallery, presenting on Stories: Norman Rockwell from the Samuel F. B. Morse. Collections of George Lucas and Steven Ellen B. Cutler (MA 1985) recently Spielberg. In 2009, she taught as an adjunct at published an article on L’Enfant’s design for Linda Markson Kruger (MA 1964) has the University of Maryland and will do so Washington D.C in Sculpture Review retired from Columbia University as rare book again in 2010, and will also teach at Towson magazine. She is still an Adjunct Professor at cataloguer and later Head of Art and University. the Maryland Institute College of Art and a Architecture Cataloging. Lecturer at the Osher Institute for Life-Long Selena S. Wang (MA 2003) passed her Learning, Johns Hopkins University. Dalia Habib Linssen (MA 2001; PhD 2010) dissertation defense at University of is a Lecturer at the Rhode Island School of Pennsylvania in Sept. 2010, and now works as Stacey McCarroll Cutshaw (PhD 2010) has Design. the assistant curator of Chinese art at the been appointed Editor of exposure, the National Asian Civilizations Museum of national journal of the Society of Photographic Katherine Nahum (PhD 1993) is teaching Singapore. Education. 19th and 20th century architecture in the Fine Arts Department at Boston College. Her Eleana Whyte (MA 2009) has accepted a Krista Dahl (MA 2008) is working in the seminar Art and Mind addresses how various position as Curatorial Assistant in the Division Education Department at the ICA Boston. psychologies can be applied to art; it is a of European and American Art at the Harvard focused interest. She has published mostly University Art Museums. Julia Dolan (PhD 2009) is Curator of catalogue essays for exhibitions on Irish and Photography at the Portland Museum of Art in Belgian art, Munch, and Ensor held at the Christina Y. Yu (MA 2004) is completing her Oregon. McMullen Museum. Currently she is dissertation at the University of Chicago. She completing a paper on Cézanne. has been offered a curatorial position at Jeannine Falino (MA 1984) is the curator at LACMA, where she will be the assistant the Museum of Arts and Design, NY and is Melody N. Rod-ari (BA 2002 and MA 2004) curator of Chinese art starting from February currently working on the exhibition “Crafting completed her PhD dissertation at UCLA in 2011. Modernism: Midcentury American Arts and the spring and is now the Assistant Curator of Design” scheduled to open in October 2011. South and Southeast Asian Art at the Norton She was also a Juror a the Nisionmakers, Simon Museum, a museum that has one of the Brady Craft Alliance, Tulsa Olkahoma in best collections of South and Southeast Asian September 2010 and a panelist at the art in the States. American Craft week in 2010. Graduate Alumni News Page 4

Alumna is a curator at the Castello di Rivoli Museum (continued from page 1) presentation of cutting-edge contemporary art. As a young member of the curatorial team – comprised of Catherine de Zegher, now the Artistic Director of the Sydney Biennial, and Dr Christoph Grunenberg, now director of Tate Liverpool – I had the privilege of working at a small institution, understanding the complexities of the job whilst working closely with the artists.

How long have you been the curator at the Castello di Rivoli Museum? I joined the Museum in 2000. This was my job after coming back from the States. For me it was a great opportunity to put into practice what I had learned. When I joined the Castello, it was one of the few institutions solely devoted to the presentation of contemporary art and culture in Italy. Today the landscape has changed as new museums have recently opened. But still, the Castello is an important historical record.

