newsletter of the department of art history

Spring 2015

It’s All About Students

1 2014 Phi Beta Kappa Students. Amaris Sturm, Kelsey Wingel, Anna Kelleher, Omar Durán-Garcia, Elizabeth Knight, Contents Kristin Wittman, Kelsey Mello. Photo by George Freeman.

From the Chair 3 Graduate Student News 16 News Highlights Undergraduate Activities 4 Degrees Awarded Convocation Addresses Awards and Other Honors Undergraduate Awards Individual Updates Clubs and Workshops

Around the Department 8 Alumni Corner 30 Green Light Initiative Reports Artstor and Shared Shelf News Lecture Series Thanks to Our Donors 34 Delaware Awake Exhibition

Faculty News 12

2 Spring 2015 From the Chair Editor: Ikem Stanley Okoye As I write, it’s awards day in the Department of Art History, Editorial Assistant: Karli Wurzelbacher when we celebrate the achievements of our undergraduate and graduate students. This year is the 25th anniversary of the Anna R. and Robert T. Silver Award for Excellence Photography/Layout: George Freeman in Teaching. Robert Silver turned to art history late in Perry Chapman, Interim Chair. life; with his MA he taught at the Academy of Lifelong Photo by George Freeman. Department of Art History Staff: Learning. As many of you may remember, presentation of Linda J. Magner the award is accompanied by a reading of the now-famous letter in which Susan Silver describes how her father prepared for each class at home, with her mother as audience. Since there was only one slide projector, he practiced his lecture Insight is produced by the Department once with the left slides, and then he read it over again with the right slides. of Art History as a service to alumni and friends of the Department. We are always pleased to receive your opinions and Slides and slide projectors are things of the past, and reminders of our discipline’s ideas. Please contact Linda J. Magner, technological history. Now our images are entirely digital. So, too, is this newsletter—for the Old College 318, University first time. To those of you who prefer paper, I make a special plea: read the e-newsletter. of Delaware, Newark, DE 19716 You will see that the Department has much to celebrate in the accomplishments and (302-831-8416) or [email protected]. impact of its remarkable faculty, current students, and alumni.

As we approach the 50th anniversary of the Department and the PhD program—both On the cover: were founded in 1966—we look both back and to the future. Since the last newsletter, An end of term student performance two members of the faculty, Nina Athanassoglou-Kallmyer and Linda Pellecchia, have of Aristophanes’ Lysistrata on the retired; we miss them and wish them the very best. Looking forward, we are planning steps of Old College (part of “Women a 50th anniversary celebration for fall 2016, and an interdisciplinary Art & Science in Antiquity,” taught in the spring of symposium, “Green Light, Prospects in Lighting Design and Technology,” to be held in 2014 by Lauren Hackworth Petersen). September 2015. The most exciting news for the immediate future is that, in fall 2015, we Photo by George Freeman. will welcome two new colleagues, Jason Hill, who specializes in news photography and photojournalism, and Jessica Horton, whose expertise is in Native American contemporary art. In this time of downsizing in the humanities, we are most heartened that one search resulted in our hiring two fabulous young professors.

New hires demonstrate the University’s confidence in the Department. However, the reality is that we rely increasingly on external funding to support student research and professional development, as well as for graduate student stipends. We have received funding unprecedented for the Department in the Andrew W. Mellon Foundation’s generous support for our innovative and thriving Curatorial Track PhD. Now, as part of our 50th anniversary celebration, we plan to announce a fund-raising campaign to build our endowment, particularly in support of graduate programs. Details about that fund will be forthcoming.

We look forward to your joining with us as we continue to capitalize on our strengths and achievements and ensure a distinguished future for the Department.

H. Perry Chapman Professor and Interim Chair

The University of Delaware is an equal opportunity/affirmative action employer and Title IX institution. For the University’s complete non-discrimination statement, please visit www.udel.edu/ aboutus/legalnotices.html.

3 UNDERGRADUATE ACTIVITIES

WHERE DO WE COME FROM?

Convocation Address by Mollie Armstrong, Class of 2013

Good afternoon recent graduates, faculty, parents, and family members. Today is about celebrating the end of a journey—a journey, which despite spanning only four years, has taken us across several hundred centuries of history, culture, and of course art. When I sat down to reflect on this journey and my time at UD, a painting by Paul Gauguin immediately popped into my head. The painting, entitled Where Do We Come From? What Are We? Where Are We Going? is a monumental reflection on the philosophical meaning of life and Mollie Armstrong. Photo by George Freeman. death. Now, I am not going to tackle the After graduating in the spring of 2013, Mollie Armstrong spent a summer as a collection management intern lofty subject of human existence, but I at Stratford Hall, the birthplace of Robert E. Lee, where she assisted with the relocation of over 300 objects would like to ponder these questions. to storage as the institution prepared to renovate the historic dining room. Currently, she is the Curatorial Where do we come from? What are we? Assistant at the Portland Museum of Art in Maine. Over the past year, she has conducted research for the PMA’s acquisition program and contributed entries to a catalogue of highlights from the PMA’s collection, set to be Where are we going? published in February of 2016. She is also preparing an installation of photogravures by Edward Curtis from the PMA’s permanent collection. Four years ago, fresh out of high school, I did not envision myself at the University Our passion drives us forward. It leads The same goes for sharing our passion of Delaware. However, in the middle some of us to pursue grad school and with the general public. As the president of my sophomore year, I transferred dedicate ourselves to expanding the of the Art History Club, I have spent to UD. Among the Georgian Revival discipline via traditional academic time with many of you outside of the architecture and in the halls of Old research. Many of us will find our futures classroom. Through game nights, trips College, I discovered a surprisingly vibrant in art education, museums, galleries, or to the Philadelphia Museum of Art, and diverse community. The places we auction houses. We have already spent and student/faculty luncheons, we have call home are scattered across the country time in these places, working for the celebrated our knowledge and love of and the world. Regardless of where we University Museums or interning at art history. My involvement with the Art came from, we share a passion for art Winterthur, the Cleveland Museum of Art, History Club has also been a reminder and cultural heritage. Engrained within and Christie’s. that a strong appreciation for art exists us is the belief that material culture can beyond the majors who are here today. I communicate who we are as individuals, Many in our graduating class have have met many students from the business and reveal what it means to be human. backgrounds in conservation, and aspire and engineering departments who share to spend their lives restoring the world’s our awe of human creativity. As we take This passion, however it may manifest treasures. The unique partnership between the next step in our lives, I urge you to itself, is what has motivated us over the the Art Conservation and Art History stay connected with each other and with past four years. It is the reason why our Departments at the University of Delaware our professors. Take advantage of the Art dorm rooms were perpetually littered with has enriched our education in more ways History Department’s alumni organization. mountains of coffee-table-sized books, than one. An art conservation class on the Continue to share your passion with each why we spent days memorizing the titles, science of color encouraged me to view other, but also remember to embrace the artists, and dates of artwork, and why color as anything but stable. I have learned unlikely art lovers. Artstor is one of our best friends. Passion is to consider conservation in my analysis of the reason why I filled my schedules with art and our double majors have learned Our futures are uncertain. We enter a art history classes that I did not need to to conserve with art history in mind. competitive job market, and for many of graduate, like the two American art classes Furthermore, this collaboration has taught us the end of our undergraduate career I enrolled in this past semester. us that we all have a role to play in the is just the beginning. We know we have preservation of material culture for future a long road ahead of us. Most likely, we generations. will not end up where we thought we 4 UNDERGRADUATE ACTIVITIES would. Yet, we have prepared for this In conclusion, let us return to those Today we ask the question: Where are we indeterminate tomorrow. We are armed questions posed by Gauguin. Where do going? I don’t know, but I wish you all the with our enthusiasm and the skills of we come from? What are we? Where best of luck as you discover the answer. critical thinking and visual analysis. Our are we going? As we continue forward, Congratulations class of 2013. love and passion for humanity’s creativity let us remember where we have been, and material culture will inspire us to the lessons we have learned, and the persevere. experiences that have shaped who we are.

WHERE WE ARE GOING?