Was 2000 a crucial time? Yes, I would be proud to think that. The Castello was founded in 1984. When I arrived the permanent collection was formed Castello di Rivoli Museum, View of the "manica lunga" but also in the process of expanding. It was Castle, a medley of interrupted 17th and 18th century sites, was very greatly transformed between also a moment when the Castello was the late 1970s and 1995 to accommodate the Museum of Contemporary Art. opening up to younger artists, not only established ones. As the curator I had the the States. She liked that I had gotten such a time I spend with artists and everything I privilege to develop a program focused on rich educational experience. can learn from them directly. As a curator of emerging contemporary artists: “A Project contemporary art I have the privilege of for the Castle” – the first of its kind in Italy. What was your first project at the working with living artists and I try to take One of the first artists I had the opportunity Museum? full advantage of this. It is the reason I chose to invite was Olafur Eliasson, who then was I co-curated a show on Grazia Toderi, an to work in this field – to really have the not the international star he is today. It was Italian artist mainly working in video and possibility to understand the art not only very exciting to be able to present the work installation. Her work has been recently with my eyes but also through the critical of a new artist to the Italian audience. Even featured at the Venice Biennial and this and cultural exchange I can have with the though I was limited both in terms of square April she will have a mid-career artist. For me, this is the basis of my job. It footage and budget, I was able to ask most retrospective at the Hirshhorn, in is important not to fall under the trap of of the artists for brand new projects Washington, DC. trends or easy choices. especially designed for this space. Specifically in the case of Eliasson, the How has the Museum evolved during Since you have been the curator at museum was only recently able to purchase your time there? Castello di Rivoli, what would you say has the project he made for this program ten The challenge has been to work in a been your most interesting project and years earlier. As a curator, this was a professional and scientific way. By this I why? wonderful accomplishment. I have also mean to produce a coherent program of That is a tough question – I guess each invited others to participate such as exhibitions and to publish each year a project is unique. I will mention two that are Elizabeth Peyton, Hannah Starkey, and certain number of catalogues put together by particularly dear to me for different reasons. Italian artists such as Paola Pivi. I have rigorous academic research. We have The first is a show I did in 2005 with the understood that even with a small space and devised a meticulous curatorial approach Chinese artist Yang Fudong. I wrote his first budget, you can actually have challenging based on complete biographic and catalogue. At the time, Yang Fudong could international exhibitions. bibliographic research on the artists. Our only speak Chinese and his English was aim is not to produce beautiful coffee table very minimal. The entire preparation for the How did you first get involved with the catalogues with alluring images, but exhibition and catalogue process was Museum? publications that can be useful to other conducted in different locations in the world I sent my résumé to Ida Gianelli, the scholars and artists. To do this you need to and with different people translating. director, in which I stated at the very top my invest time and resources on each project. Despite the huge amount of mis- education at Boston University. I knew the interpretation that could have happened, work the museum was doing and I saw it What is important to you as a curator? somehow everything went really smoothly. from a distance, from the vantage point of The most important aspect of my work is the And even recently, Yang Fudong has asked

Interview continued on page 5 Graduate Alumni News Page 5

Alumna is a curator at the Castello di Rivoli Museum (continued from page 4) me to write about his work. It’s a particular behind in promoting young artists and the unification of Italy. Between one project ca se where the lack of a common language helping them get out of the country. The and the other, I also try to do studio visits. I was not a barrier to understanding each idea was to create a project with easy am always curious to meet young artists. For other. guidelines – and not be a bureaucratic example, I am now on my way to meet a Another significant project was the big nightmare – to allow them to go abroad. The collective called ‘Diogene’ (after the Greek retrospective I curated with Ida Gianelli, artists have to imagine a project in any philosopher Diogenes). They have created a ‘Claes Oldenburg Coosje van Bruggen, country they choose, where they might residency program for other artists in an Sculpture by the Way’ on view from conduct research or produce a new piece. abandoned tramway in the center of Turin. October 2006 until February 2007 at the We invite a number of artists, all younger Castello, also travelling to the Fundació than 40 years old, to present each year. They Over the past decade it seems Italy has Joan Miró in Barcelona later that year. In win 20 000 euro and the museum helps the really pushed to be a presence on the this case, the challenge was to work with artists get connections wherever they go. contemporary international art scene Claes and Coosje who have been actively After one year, we present their project in with many important institutions opening creating the history of contemporary art. the museum. in and Rome, what are your There have been many catalogues and a thoughts? huge amount of material published on them. What is the criterion for the selection of As an Italian I am really ashamed of my Still, the fascination for me was the artist? government and president. But – that said - possibility to work directly with these two We try to understand how this project will we always hope that our government does iconic artists – to understand their work with help their career paths. This possibility not represent us. I like to think that working them and through them. This was a gift I should give them new tools to advance their professionally can somehow become a seed will never forget. As you know, work. We also try to challenge ourselves by for the future. I hope all of these new unfortunately Coosje passed away in 2009 giving a grant to an artist whose work might centers that have been created to promote and that was also her last show. not be so project-based. It is a formula that culture will stay. I hope it is not a trend. many prizes have, favoring post-conceptual Because we have the big heritage of the past What was the focus of the Claes work. But for someone working with more a to preserve, a huge amount of public money Oldenburg Coosje van Bruggen. Sculpture traditional medium like painting, it might be has to go into that. The fear is that Italy by the Way exhibition? more difficult for them to describe how cannot support so many contemporary The angle was their collaboration. This is an integral traveling to a specific place is to initiatives. But because we are a living aspect that seems to slip away from their projects. We try not to privilege a country, it is vital that we invest in the traditional art historical discourse. Of course specific medium. future. I do not see any better way than everyone knows the work of Claes fostering creativity, giving artists places to Oldenburg is linked to the history of Pop What project are you working on work and ways to express their ideas. This is Art, Performance and Happenings. The currently? really what I learned while living in the work of Coosje van Bruggen is known for At the moment I have just published a States. Art can become a critical tool in her writing, for example her important book catalogue on the CRT collection. This is a shaping people’s identity. We are not only on Bruce Nauman and her curatorial work collaboration project between the Castello, the country of Berlusconi, I hope! for Documenta. But since they met and the GAM (Galleria d’Arte Moderna) and the started working together, they initiated a Fondazione CRT in Turin. The Fondazione new model of artistic practice. The CRT began a collection of contemporary art Help support the BU Art exhibition focused on their collaboration, about a decade ago in order to provide both their unique exchange of word and image. the Castello and the GAM with more History Alumni Fund Word from Coosje, and image though Claes’ resources. The CRT collection is on loan to production. Through this encounter they both museums and can be used in order to Donations from alumnae, alumni, and have been shaping a modus operandi that develop exhibitions and projects. This is all friends help to provide important funding has no precedent in art history. There is a bit part of the important cultural initiative for current graduate students to present of resistance against this interpretation. Not actively happening in Turin. As you might conference papers, to conduct research trips, and to attend conferences everyone has been able to acknowledge the know, Turin is changing its identity. It is necessary for their research. contribution Coosje has given to this transforming itself from a strong and tough process. But it is only though this process industrial town known for its FIAT car Contributions may be made payable to that they have been able to create the large- manufacture to a city of culture. the BU Department of History of Art and scale projects that have reshaped public Contemporary art has played a big role in Architecture Fund #3148-3 or to the sculpture since the 1980s. I hope that the this process. Politicians and institutions here “Patricia Hills Endowed Fellowship Fund exhibition and catalogue might begin to have understood that you can reshape your in Art History” #0889-2 and sent the write the fi rst part of this history. identity through art. Using the museums as following address:

not only cultural but also educational centers Prof. Patricia Hills Castello di Rivoli grants a fellowship has really sunk in. We hope that this cultural Department of History of Art and ‘Borsa per I Giovani Artisti Italiani” revitalization can still happen amidst the Architecture What is the aim of this grant? current economic crisis. Boston University This program also started around the year At the moment I am about to start a new 725 Commonwealth Avenue, 302 2000. I was one of the founding members. book project and I am working on the Boston, MA 02215 Each year with the support from the Friends upcoming exhibitions for next year. The [email protected] of the Museum we are able to award a Castello will organize an important Arte 617.353.2520 (phone) 617.353.3243 (fax) fellowship to an Italian Artist. The program Povera exhibition in the context of the was created especially because Italy is so far celebrations for the 150 year anniversary of Thanks for your support! Graduate Alumni News Page 6 Art History Alumni Support News