Convocation Address by Omar Durán-García, Class of 2014

Good afternoon recent graduates, faculty, made me explore art history parents, and family members. more critically, making the subject the most fascinating As we meet here today, we are not only one I had ever encountered. celebrating the end of a journey but we In addition to learning about are also celebrating the beginning of a modern architectural history and new one. This journey that will define Italian Renaissance art, these our future upon exiting this building as courses taught me how to look University of Delaware alumni will be at art and architecture with a different for each of us, but regardless of critical eye. I felt like a detective what the journey might be, it will be one when I had to break down that will consist of personal growth and different components within experience. artworks, studying their formal composition, the treatment Four years ago, I came to the University of color, and the meaning of of Delaware excited to discover the new symbols in relation to their educational experiences that lay ahead. As sociocultural contexts, in order to was the case for many (perhaps, most of us) comprehend the artist’s purpose I came in without considering art history as in creating the work. More than a major. just studying art for its own sake, I was able to understand the My interest in art history came simply as importance of art as a way to an accident. In high school I took an art comprehend the social reality Omar Durán-García. class, which made me realize that creating of its time, making art objects Photo by George Freeman. art was definitely not my calling in life. highly valuable objects of Upon graduating from the University of Delaware Omar Durán- García moved to New York City to continue with graduate studies After my unsuccessful attempt at being material culture for world history. in the Department of Latin American and Iberian Cultures at an “artist,” I began to think about art Columbia University. Columbia and New York City have allowed differently. During my meditation about Before the end of my first him to continue his passion for the study of art as a graduate student in LAIC. At Columbia he has taken art history courses still, in areas art, one question became apparent: How is semester at UD I realized I had such as aesthetics and politics in contemporary Latin America, it possible that some individuals have the to major in art history simply non-objectual art criticism, dematerialization of art and labor, and ability to create art while others like myself because I had never been so theories of art in the age of the Iberian expansion. Additionally, Columbia has provided Omar with great resources to continue simply cannot? This question sparked my passionate about any subject his education (he encountered the fact that some institutions have interest in art and particularly art history like this before. Studying art not a library exclusively dedicated to art history and to architectural since I was interested in studying different only allowed me to study artistic history). For Omar, one of the advantages of attending graduate school and living in New York has been being hardly thirty minutes artists and their work—artwork that I production from different periods, away from the Met, MoMA, and the Whitney. would never be able to create myself. but also helped me understand human nature and the desire of The Fall semester of freshman year I people throughout time and from different is aware of how important it is for us to took two art history courses that were cultures to engage in artistic production. be challenged intellectually, and that polar opposites: “Art during the Age of at the end it is all worth it. Studying art Michelangelo” with Professor Domínguez Being part of a prestigious program such history not only trained us to be critical Torres and “Modern Architecture” with as UD’s Art History program requires art historians, but also taught us to be Professor Rujivacharakul. These two great dedication and tenacity. However, accomplished scholars. courses, challenging in their own ways, we all know that each of our professors 5 UNDERGRADUATE ACTIVITIES Personally, working with professors in only study the works of art, but you will I will attempt to speak for all the the Department not only helped me be a also be the specialists who will share their graduating students today by saying that successful student, but more than anything discoveries with future generations. As art without the support of our family, friends, it encouraged me to be a more well- historians we understand the importance and professors we would not be here today. rounded scholar by engaging in summer of art as a way of understanding human And please excuse me, but I HAVE to research, an undergraduate thesis, and creative processes and the human desire thank some of my own who are somewhere more importantly to become a graduate to produce art. When we study art from in the audience in Spanish, my native school applicant to further my education. different peoples around the world in language: Gracias a mi familia y amigos With the great guidance and support of different time periods, we observe that por todo su apoyo ya que no estaría en esta my advisors and several professors in the most of the civilizations around the world posición si no fuese por ustedes. (Thanks to Department, I was reminded that my have a history of art making, demonstrating my family and friends for everything, if it education did not end with my graduation that creating art is part of the essence of was not for all your support I would not be from the University of Delaware; in fact, I human identity. Thus, it is important that, here in this position.) was constantly reminded there were many as art historians, we continue to study these opportunities to further my education artifacts because if we do not, a big part of As I conclude my speech today, I’d like at the graduate level. This explains my human nature, that of the human desire to ask you all to keep something in mind: current situation in which I will not simply to create art, will be excluded from our Indeed, the many fields of science are of conclude my passion for the study of art understanding of humanity. great importance, and you would surely history with my Bachelor’s degree, but be more financially successful than those rather I will continue with my studies in Simultaneously, as art historians, we have in the arts and humanities. Science graduate school at Columbia University, been reminded multiple times by friends, makes our lives easier by building bridges where I will further explore my academic family members, and even President and skyscrapers, producing iPhones, interests with the goal of one day becoming Obama about the difficulty of succeeding and making us live longer through a professor at a university, where I will, in this field. However, at the same time we developments in medicine. However, it in turn, share my academic passions with understand the importance of art as a way is important also to remember that fields future generations. of comprehending human creative history, in the humanities are also very important; and we decide to make this our career, while science makes our lives easier, it is To my fellow graduates, remember that it which in many cases is more satisfying than fields like art history that give our lives the does not matter what aspect of art history mere economic success. Just keep in mind greatest meaning. you find the most interesting—Greek and that if you do what you really love, and Roman art, medieval art and architecture, commit yourself to it completely, you will or as in my case, contemporary Latin be successful. It might not occur when you American art; all periods and regions are expect it, but one day you will be successful important. Keep in mind that you are in your career following your passion. needed to serve as the experts who will not

AWARDS

Molly Armstrong. Amaris Sturm. Beth Knight. Kristin Wittman. Julianna Ly. Art History Faculty Award for Trudy H. Vinson Memorial Trudy H. Vinson Memorial Art History Faculty Award for Trudy H. Vinson Memorial Academic Excellence (2013). Scholarship (2013). Scholarship (2013). Academic Excellence (2014). Scholarship (2014). Photo by George Freeman. Photo by George Freeman. Photo by George Freeman. Photo by George Freeman. Photo by George Freeman.

6 UNDERGRADUATE ACTIVITIES Art History on the Steps (2013-2015)

“Art History on the Steps.” Photo by George Freeman.

Since 2013, the Undergraduate Studies Program of the Department of Art History, in collaboration with the Art History Club, has been holding an exciting series of public events, known endearingly as “Art History on the Steps.” It is uniquely designed as an informal lecture-cum-discussion series, aimed at opening up perspectives on art and architecture through conversations about popular films, TV series, or other social media. Thus far, we have had Professor Lawrence Nees discuss medieval culture and architecture in Peter Jackson’s The Lord of the Rings, Professors Sandy Isenstadt and Ikem Okoye discuss modern architecture in Christopher Nolan’s film Inception, and Professor Vimalin Rujivacharakul analyse Zhang Yimou’s film, Hero, and allegories of the first emperor’s terracotta army in Chinese martial art. In the two latest “Art History on the Steps” events, Professor Margaret Werth led an exciting session on The Hunger Games series and futuristic dystopias, before closing with a wonderful joint effort of the Department of Art History, the Department of Art Conservation, and the University Museums in which Professors Joyce Hill Stoner and Mónica Domínguez Torres, together with Ivan Henderson, Curator of Education, engaged in a lively discussion about The Monuments Men.

Undergraduate Studies Workshops (2014-2015) Starting in October 2014, the Undergraduate Studies Program of the Department of Art History has held public luncheon workshops for our Art History majors and Art History minors. Our first workshop focused on graduate schools and graduate school applications in art history and architectural history, with Professors Sandy Isenstadt (former Director of Graduate Studies) and Lauren Petersen (current Director of Graduate Studies) joining us as panelists. Professor Vimalin Rujivacharakul, Director of Under- graduate Studies, served as moderator. In addition to the discussion, undergraduate students also posed questions to the panelists and exchanged comments and concerns about future paths with one another. Undergraduate attendees received folders with graduate school application information and samples.

The second workshop took place as the Fall semester was concluding; this time the focus was on how to acquire and successfully interview for internships. The workshop received help from the following curators and museum educators who either sent in information or served on the panel via Skype: Rosemary Krill (Winterthur Museum), Kelly Baum (Princeton University Art Museum), and Amanda Burdan (Brandywine River Museum). The room was packed! Students also learned about major internships in art history, including the paid and unpaid internship programs at the Metropolitan Museum of Art, the Museum of Modern Art, and the Barnes Foundation among others. The third workshop was held last month (May), on “Art History Careers beyond ‘Art Historian.’” Panelists included Cara Zimmerman (Specialist, Christie’s), Shane Davis (Director, The Hospitality House), and Robert van Antwerp (Studio Director, zeroLux Light Design).

7 AROUND THE DEPARTMENT Art History Department Leads “Green Light” Art & Science Initiative

“Interpretation of Images, Objects, and Data” symposium at the Organizers and speakers at “Interpretation of Images, Objects, and Data” symposium. Charles Isaacs, Carol A. Interdisciplinary Science and Engineering Laboratory, April 25, 2014. Nigro, Barbara Maria Stafford, Lawrence Nees, Charles Little, George H. Watson. Photo by George Freeman. Photo by George Freeman.

The Art History Department is pioneering off switches. These developments affect psychology, taking into account “the desired a new interdisciplinary initiative in the character and functioning of our towns emotional texture of a space—its affective, education and research at the University and cities, and they can only be addressed social and economic dimensions.” Other of Delaware. “Art & Science: Connections through collaborations between the distinguished speakers will address efforts and Intersections” is a campus-wide humanities and the sciences, and between to affordably commercialize OLED lighting constellation of programs dedicated to business interests and academia. technology, the ethics of lighting, and examining topics that bind research in both “smart cities.” Capping the day’s events, the arts and sciences. This initiative builds The schedule of speakers brings together Al Borden, principle and founder of the on the success of the pilot symposium experts from across these worlds. Keynote Philadelphia-based company The Lighting “Interpretation of Images, Objects, and speaker Marco Bevolo is a former Director Practice, will lead a panel reflecting on Data,” held on April 25, 2014. In 2015- at Philips Design and the author of The the interdisciplinary process of realizing a 2016, Art History is partnering with the Golden Crossroads: Multidisciplinary lighting commission. College of Engineering, the Department Findings for Business Success from the of Art, and the Center for Material Culture Worlds of Fine Arts, Design and Culture Registration for the September 25 Studies to explore the implications of (Palgrave Macmillan, 2009). Anne Militello, symposium will go online in mid-July at: staggering innovation in the field of artificial a specialist in theater and architectural http://www.udconnection.com/Events.aspx lighting design and technology. lighting, will discuss light as a medium for making art. Art History faculty member Currently, the “Art & Science: Connections Coinciding with the UNESCO Year Professor Sandy Isenstadt will situate and Intersections” initiative is supported of Light, our yearlong study begins on the day’s discussions in the context of by the Office of the Provost, the College September 25, 2015, with the symposium historical developments in lighting drawn of Arts and Sciences, the College of “Green Light, Prospects in Lighting from his current research on “Electric Engineering, the Department of Art Design and Technology.” The last twenty Modernism,” and from his new book History, the Department of Art, and the years witnessed a revolution in artificial Cities of Light: Two Centuries of Urban Interdisciplinary Humanities Research light. LEDs and OLEDs are replacing the Illumination (Routledge, 2015). Acclaimed Center. incandescent light bulb, nearly unchanged lighting designer Linnaea Tillett will for a century, while remote sensors and speak about her design approach and smart controls are superseding binary on- the way it is framed by environmental 8 AROUND THE DEPARTMENT Artstor and Shared Shelf at UD

The Visual Resources Center (or VRC; formerly the Visual Shelf, truly integrated collections are now possible. Shared Shelf Resources Collection) has partnered with Artstor to make the creates a single, seamless online environment for both the Department of Art History’s digital image collection available Artstor Digital Library and the University of Delaware’s online through Shared Shelf. institutional collections. These include our Department’s images as well as those contributed by the Library, the Created in 2001 with the support of the Andrew W. Mellon University Museums, and the Department of Art. All told, Foundation, Artstor is a nonprofit organization dedicated to there are over 150,000 images in UD’s Shared Shelf collections, meeting the digital media needs of educational and cultural and more than half of them come from the Visual Resources institutions. The Artstor Digital Library is a rapidly growing Center. resource of over 1.8 million images covering the arts, architecture, the humanities, and the sciences. To ensure the Plans for the future uses of Shared Shelf at the University of highest quality, Artstor gets much of its content directly from Delaware are ambitious. The University hopes to incorporate museums, artists, and major photo archives. Artstor has also multimedia files (video, audio, etc.) and encourage a more developed its own online tools for searching, viewing, and multidisciplinary scope to its Shared Shelf collections. Scholars using these images in teaching and research. The University of from any UD department are being invited to contribute their own Delaware was one of the first subscribers when Artstor went live materials to Shared Shelf. And while access to some Shared Shelf in 2004. images (including those from the Visual Resources Center) is limited to current faculty, staff, and students, many others are being made Thanks to the generous support of the University of Delaware available worldwide. The Library’s image collections, for instance, Library, the VRC has also become an early adopter of Shared are among the first to be published to both Artstor’s Shared Shelf Shelf. Ever since the launch of Artstor, institutions like the Commons (www.sscommons.org) and the Digital Public Library University of Delaware had been hoping for a way to combine of America (dp.la), two free, open-access online repositories. their local collections of images with the vast holdings of the Through our partnership with Artstor, the University is able to Artstor Digital Library, allowing users to find any of these expand its digital footprint far beyond the traditional classroom materials with a single search. The VRC was able to do this in a walls and campus grounds. limited way as early as 2007. However, with the arrival of Shared

9 AROUND THE DEPARTMENT Lecture Series

Lecture committee members: Liz Simmons (co-chair), Jeff Richmond-Moll, Sarah Leonard, Lecture committee members: Spencer Wigmore, Michele Frederick (co-chair), Caitlin visiting speaker Tim Barringer, Rachel Zimmerman, Karli Wurzelbacher (co-chair), Vanessa Hutchison, visiting speaker Joel Smith, Jeff Richmond-Moll (co-chair), Perry Chapman Reubendale, Hannah Segrave (not pictured), Faculty advisor: Camara Holloway (not pictured). (Interim Chair), Galina Olmsted, Margarita Karasoulas, Emily Shartrand, Kiernan Photo by George Freeman. Acquisto-Axeloons, Faculty advisor: Lauren Hackworth Petersen (not pictured). Photo by George Freeman.

Graduate Student Lecture Series Graduate Student Lecture Series 2013-2014 2014-2015 People, Things, Ideas: Assembly Required Art History’s Objects: The Cultural and Material Life of Things September 11, 2013 September 10, 2014 Lauren Petersen Wendy Bellion Associate Professor of Art History, University of Delaware Associate Professor of Art History, University of Delaware Slaves in the Streets of Pompeii: Through the Thicks and Thins of Idols in America: Art and Iconoclasm in Late Colonial New York Urban Movement October 9, 2014 September 25, 2013 Wayne Craven Lecture Janis Tomlinson Kellie Jones Director, University Museums, University of Delaware Associate Professor of Art History, Columbia University From Capricho to Fatal Consequences: Goya’s Imagery of War Crisscrossing the World: Los Angeles Artists and the Global Imagination, 1960-1980 October 2, 2013 William I. Homer Lecture October 29, 2014 Sarah Meister University Museums and Paul R. Jones Initiative Curator, Department of Photography, The Museum of Modern Art, Jacquelyn Serwer New York Chief Curator, Smithsonian Institution, National Museum of African ‘This power of seeing the world as fresh and strange’: American History and Culture The Photography of Bill Brandt Building the Smithsonian National Museum of African American History and Culture: A Curator’s Perspective November 6, 2013 Tim Barringer November 18, 2014 Paul Mellon Professor of the History of Art, Yale University Alan C. Braddock 2013-2014 Senior Fellow, The Metropolitan Museum of Art Ralph H. Wark Associate Professor of Art History and American Studies, Gothic Revivals in British Art and Music: Pugin to Punk Rock The College of William and Mary From Nature to Ecology: The Emergence of Ecocritical Art History February 19, 2014 Annemarie Weyl Carr February 17, 2015 University Distinguished Professor of Art History Emerita, Southern William Noel Methodist University Director of Special Collections Center and Schoenberg Institute for A Byzantine Icon in the Age of Enlightenment: St. Luke and the Manuscript Studies, University of Pennsylvania Libraries Kykkotissa You’ve got to see it before you can read it: The Archimedes Palimpsest and other Open Data March 5, 2014 David Norton Lecture March 11, 2015 In partnership with the Department of Philosophy Graduate Student Colloquium Alexander Nehamas Presenters: Justin Brown, Nicole Cook, Jessica Larson, Kaila Schedeen, Edmund N. Carpenter II Class of 1943 Professor in the Humanities, Emily Shartrand, Spencer Wigmore Princeton University Can the Art of Living Be Taught? March 25, 2015 William I. Homer Lecture March 12, 2014 Joel Smith Graduate Student Colloquium Richard L. Menschel Curator and Head of the Department of Presenters: Caitlin Hutchison, Margarita Karasoulas, Galina Olmsted, Photography, The Morgan Library & Museum Jeff Richmond-Moll, Emily Shartrand A Collective Invention: Photography and its Objects April 16, 2014 April 14, 2015 Christiane Gruber Keith Christiansen Associate Professor of Art History, University of Michigan Chairman of European Paintings, The Metropolitan Museum of Art Prophetic Products: The Prophet Muhammad in Contemporary Working from Life in the Age of Caravaggio Iranian Visual Culture

May 7, 2014 Wayne Craven Lecture S. Hollis Clayson Bergen Evans Professor in the Humanities, Northwestern University 2013-2014 Samuel H. Kress Professor, Center for Advanced Study in the Visual Arts Episodes from the Visual Culture of Electric Paris

10 AROUND THE DEPARTMENT

Delaware Awake! World War I at Home and Abroad

Installation view showing Kerr Eby, Artillery Train (1919), Ethel Pennewill Brown Leach, Delaware Awake! (1918), and four color lithographs designed by French schoolchildren (c. 1915-1918). Photo by Katrina Greene. L: Käthe Kollwitz, Die Mütter, 1919. Lithograph, 19 x 24 ¼ inches. Gift of Mr. Erhard Weyhe, 1953.002.045. Photo courtesy University Museums.

Director of the University Museums, Janis Tomlinson, was delighted when she received an e-mail from Professor Camara Holloway proposing an exhibition that would commemorate World War I and be curated by graduate students in Art History. The first question: Could our collection support the idea? A quick review of possible works showed that it indeed could, with sketches from the front by a young László Moholy-Nagy, Ethel Pennewill Brown Leach’s Delaware Awake!, and prints by Kerr Eby, Käthe Kollwitz, and Max Pechstein offering a point of departure.

A team of graduate students in the Department of Art History led by Karli Wurzelbacher and including Justin Brown, Katrina Greene, Margarita Karasoulas, Craig Lee, Sarah Leonard, Galina Olmsted, Vanessa Reubendale, and Spencer Wigmore, set to work to select works from our collection and identify other possible loans. Posters created by French students to support the war effort (in the collection of the Delaware Art Museum) complemented the U.S. posters from Special Collections in the Morris Library; letters written and illustrated by the eleven-year-old Charles Hart Jr. to his father from April 1917 to March 1918 (Winterthur Museum, Garden, and Library) added a child’s perspective. Loans from the Mark Samuels Lasner Collection and photographs from the University Archives chronicling the construction of the University of Delaware’s Memorial Hall, built to commemorate the state’s World War I fallen, added more depth to the exhibition.

Over the summer, the Museums’ staff worked with some of the students to refine label text and also to finalize and transport loans to campus; three members of the curatorial team were also available to make final decisions on installation that summer. Members of the curatorial team offered tours through the run of the exhibition. On view in Old College Gallery from September 3, 2014 to December 7, 2014, Delaware Awake! attested to the creativity of men and women grappling with the implications of an international conflict unprecedented in scale, as well as engaged the issues that arose in its artistic representation.

A model of collaboration, this project offered the students involved an opportunity to work with all aspects of exhibition planning: selection and research of works, development of loan request letters, writing labels, wall texts, and promotional materials, and installation. The students and faculty of the Department of Art History as well as the Director and staff of the University Museums look forward to future projects.