Since the last Newsletter was published in Annual Graduate Symposium on the History January 2010, the following students have Ben Sweig traveled to Scotland to deliver a of Women and Gender,” held at the University been given travel funds from the Patricia Hills talk, "Social Control and the Public Image in of Illinois, Champaign-Urbana, on March 5, Endowed Graduate Fellowship Fund in Art Late-Medieval Sweden: The Case of the 2010. On April 23, 2010 she also presented History and the Art History Graduate Alumni Vapenhus," at the 36th Annual Conference of her dissertation topic at the Graduate Student Fund: the Association of Art Historians, on April 16, Lightning Rounds, at the Society of 2010, in Glasgow. Architectural Historians in New Orleans Melissa Renn delivered a talk, “Women at War: Life Magazine’s Women Artist Mamie Hyatt delivered a paper, “Homeboy Beth Pugliano attended the conference on Correspondents in World War II,” for the Cosmopolitan? Kehinde Wiley and the World “Romanesque and the Past,” sponsored by the SECAC conference in Richmond, Virginia, on Stage,” at the 36th annual Cleveland British Archaeological Association in London October 23, 2010. Symposium hosted by Case Western Reserve from April 9-11, 2010. Professor Deborah University and the Cleveland Museum of Art, Kahn presented a paper at the conference. Naomi Slipp delivered her talk, “Thomas and held on February 26, 2010. The theme of Eakins’s Anatomical Casts: An Investigation the symposium was, “The Art of Exchange: Holly Markowitz Goldstein (PhD 2010) gave of Realism, Vision, and Subjectivity in Late Cross-Cultural Ideas in a Visual World.” For a talk, “Traveling East to Revisit the West: Nineteenth-Century America,” for the her paper she was presented a second place Robert Adams’s ‘Turning Back’” at the CAA “Sculpture” panel at the Association of award for most innovative research and best Annual Conference in Chicago, February 10- Historians of American Art conference, held overall presentation. 13, 2010. in Brooklyn, New York, on October 9, 2010. Katherine Carroll delivered a talk, In addition the Dean’s office gave Special Amber Ludwig, spoke on “Education and “American Medical School-Hospital Research Funds to the Department so that we Imitation: George Romney’s Role in the Complexes in the Early Twentieth Century: could make available funds for research and Creation of Lady Hamilton,” for a workshop Constructing Gendered Professional Identities conference travel to Jeong Hye Kim, Ellen at the Centre for Eighteenth-Century Studies, While Building for Modern Science,” at the Roberts, Melissa Renn, Lana Sloutsky, University of York, England, Nov 24, 2010. conference, “Mysterious Things: The 11th Catherine Walsh, and Katherine Carroll.

The 27th Annual Boston University

Graduate Student Symposium on the History of Art “GOLD” and Architecture

This Symposium will consider the use, over-use and re-use of gold both from a material and a symbolic viewpoint.

Keynote Speaker: Symposium Moderators Painting from the Early Sixteenth Martina Tanga, Boston University Century Dr. Rico Franses, Chair, Department of Kenneth Hartvigsen, Boston University Fine Arts and Art History, American Lynley Anne Herbert, University of University of Beirut Graduate Speakers: Delaware The Blinding Light: Gold in Roman All that Glitters is Not Necessarily Egyptian, Byzantine and Islamic Art Roland Betancourt, Yale University Gold…Electrum As Visual Exegesis in The Hermeneutics of Gold-Ground an 8th Century Gospel Book Keynote lecture information: Technology in Middle Byzantine Art Friday, March 4th 2011, 5:30pm Boston University Art Gallery Ilaria Patania, Boston University Michael Sanchez, Columbia University at the Stone Gallery Bronze is the New Gold! The Values of Art: Marcel Broodthaers on Yves Klein 855 Commonwealth Avenue Boston, MA, 02215 Esther van Duijn, University of Beth Pugliano, Boston University Amsterdam What of Frankincense and Myrth? Graduate Symposium Gold Brocaded Fabrics and the use of Gilding the Magi’s Gifts Saturday, March 5th 2010 Gold in Northern Netherlandish 10 am- 5 pm Riley Seminar Room, For more information please contact Lana Sloutsky, Symposium Coordinator, Department of Art Museum of Fine Arts, Boston and Architecture History, Boston University at [email protected], or visit 465 Huntington Avenue www.bu.edu/ah/news/20010-2011/symposium.html. Boston, MA, 02115 This event is sponsored by The Humanities Foundation at Boston University; the Art History Department, Boston University; The Museum of Fine Arts, Boston; and the Boston University Art Gallery at the Stone Gallery.