11 FACULTY NEWS In 2014, Professor Wendy Bellion was “One of the great pleasures of teaching by European friars in their missionary awarded the Charles C. Eldredge Prize for at Delaware,” says Chapman, “is having enterprise, but also the ways in which local outstanding scholarship by the Smithsonian students from multiple disciplines, and with communities and leaders appropriated, American Art Museum in recognition different perspectives on the object, engage manipulated, modified and reinterpreted of her book, Citizen Spectator: Art, with and learn from each other.” This foreign visual codes. The book was awarded Illusion, and Visual Perception in Early past year, Professor Chapman presented a Wyeth Foundation for American Art National America (University of North “Rubens, Rembrandt and the Spousal Publication Award from the College Art Carolina Press, 2011). She is currently Model-Muse” at the Indiana University Association. Domínguez also published completing a new book manuscript, What Art Museum, in October 2014; “The Late the book chapters “Los escudos de armas Statues Remember: Art and Iconoclasm Saint Luke” at the Sixteenth-Century indígenas y el lenguaje heráldico castellano in New York. The book will explore Studies Conference in New Orleans, also a comienzos del siglo XVI” in Los escudos relations between rituals of destruction, in October; and “Rembrandt on Display: de armas indígenas: de la colonia al representation, and historical memory The Rembrandthuis as Portrait of an México independiente (UNAM, 2014), in New York. Her research for this Artist” at the University of Trier, Germany, edited by María Castañeda de la Paz and project has been supported by a National in January 2015. In 2014, she published Hans Roskamp, and “Pearl Fishing in the Endowment for the Humanities fellowship “Rembrandt’s Laughter and the Love of Caribbean: Early Images of Slavery and at Winterthur Museum and a travel award Art” in Midwestern Arcadia: Essays in Forced Migration in the Americas” in from UD’s Institute of Global Studies. As a Honor of Alison Kettering, edited by Dawn African Diaspora in the Cultures of Latin visiting professor with the Terra Foundation Odell and Jessica Buskirk, and “Rembrandt America, the Caribbean and the United for American Art and the Institut National and Caravaggio: Imitation and Emulation” States (University of Delaware Press, d’Histoire de l’Art in Paris during spring in Caravaggio: Reflections and Refractions 2015), edited by Persephone Braham. 2015, she taught at the Université de Paris (Ashgate, 2014), edited by Lorenzo With Professor Wendy Bellion, she co- 7 (Paris Diderot) and the École Normale Pericolo and David M. Stone. Chapman authored the essay “Teaching Across the Supérieure, and she presented public serves as chair of the editorial board of Borders of North American Art History” talks in France and Ireland. She has also the Nederlands Kunsthistorisch Jaarboek/ published in A Companion to American lectured recently at venues including the Netherlands Yearbook for History of Art. Art (Wiley-Blackwell, 2015), edited by Smithsonian, the National Gallery of Art, John Davis, Jennifer A. Greenhill, and the Courtauld Institute, the Paul Mellon In September 2013, Professor Mónica Jason D. LaFountain. In summer 2014, Centre for Studies in British Art (London), Domínguez Torres published the book she received an International Travel Award Florida State University, Temple University, Military Ethos and Visual Culture in from the UD Institute for Global Studies Washington University, and the Museum of Post-Conquest Mexico (Ashgate, 2013), to travel to Peru and Columbia, to chair Fine Arts, Houston. She published an essay a detailed study of martial images and a session on “Colonialist Spirituality and about Samuel F.B. Morse and neoclassical symbols that emerged in the central Indigenous Alterity” at the Third Biennial sculpture in Samuel F. B. Morse’s “Gallery Valley of Mexico in the aftermath of Conference of the International Association of the Louvre” and the Art of Invention the Spanish Conquest. Part of Ashgate’s of Inter-American Studies in Lima, and to (Terra Foundation for American Art, series Transculturalisms, 1400-1700, present a paper at the IV Symposium of 2014), edited by Peter John Brownlee. this study not only discusses some of the History of Art of the Universidad de With Professor Mónica Domínguez Torres, the representational strategies fostered los Andes in Bogotá. She also delivered she wrote a chapter for A Companion to lectures on her new book project Pearls at American Art (Wiley-Blackwell, 2015), Court: European Courtly Art and the Rise edited by John Davis, Jennifer A. Greenhill, of the Pearl Trade, 1500-1800 at the 2013 and Jason D. LaFountain, about their Sixteenth Century Society Conference, experiences co-teaching the art of the the Bard Graduate Center, and the Americas. Department of the History of Art and Architecture at Harvard University. In 2014-2015, while serving as Interim Chair of the Department, Professor In 2014 the National Portrait Gallery H. Perry Chapman taught ARTH301, (Smithsonian Institution) asked Professor “Research and Methodology in Art Emerita Ann Eden Gibson to write an History,” to a wonderful group of Art article on Elaine de Kooning’s portraits History and Art Conservation majors, for the exhibition that has opened in as well as a seminar, “Rembrandt’s Art Washington, D.C., Elaine de Kooning: History,” to a class that included graduate Portraits. The article, now out, is titled students from Art History, the Winterthur/ “Elaine de Kooning’s Joop Series: UD Program in Art Conservation and the Visualizing the Modern Subject in Winterthur Program in American Material Portraiture.” It is in the just-published Culture, as well as five undergraduate catalogue Elaine de Kooning: Portraits Art History majors, all of whom totally (Del Monico Books, Prestel, 2015). held their own in high-level discussions.

12 FACULTY NEWS Professor Camara Holloway received a On April 12, 2013, Professor Lawrence in “Reflections” (Initiative for the Study General University Research Grant from Nees, Interim Chair of the Art History of Material and Visual Cultures of the University in 2014 to support her Department, was inducted into the Religion at Yale University), edited by book research, “Afrochic: Photography, Medieval Academy of America at a Sally Promey (http://mavcor.yale.edu/ Race & Modernist Style in the Jazz Age.” ceremony in Los Angeles, California. He conversations/object-narratives/christ- A short essay, “Afrochic: Africa in the was elected as a Fellow for his numerous crucified-gellone-sacramentary). He also Modernist Imagination,” related to this and notable contributions to the field of published “L’odorat fait-il sens? Quelques project was published in the anthology medieval studies. These contributions réflexions autour de l’encens de l’Antiquité African Diaspora in the Cultures of Latin include the edited volume Approaches tardive au haut Moyen-Âge” in Cahiers America, the Caribbean, and the United to Early-Medieval Art and his published de civilisation médiévale 56; “Theodulf’s States (University of Delaware Press, 2015), books, From Justinian to Charlemagne: mosaic at Germigny, the Sancta Sanctorum edited by Professor Persephone Braham European Art, A.D. 565-787 (1985), in Rome, and Jerusalem” in Discovery (who teaches Spanish and Portuguese Gundohinus Gospels (1987), A Tainted and Distinction in the Early Middle Ages: literature at UD). Holloway delivered Mantle: Hercules and the Classical Studies in Honor of John J. Contreni the talk “‘Aglow in The Darkest Vistas’: Tradition at the Carolingian Court (1991), (Medieval Institute Publications, Western Africa, Racial Fantasy, and the Modernist and Early Medieval Art (2002) and three Michigan University, 2013), edited by Self-Fashioning of F. Holland Day,” at Cullen J. Chandler and Steven Stofferahn. the Smithsonian American Art Museum In 2014 he published “What’s In the as part of the “American Art in Dialogue Box? Remarks on some early medieval with Africa and its Diaspora” symposium in and early Islamic precious containers” in October 2013. Source. Notes in the History of Art edited by Carla Lord and Carol Lewine; and In 2015, Professor Sandy Isenstadt “Prolegomenon to a Study of the Vienna edited Cities of Light: Two Centuries of Coronation Gospels: Common Knowledge, Urban Illumination (Routledge, 2015) Scholarship, Tradition, Legend, Myth” with Margaret Maile Petty and Dietrich in Rome and Religion in the Medieval Neumann (http://routledge.com/books/ World: Studies in Honor of Thomas F.X. details/9781138813922/). He contributed Noble (Ashgate, 2014), edited by Valerie two chapters (New York and Los Angeles) L. Garver and Owen Phelan; and “Insular and the “Introduction.” He was also session Professor Lawrence Nees handing over Latin sources, ‘Arculf,’ and early Islamic the gavel of office to Nancy Sevcenko, co-chair for “Architecture in a New Light” his successor as President of the Jerusalem” in Where Heaven and Earth International Center of Medieval Art. at the Society of Architectural Historians Photo courtesy Lawrence Nees. Meet: Essays on Medieval Europe in Honor (SAH) conference in Chicago in April of Daniel F. Callahan (Brill, 2014), edited 2015. In 2014, Isenstadt was promoted to forthcoming projects, Perspectives on Early by Michael Frassetto, Matthew Gabriele, Professor and became the Director of UD’s Islamic Art in Jerusalem, Illuminating the and John Hosler. Center for Material Culture Studies. He Word: On the beginnings of medieval book also became 2nd Vice President of the SAH. decoration, and Frankish Manuscripts 7th- Professor Nees will begin a four-year term Isenstadt published the following in 2014: 10th Centuries. Along with his numerous as Chair of the Department in September, “The Spaces of Shopping” in Shopping: publications, Dr. Nees has also been 2015, and hopes that Insight will appear Material Culture Perspectives (University of honored for his professional service: he is regularly during that period, in some form, Delaware Press, 2014), edited by Deborah the former president of the International whether print or digital or both. Since the C. Andrews; “House and (Haunted) Garden” Center for Medieval Art, former president last issue he has given fourteen lectures in Sanctioning Modernism: Architecture and of the Delaware Valley Medieval at conferences and institutions, including the Making of Postwar Identities (University Association, and served for several years on presentations in Dublin, Berlin, Paris, of Texas Press, 2014), edited by Monica the editorial board of The Art Bulletin. The and Poitiers, most recently giving the Penick, Vladimir Kulic, and Timothy Parker; prestigious Medieval Academy of America plenary lecture concluding the 90th annual and “Good Night” in Places/Design Observer is the oldest and largest organization in meeting of the Medieval Academy of (Spring 2014). In 2013 he published the the world dedicated to medieval studies America. In 2014 he was elected a Fellow article “Luminous Urbanism: L.A. After (founded in 1926 by Charles Homer of the Medieval Academy. He was on Dark” in Overdrive: L.A. Constructs Haskins of Harvard University, there are research sabbatical in 2014-2015, but looks the Future, 1940-1990 (Getty Research no more than 125 Fellows at any one forward to returning to teaching in the Institute, 2013), edited by Wim de Wit and time, elected by the existing Fellows). The fall. Although, regrettably, no new edition Christopher James Alexander. Professor interdisciplinary organization only includes of Insight was produced during his term Isenstadt also delivered lectures at the a handful of art historians among specialists as Interim Chair (January 2013-August Fondation EDF, Paris, and at Université in English, History, Religious Studies, 2014), Nees is extremely grateful to Paris-Sorbonne I. He was an invited speaker Foreign Languages and Literatures. Professor Perry Chapman for having seen at the AIA-CRAN Conference, which was In the same year as the induction, Professor that this hiatus did not continue, working held last September in Charleston, SC. Nees published an article, “Encounter: with Professor Ikem Okoye and Karli Kurt Weitzmann,” in Gesta 52; and “Christ Wurzelbacher to make this edition possible. Crucified in the Gellone Sacramentary,” 13 FACULTY NEWS Near the end of 2013 Professor Ikem of Hawaiʻi Press, 2013) challenges the annotated remarks, the volume includes Stanley Okoye gave a talk “The ways scholars define Asia through built Rujivacharakul’s article documenting the Americanist Quandary: Of the History of monuments. This is a trans-disciplinary history and historiography of the temple. African Art in the Work of Romare Bearden work for which Professor Rujivacharakul This publication is made possible under and Robert Rauschenberg,” as part of worked with three colleagues from the auspices of the Ministry of Education, the Smithsonian American Art Museum’s other fields as co-editors who together the People’s Republic of China. The book’s symposium “American Art in Dialogue integrated architectural history, official debut occurred at the Frankfurt with Africa and its Diaspora,” and which is Book Fair last April. viewable with other presentations via the link: http://americanart.si.edu/research/ Professor David Stone continues to symposia/2013/terra/. serve as the Department’s Director of the In 2014, Okoye spent the summer at Curatorial Track PhD in Art History and Oxford University conducting research at as a Trustee of the American Academy the Pitt Rivers Museum, and for which in Rome. During the past year, he just before he had conducted fieldwork in contributed to a number of exhibitions Nigeria, all thanks to an Institute for Global and exhibition catalogues, including: San Studies Faculty Research Fellowship. Subsequently, he gave a talk, “Empire and Dangerous Art: A Case of Immunizing the West during the Accession of an African Sculpture,” as part of a workshop on “Art and the British Empire,” held at the Yale Center for British Art. Okoye published several journal articles during the year including “Gone Contemporary” in African Arts. He also published the cartography, comparative literatures, and following in edited volumes: “African critical geography on the one hand, with Reimaginations: Presence, Absence research on the history of East Asia, South and New Way Architecture” in the Asia, the Middle East, and European book A Companion to Modern African representations on the other. The second Art (Wiley-Blackwell, 2013), edited book, Liang Sicheng and the Temple of by Monica Blackmun Visona and Gitti Buddha’s Light (Foreign Language Press Salami; “Ojeikere and the Architecture(s) and Gale/Cengage Learning, 2015) is a of Photography” in the book J.D. ‘Okhai Sebastiano: Bellezza e integrità nell’arte Ojeikere (Centre for Contemporary Art, tra Quattrocento e Seicento (Skira, 2014), Lagos, 2014), edited by Lagos-based edited by Vittorio Sgarbi and Antonio curator Bisi Silva; and “Fetishism from d’Amico, exhibition held at the Castello the Space of Bowdich’s Mission from Cape di Miradolo near Turin; Italian Master Coast Castle to Ashantee to the Time of Drawings from the Princeton University Erasmus Osei Owusu’s film ‘Obidie Abaa: Art Museum (Yale University Press, 2014), Time will Tell” in Art History and Fetishism edited by Laura Giles, et al., exhibition Abroad (Transcript Verlag, 2014), edited by held at Princeton in 2014 and at Stanford Germany-based scholars Gabriele Genge University in 2015; and Strokes of Genius: and Angela Stercken. Italian Drawings from the Goldman Collection (Yale University Press, 2014), Professor Lauren Hackworth Petersen edited by Suzanne Folds McCullagh, has published The Material Life of Roman exhibition curated by Jean Goldman and Slaves (Cambridge University Press, 2014) Nicolas Schwed and shown at the Art with co-author Sandra Joshel (History, Institute of Chicago. With Lorenzo Pericolo University of Washington). The book has (University of Warwick, UK), Stone won the 2015 PROSE award for Excellence edited an important volume of studies on in the Humanities and the award in Classics product of the fourteen-year collaboration Caravaggio, Caravaggio: Reflections and and Ancient History. between Rujivacharakul and Professor Refractions (Ashgate, 2014). It contains Luo Deyin (Tsinghua University, People’s essays by Keith Christiansen, Elizabeth Two books for which Professor Vimalin Republic of China) to translate archival, Cropper, Gail Feigenbaum, Richard Rujivacharakul served respectively as first-hand examination reports written Spear, Perry Chapman, Philip Sohm, and chief editor, and as chief editor/chief by Liang Sicheng (1901-1972) about the many other specialists in Baroque art, collaborator, recently came out. The first ninth-century Tang temple’s architecture. including Stone himself. In 2015, Stone one, Architecturalized Asia (University In addition to the translation and and Catherine Puglisi (Rutgers University)

14 FACULTY NEWS organized a full day of Italian Baroque Art and University of Pennsylvania. Werth portraiture in late nineteenth-century art Art papers for the Annual Meeting of the also co-chaired a College Art Association in Europe and the U.S. The seminar took Renaissance Society of America held in session with Heather Campbell Coyle, field trips to the Metropolitan to see Mme Berlin, Germany. He is currently working curator of American Art at the Delaware Cézanne, to the Philadelphia Museum of on a variety of topics related to Seicento art, Art Museum, on “Comic Modern” Art to discuss Thomas Eakins, and to the including aspects of: Carlo Dolci, Guercino, in February 2015 (where one of the National Portrait Gallery where we were Caravaggio, and Cagnacci. Stone recently speakers—Jason Hill—turned out to be one hosted by UD alumna Dorothy Moss. In was awarded a Residency at the American of the newly hired Art History Americanists 2013 Werth published an article in Art Academy in Rome for spring 2016. at UD). The session grew out of a seminar History, “Heterogeneity, the City, and Werth and Coyle co-taught in 2013. Werth’s Cinema in Alberto Cavalcanti’s Rien que In fall 2014 Professor Margaret Werth review of a book on the subject of the les heures” and gave related talks at the was on leave completing her book on comic and the fin-de-siècle Montmartre Southeastern College Art Conference in Édouard Manet in the 1870s. She gave two is forthcoming in H-France. She also gave a session on “The Multi-Temporal City” lectures related to her book in spring 2014. a lecture at the Smithsonian Museum of and at the Philadelphia Museum of Art One, “Violence and Comic Masculinity American Art on the portraits of Thomas in association with the major exhibition in France, 1868-1874,” was given at the Eakins in early 2015. Werth’s essay “Matisse Léger: Modern Art and the Metropolis. She Society for French Historical Studies, and Mallarméan Poetics” will be published also gave a talk on Manet, “Manet’s Dirty Université du Québec à Montréal. Another, in June in The Symbolist Roots of Modern Laundry,” at the University of Southern “Manet, Mallarmé, and the Shadow,” was Art (Ashgate, 2015), edited by Michelle California. delivered at the conference “Manet: Then Facos and Thor Mednick. In spring and Now” at the Institute of Contemporary 2015 she taught a graduate seminar on

Honors Discussion Section at the Barnes Foundation. Professor Margaret Werth, Victoria Dellacava, Matthew Rahter, Emily Tucci, Caroline Beston, Danielle Karacsony. Photo courtesy Margaret Werth.

15 GRADUATE STUDENT NEWS Two Blue Hens in the Garden By Emily Clare Casey

When I was selected for an internship at and share my contribution to the field of the Pennsylvania Academy of the Fine Arts, art history. There was something uniquely I was thrilled at the prospect of working rewarding about working with a fellow Blue at the country’s oldest art museum and Hen in the professional sphere. Our shared school. For a student of eighteenth- and training allowed us to quickly develop nineteenth-century American art, PAFA’s a collaborative work dynamic. Marley’s collection, begun at its founding in 1805— mentorship nurtured my growth as an not to mention its 1876 historic landmark emerging scholar, just as I connected her building designed by Frank Furness—is a to her roots. dream come true. What made the ex- perience all the more appealing was the Upon reflection, this cultivation of intel- opportunity to work alongside a UD art lectual kinship is akin to the work of the history alumna, Dr. Anna O. Marley (PhD Emily Casey and Anna Marley at the opening of The artists in the exhibit itself. Many of these 2009), Curator of Historical American Art. Artist’s Garden. Photo by Amy Torbert. painters trained, taught, or exhibited at PAFA. They planted their own gardens Over the course of two and a half years, sionist art at the turn of the twentieth which were spiritual retreats, artistic I have assisted Dr. Marley with the century. Working one on one with Marley, I laboratories, and perennial sources of development and implementation of The learned how to shape an ambitious project inspiration. Their art reflects how we are Artist’s Garden: American Impressionism that makes both a scholarly contribution shaped by the communities and places we and the Garden Movement. This exhibition— and engages a broad public audience. inhabit. From them, we two Blue Hens on view at PAFA during the spring of 2015 learned the value of the maxim “bloom and now traveling nationally—explores the Assisting with this exhibition challenged where you grow.” horticultural impulse in American impres- me to be creative in the ways I articulate

CTPhD Student Curates Exhibition on Salvator Rosa at the Cleveland Museum of Art By Hannah Segrave

The Neapolitan artist Salvator Rosa groups, shared the exhibition with those (1615 –1673) was one of the most who can’t attend through the Modern Art dynamic personalities of the seventeenth Notes podcast, and am thrilled to have the century—an artist who claimed he would great scholar Helen Langdon come give a only paint subjects that had never been lecture that situates Rosa’s paintings within “touched” by anyone else. Rosa’s paintings his growing interest in the Sublime. My of witchcraft were certainly in line with exhibition is an extraordinary culmination this ethos; his strange worlds, populated by of my graduate work; I allowed my interest myriad demonic creatures and threatening in Rosa to be shaped by a museum’s sorceresses, were some of the most unique collection, in line with the holistic approach and perplexing creations of the seicento. to object-based study I learned throughout CTPhD student Hannah Segrave (inset) curates exhibition on Salvator Rosa. Photo courtesy Cleveland Museum of Art. my graduate education at Delaware. That I received an incredible opportunity to connection between research and praxis has curate an exhibition on Rosa’s first macabre. Furthermore, the exhibition now come full circle as I begin my disserta- explorations of witchcraft following my explores how Rosa adapted the themes of tion that expands upon the show’s many CTPhD internships at the Cleveland witchcraft throughout his later career in “novel and bizarre” ideas. Museum of Art; “The Novel and the Rome (1649–1673) in order to project his Bizarre: Salvator Rosa’s Scenes of Witch- identity as an exceptionally innovative and craft,” is now open at CMA through June intellectual artist. 14, 2015. The exhibition illustrates how the museum’s four tondi not only were a part The most rewarding aspect of the exhibition of contemporary fascinations and fears, but has been seeing my research manifest as an also showcase Rosa’s classical, theoretcal, engaging space that allows more people the and literary interests alongside the opportunity to appreciate these works. I’ve Florentine traditions of satire and the given tours to life-long learning and donor 16 GRADUATE STUDENT NEWS

PhD Student Margarita Karasoulas Unravels the Puzzling World of John Sloan By Heather Campbell Coyle (PhD 2011) Curator of American Art, Delaware Art Museum

Mazes, rebuses, hidden pictures, a cryptic conceptually challenging, incorporating letter, a delicate watercolor, and a hidden words or images, pictorial puns, as miniscule notebook filled with lists: these well as components that require cutting, are some of the items that make up The pasting, folding, or rearranging.” One Puzzling World of John Sloan. During the puzzle could only be solved using the summer of 2014, PhD student Margarita Pythagorean theorem. Karasoulas delved into the archives and collections of the Delaware Art Museum As visual art, the puzzles reveal what to organize an exhibition dedicated to Karasoulas describes as “a constellation John Sloan’s puzzles for the Philadelphia of aesthetic sources, ranging from French Press. The show is the first to focus on this Art Nouveau posters to Japanese ukiyo-e significant aspect of the artist’s career woodcuts to children’s book illustrations,” and will be on view from June 6 through lustrations,” and motifs are drawn from the September 6, 2015. worlds of myth, fantasy, and folklore. The Puzzling World of John Sloan showcases the The Delaware Art Museum owns nearly artist’s graphic skill and creative intellect 3,000 works by Sloan, the artist’s personal and places Sloan’s puzzles in context, library, and archival materials including his highlighting the newspaper circulation correspondence, diaries, ledgers, and wars and a picture-puzzle craze at the photographs. Our holdings include the turn of the century. The exhibition also original watercolor drawing for the encourages visitors to solve twenty-five John Sloan. The Bang-Up Puzzle, September 14, 1902. Color Halloween Puzzle, and our flat files contain diverse and difficult puzzles—a daunting tearsheet, 23 3/16 x 18 1/2 inches. Delaware Art Museum, Helen Farr Sloan Library and Archives, purchased from Will over one hundred newspaper pages if engaging task. Shortz, 2013. featuring Sloan’s puzzle designs, which form the backbone of this exhibition. The exhibition was organized entirely Most of these were saved by the artist who by Karasoulas, the 2014 recipient of the produced full-page puzzles for the color Museum’s Alfred Appel, Jr., Curatorial section of the Sunday Press almost every Fellowship. She will give a free lecture week between February 18, 1900, and at the Museum at 6pm on Thursday, January 11, 1903. Each puzzle contained September 3, 2015, and I hope you can a set of instructions or “conditions” that join us. Please visit http://www.udcon- detailed the problem at hand; cash prizes nection.com/Events.aspx to register. were awarded and the winners (and sometimes the answers) were announced in the paper two weeks later.

Sloan’s brainteasers required a dizzying variety of skills, from the artist—who conceived of and illustrated them—and the audience who attempted to solve them. As Ms. Karasoulas explains: “Deceptively simple in appearance, the puzzles are

John Sloan, Halloween Puzzle, October 27, 1901. Watercolor, pen and ink, graphite on paper board, 22 3/8 x 22 inches. Delaware Art Museum, Gift of Helen Farr Sloan, 1981.

17 GRADUATE STUDENT NEWS Isabel Oleas Mogollón Travels to Research Jesuit Patronage in Colonial Quito

Museum of Saint Francis Santiago de Chile. Isabel Oleas Mogollón at the Museum of Saint Francis in Quito. Photo by Isabel Oleas. Photo courtesy Isabel Oleas.

Thanks to the Global Dissertation and Santiago de Chile, she accessed of Quito’s Jesuit colonial library, as well Development Grant, Isabel conducted primary sources related to Quito’s Jesuit as secondary sources that deal with the preliminary research to support her College, including the formation of priests, construction and decoration of the Jesuit doctoral dissertation, which focuses on missionary endeavors, colonial publications College in Quito. Taken together, these painting produced under Jesuit patronage of sermons, inventories, and documents experiences will enable Isabel to analyze in colonial Quito. She consulted archives that contemplate the distribution of the the connections between sacred rhetoric, and libraries in Quito and Santiago de Society’s belongings after their expulsion evangelization, and artistic invention, and Chile, and the Vatican Film Library at from the region in 1767. At Saint Louis to establish a historiographic review of Saint Louis University. Not only did Isabel University, she studied microfilms of Jesuit the study of the paintings on which her come face to face with the objects of her Annual Letters, Jesuit Public Catalogues, dissertation focuses. study, but by attending several conferences and various historical documents housed (including the XV Seminar on Jesuit in Rome’s Fondo Gesuitico, the Archivum Missions held at Catholic University of Romanum Societatis Iesu, and the Pastells Chile) she also got acquainted with the Collection located in Seville. most recent thinking on the subject of seventeenth-century colonial painting In Quito, Isabel was also able to consult more broadly. In the archives in Quito repositories that house the remnants

Craig Lee Studies Modern Architecture in South Africa

Craig traveled to and through South Africa during Winter Session 2014 with the support of an Ailsa Mellon Bruce Predoctoral Travel Fellowship from the Center for Advanced Study in the Visual Arts, National Gallery of Art. His itinerary included Johannesburg, Pretoria, Pietermaritzburg, Durban, Port Elizabeth, and Cape Town. In each city, Craig visited distinctive and characteristic sites of the built environment and natural landscape to understand the history and development of architecture in South Africa with special attention to modernism.

Johannesburg was, by far, the highlight of Craig’s trip. In addition to the major cultural and tourist sites, he was able to tour modernist public buildings, commer- cial structures, apartment blocks, and single-family houses. Craig also met numerous people involved in architectural heritage and preservation. These included everyone from a journalist, a landmarking commissioner, and a non-profit director, to university- Craig Lee in Johannesburg, South Africa. based academics. The experience helped Craig reconsider and reframe his thinking on Photo courtesy Craig Lee. modern architecture, architectural preservation, and museum practices.

18 GRADUATE STUDENT NEWS

Graduate Degrees Awarded

MA Degrees

2013

Greene, Katrina E., “On Copper as on Canvas: Henry O. Tanner’s Pursuit of Ideal Effects in Print” (W. Bellion)

2014

Leonard, Sarah, “‘Nothing could be more pitiably effeminate’: The ‘Bad Emperor’ Type and Conflicts of Victorian Masculinity in J. W. Waterhouse’s The Favourites of the Emperor Honorius” (S. Isenstadt)

Martin, Amy, “The Space of Spectacle: Urban Experience of Public Executions on the Ponte Sant’Angelo in Rome” (S. Isenstadt)

Reubendale, Vanessa, “Patterns of Social Change: A Regional Context for Suzanne Lacy’s Crystal Quilt” (C. Holloway)

Richmond-Moll, Jeff, “Ideal Companions: Horatio Greenough’s Busts of Christ and Lucifer” (W. Bellion)

Wigmore, Spencer, “Recording History’s Disappearance: William James Stillman, The Acropolis of Athens, and the Struggle for Antiquity” (S. Isenstadt)

Professor Margaret Werth, Dr. Elizabeth Melanson, Dr. Barbara Kutis, and Professor Ikem Okoye at spring 2013 graduation. Photo courtesy Margaret Werth.

19 GRADUATE STUDENT NEWS

Graduate Degrees Awarded

PhD Degrees

2013

Amott, David, “Church, City, Citizen: The Colonial Cathedral and the City of Mariana, Minas Gerais, Brazil” (M. Domínguez Tor- res)

Aube, Christina, “Michel de Marolles and the Rise of Printmaking in the Grand Siècle” (D. Stone)

Kutis, Barbara, “Artist-Parents: Nature, Nurture, and Identity in Contemporary Art” (A. Gibson)

Melanson, Elizabeth, “The Patronage of Modern Art by the High Society Women of Paris, 1871-1914” (M. Werth)

Pohrt, Tanya, “Touring Pictures: The Exhibition of American History Paintings in the Early Republic” (W. Bellion and M. Leja)

Reed, Sara Desvernine, “Havana: A Study in Interiors, Identities and Ideologies” (B. Herman)

Weidinger, Corina, “Labor, Ideology, and the Origins of the Industrial Aesthetic: Constantin Meunier’s and Maximilien Luce’s Representations of Belgium’s Black Country” (N. Athanassoglou-Kallmyer)

2014

Beetham, Sarah, “Sculpting the Citizen Soldier: Reproduction and National Memory, 1865-1917” (W. Bellion)

Brown Bordeaux, Sara, “Emanuel de Witte’s Sermon Paintings: Sight, Sound and Spirituality” (P. Chapman)

Lachat, Isabelle, “Offering the Sacred Word: Alcuin, Charlemagne, and the Gospels of Sta. Maria ad Martyres (Trier, Stadtbibliothek, Cod. 23, 122a/b)” (L. Nees)

Terry, Colleen, “Presence in Print: William Hogarth in British North America” (B. Herman)

Professor Wendy Bellion and Dr. Sarah Beetham at spring 2014 graduation. Photo courtesy Wendy Bellion.

20 GRADUATE STUDENT NEWS

Dr. David Stone lecturing to graduate students Hannah Segrave and Liz Simmons at the Princeton University Art Museum. Photo by Katrina Greene.

Awards

Kiernan Acquisto-Axeloons Elisabeth Berry Drago Katrina E. Greene Graduate Student Global Research University Dissertation Fellowship, Global Dissertation Development Grant, Grant, University of Delaware (2014) University of Delaware (2014-2015) Art History Department, University of Delaware (2014-2015) La Tanya S. Autry Sewell C. Biggs Dissertation Writing Marcia Brady Tucker Fellow in Award, University of Delaware (2014-2015) Delaware Public Humanities Institute Photography, Yale University Art (DELPHI), University of Delaware (2014) Gallery (2014-2016) Research Fellowship, Philadelphia Area Center for History of Science (2014) University Graduate Scholars Award, Sara Brown Bordeaux University of Delaware (2013-2014) Wilbur Owen Sypherd Prize for Collections Management Internship, Outstanding Doctoral Dissertation in the Chemical Heritage Foundation (2014) American Art Internship, Delaware Art Humanities, University of Delaware (2014) Museum (2013) Allington Dissertation Fellowship, Emily Clare Casey Beckman Center for the History of Samuel H. Kress Digital Reconstruction University Graduate Fellow Award, Chemistry, Chemical Heritage Foundation Project Summer Research Internship, Art University of Delaware (2014-2015) (2013-2014) Conservation Department, University of Delaware (2013) Outstanding Achievement in Graduate Delaware Public Humanities Institute Studies Award, Art History Department, (DELPHI), University of Delaware (2013) Anna Juliar University of Delaware (2014) Margaret R. Mainwaring Curatorial Fellow, Michele Frederick Department of Prints, Drawings, and Curatorial Graduate Assistant, Samuel H. Kress Foundation Interpretive Photographs, Philadelphia Museum of Art Winterthur Museum (2013-2014) Fellowship, European Painting and (2013-2015) Sculpture before 1900, Philadelphia Nicole Elizabeth Cook Museum of Art (2014-2015) Margarita Karasoulas Anna R. and Robert T. Silver Award for Gunther Stamm Prize for Excellence, Excellence in Teaching, Art History Andrew W. Mellon Foundation Fellow, Florida State University’s 32nd Annual Department, University of Delaware (2014) Curatorial Track PhD, Art History Graduate Student Symposium (2014) Department, University of Delaware Sixteenth Century Society Student/ (2013-2015) Alfred Appel, Jr. Curatorial Fellowship in Emerging Scholar Travel Award (2014) American Art, Delaware Art Museum (2014) University Graduate Fellow Award, University of Delaware (2013-2014)

Delaware Public Humanities Institute (DELPHI), University of Delaware (2013)

21 GRADUATE STUDENT NEWS

Isabel Oleas and Katrina Greene examining Bartolomeo Vivarini’s St. Bartholomew at the Allentown Art Museum in Allentown, Pennsylvania while developing an interactive website funded by the Samuel H. Kress Foundation and hosted by the Art Conservation Department. Photo courtesy Katrina Greene. Awards

Craig Lee Sarah Leonard Tiffany Racco Henry Belin du Pont Research Grant, Andrew W. Mellon Foundation Fellow, Pre-doctoral Kress Institutional Fellowship Hagley Museum & Library (2015) Curatorial Track PhD, Art History in the History of European Art (2014-2016) Department, University of Delaware FOARE Fellowship, John W. Hartman (2014-2015) Chester Dale Pre-doctoral Fellowship, Center for Sales, Advertising & Marketing Metropolitan Museum of Art (2013-2014) History, David M. Rubenstein Library, Curatorial Internship, Delaware Art Duke University (2014-2015) Museum (2014-2015) Excellence in Teaching Award, University of Delaware (2013) Global Dissertation Development Grant, Curatorial Internship, Division of Art History Department, University of European and American Art, Harvard Art Jeff Richmond-Moll Delaware (2014-2015) Museums (2014) Delaware Public Humanities Institute (DELPHI), University of Delaware (2014) Ailsa Mellon Bruce Predoctoral Fellowship Colin Nelson-Dusek for Historians of American Art to Travel Global Dissertation Development Grant, Alfred Appel, Jr. Curatorial Fellowship in Abroad, Center for Advanced Study in Art History Department, University of American Art, Delaware Art Museum the Visual Arts, National Gallery of Art Delaware (2014) (2013) (2014)

Citation of Special Recognition for Isabel Oleas Mogollón Ashley Rye-Kopec the Carter Manny Award, Graham Global Dissertation Development Grant, Delaware Public Humanities Institute Foundation for Advanced Studies in the Art History Department, University of (DELPHI), University of Delaware (2014) Fine Arts (2014) Delaware (2014-2015) Graduate Assistantship, Mark Samuels Delaware Public Humanities Institute Samuel H. Kress Digital Reconstruction Lasner Collection, University of Delaware (DELPHI), University of Delaware (2014) Project Summer Research Internship, Art Library (2012-2014) Conservation Department, University of Beverly Willis Architecture Foundation Delaware (2013) Hannah Segrave Travel Fellowship, Society of Architectural Graduate Curatorial Internship, European Historians (2014) Galina Olmsted Painting and Sculpture 1500-1800, Andrew W. Mellon Foundation Fellow, Cleveland Museum of Art (2013-2014) Walter Read Hovey Memorial Award, The Curatorial Track PhD, Art History Pittsburgh Foundation (2014) Department, University of Delaware CTPhD Internship Summer Fellowship, (2013-2015) Art History Department, University of McCrindle Internship, Photography Delaware (2013) Department, Princeton University Art Graduate Curatorial Internship, Museum (2013-2014) Department of French Paintings, National Emily Shartrand Gallery of Art (2014) Graduate Curatorial Internship, Rare Graduate Curatorial Internship, Books and Manuscripts Department, Department of Architecture and Walters Art Museum (2014) Engineering, National Gallery of Art (2013) CTPhD Internship Summer Fellowship, Newport Summer School Scholarship, Art History Department, University of Victorian Society in America (2013) Delaware (2014)

22 GRADUATE STUDENT NEWS

Graduate students at the Department’s 2015 CAA reception held at The University Club, New York City. Karli Wurzelbacher, Vanessa Reubendale, Liz Simmons, Kaila Schedeen. Photo by Amy Torbert.

Awards

Liz Simmons Junior Fellowship, Paul Mellon Centre for Rachel Zimmerman Andrew W. Mellon Foundation Fellow, Studies in British Art, Yale University Theodore E. D. Braun Research Travel Curatorial Track PhD, Art History (2013) Fellowship, American Society for Department, University of Delaware Eighteenth-Century Studies (2015) (2012-2015) Mellon Pre-Dissertation Fellowship, Institute for Historical Research, University S. Eric Molin Prize for Best Conference Graduate Internship, Department of Prints of London (2013) Paper by a Student, East Central/American and Drawings, Princeton University Art Society for Eighteenth-Century Studies Museum (2014) Outstanding Achievement in Graduate (2015) Studies Award, Art History Department, Graduate Curatorial Internship, University of Delaware (2013) Dissertation Fellowship, Winterthur Department of Old Master Prints, National Museum, Garden, and Library (2014-2015) Gallery of Art (2013) Global Dissertation Development Grant, Art History Department, University of Delaware Public Humanities Institute Amy Torbert Delaware (2013) (DELPHI), University of Delaware (2014) American Historical Print Collectors’ Society Fellowship, American Antiquarian Spencer Wigmore Society (2015) Curatorial Graduate Assistant, Winterthur Global Dissertation Development Grant, Museum, Garden, and Library (2014-2015) Art History Department, University of W.M. Keck Foundation Fellowship, Delaware (2013) Huntington Library (2015) Bruce and Dorothy Dines Graduate Fellowship, Petrie Institute of Western Anna R. and Robert T. Silver Award for Jeannette D. Black Memorial Fellowship, American Art, Denver Art Museum (2014) Excellence in Teaching, Art History John Carter Brown Library, Brown Department, University of Delaware (2013) University (2015) Graduate Curatorial Internship, Department of Photographs, National Dissertation Fellowship, Winterthur Gallery of Art (2013) Museum, Garden, and Library (2015) Karli Wurzelbacher Smithsonian Predoctoral Fellowship, Delaware Public Humanities Institute National Portrait Gallery (2014) (DELPHI), University of Delaware (2013)

Visiting Research Fellowship, Lewis Walpole Library, Yale University (2014)

23 GRADUATE STUDENT NEWS

National Gallery of Art 2013 Summer Interns with Director Rusty Powell, center. UD graduate students Craig Lee, Liz Simmons and Spencer Wigmore pictured along with Winterthur Conservation aluma Heather Brown. Photo courtesy the National Gallery of Art.

In the summer of 2014, Kiernan Acquisto- Making Our Way to Public Centered 2014-2015 has brought many exciting Axeloons received a University of Work in the Arts,” available at http://t. changes for Nicole Elizabeth Cook. Delaware Graduate Student Global co/zGihF8hfeq, in Imagining America’s In July 2014, she began working as a Research Grant to study and catalogue journal Public. The essay discusses how researcher for the Leiden Collection, a Minoan pottery from the settlement graduate students in art history can create private collection of old master paintings of Gournia on the island of Crete. alternative and hybrid career paths. based in New York City. In January 2015, This research culminated in a public La Tanya has continued her activism she accepted a more permanent position presentation in October, titled “Show Me by leading a teach-in at the 2015 CAA as the Leiden Collection’s curatorial and the Sherds! Cataloguing Pottery in the THATCamp - #BlackLivesMatter Teach- collections management assistant. With Field at Gournia.” She also presented two In: Dismantling Anti-Black Racism in this opportunity, she is learning about all papers this past fall: one in November Visual Culture, http://caa2015thatcamp. aspects of maintaining a very active small at the “Abiding Cities, Remnant Sites” org/2015/02/12/notes-blacklivesmatter- collection. The Leiden also has several conference at the CUNY Graduate Center, teach-in-dismantling-anti-black-racism-in- paintings by Godfried Schalcken, the focus titled “How Was Troy Divorced from visual-culture/. the ‘Orient?’ Schliemann’s Excavations and Their Aftermath,” and the other in December at the University of In December 2014, Emily Clare Casey Pennsylvania Center for Ancient Studies’ participated at a graduate student “Capturing the Un-Representable” workshop hosted by the Yale Centre conference, titled “Gold, Goddess, for British Art and the Lewis Walpole Guardian: Amuletic Jewelry and Isiac Cult Library on “Representing Slavery in at Pompeii.” Eighteenth-Century Atlantic Britain.” In November 2014, she gave a talk on the La Tanya S. Autry is working at the place of material culture in examining Yale University Art Gallery as the Marcia the entangled histories of the British and Brady Tucker fellow in Photography. This Spanish empires in America at the East two- to three-year curatorial position Central meeting of the American Society entails organizing exhibitions, producing of Eighteenth-Century Studies, hosted publications, accessioning works of art, at UD. The panel was chaired by a UD and cultivating relationships with artists, doctoral candidate in English who also Nicole Cook giving a Spotlight talk at the PMA, faculty, students, and donors. La Tanya works with Professor Bellion. In May September 2014. Photo by Liz Simmons. continues to lead arts and social justice 2014, Casey received the Outstanding initiatives as a co-director of Imagining Achievement in Graduate Studies Award America’s Publicly Active Graduate from the Department, and in 2014-2015 of her dissertation, and it has been a dream Education (PAGE) program. She recently she held a University Graduate Fellowship to have some of her favorite works close at organized the PAGE2Ferguson blog from UD. She co-chaired the 2015 hand. Nicole was also UD’s representative salon, http://imaginingamerica.org/ Material Culture Symposium for Emerging for the Philadelphia Museum of Art’s 2014- blog/2015/01/19/page2ferguson-blog-salon- Scholars, at which both Craig Lee and 2015 Spotlight conversation series. Hosting introduction/, an online platform where Amy Torbert were speakers. During Spotlight talks at the PMA provided an she works with graduate students across 2013-2014, Casey was the Curatorial amazing opportunity to explore education the U.S. to share thoughts about racial Graduate Assistant at Winterthur Museum. within a museum setting and to interact inequality. Last year she also co-wrote with diverse and deeply engaged public and published the essay “Unbounded: audiences. 24 GRADUATE STUDENT NEWS In 2013-2014, Elisabeth Berry Drago 2014, she presented new research on Katrina received a Global Dissertation was awarded the Allington Dissertation alchemical pigments, “Painting the Development Grant from the Art Fellowship at the Beckman Center Laboratory: Alchemical Pigments History Department for 2014-2015. for the History of Chemistry of the in the Art of Thomas Wijck,” at This grant supported travel to present Chemical Heritage Foundation, as well the Historians of Netherlandish “In Search of a Modern Outer Form: as a spring 2014 Research Fellowship Art International Interdisciplinary Color and Patination in William with the Philadelphia Area Center Conference in Boston. Recently, Zorach’s Sculpture,” a paper that she for History of Science. In summer in March 2015, she visited the will incorporate into her dissertation, 2014, she received a Collections Bruce Museum in Greenwich, CT, at the Association of Art Historians Management Internship with the delivering a talk titled “The Bewitching Conference in Norwich, England. She Chemical Heritage Foundation, Chemistry: Artistic Experiment and previously presented this paper at the working to develop and digitize a the Making of Color in the Dutch Southeastern College Art Conference database of terms and materials related Republic,” in conjunction with the in October 2014 in “The Color of to CHF’s extensive collection of exhibition Northern Baroque Splendor. Sculpture” panel co-chaired by PhD alchemical paintings. For 2014-2015, alumna Sarah Beetham, and for she has been awarded a University Michele Frederick received a 2014- Professor Wendy Bellion’s “American Dissertation Fellowship through the 2015 Kress Interpretive Fellowship Art: Methods and Historiography” University of Delaware, as well as the at the Philadelphia Museum of graduate seminar. Greene participated Sewell C. Biggs Dissertation Writing Art, where she worked to research in the Delaware Public Humanities Award. Her recent publications include and install galleries focusing on the Institute (DELPHI) summer 2014 “Going to Pieces: A Detective Story,” reinterpretation of Dutch, Flemish, program, which inspired her to in Chemical Heritage Magazine (Fall and Early Netherlandish objects in undertake public outreach as a 2014-Winter 2015), which explores the museum’s collection. From 2013 guest lecturer for an “Introduction the chemistry of pollution, and the to the present her coursework in the to Printmaking” course at UD. She forthcoming “Allegory and Artistry: University of Delaware’s Curatorial collaborated with eight other graduate Reclaiming Livio Mehus’s Genio del Track PhD program has been students on Delaware Awake! Disegno,” an analysis of painterly supported by a fellowship from the World War I at Home and Abroad, a self-fashioning in the first issue of Andrew W. Mellon foundation. In 2015 special exhibition for the University Paragone: Emerging Scholars, a she spoke at both the Bruce Museum Museums, by proposing loans from the peer-reviewed graduate journal of the in Greenwich, CT and the Philadelphia Winterthur Library and Delaware Art University of Michigan. In February of Museum of Art, and in 2014 she Museum as well as co-leading a tour. 2014, Elisabeth delivered a talk on the delivered a paper at Florida State Greene worked with Isabel Oleas experimental darkness of early urban University, “Imitatio and Aemulatio: and conservators Brian Baade and photography, “Shadowed Spectatorship Reevaluating Aert de Gelder’s Self Kristin DeGhetaldi to build a technical in the Photographic Nocturne, 1895- Portrait as Zeuxis.” art history online resource funded 1910,” at the Boston University Annual by the Samuel H. Kress Foundation Graduate Symposium. In March 2014, Katrina E. Greene is completing in the summer of 2013. She was an she spoke at the Delaware Center for her fourth year in the Curatorial Track intern with PhD alumna Heather the Contemporary Arts, in conjunction Direct PhD Program in Art History Campbell Coyle at the Delaware Art with the exhibition Magnum Opus: specializing in late nineteenth- and Museum during the fall of 2013. She The Alchemical Process in Art. In June early twentieth-century American art. presented the paper, “Lost Proofs and

Emily Shartrand delivering a paper at the 2014 Graduate Student Colloquium. Visiting the PMA for the “Modern Portraiture” seminar. Professor Margaret Werth, Photo by George Freeman. Lauren McDaniel, Kiersten Mounce, Jordan Hillman, Galina Olmsted, Jessica Larson, Justin Brown. Photo courtesy Margaret Werth.

25 GRADUATE STUDENT NEWS Uncertain Impressions: Researching Rhythm, Spectacle. On view May 9 through History, Duke University; and a Henry Prints by Henry Ossawa Tanner,” at August 2, 2015, the exhibition explores the Belin du Pont Research Grant, Hagley the CUNY Graduate Center for the many ways that dance has ignited artists’ Museum & Library. He also won a Global “Disappearance: Spatial and Temporal imaginations over the past century. Dissertation Development Grant from Horizons” conference organized by the Art History Department and a Walter the Department of Comparative Margarita Karasoulas presented “Visual Read Hovey Memorial Award from the Literature. She received a Graduate Irony and Racial Humor in Winslow Pittsburgh Foundation. He participated Scholarship from the University of Homer’s The Watermelon Boys” at UD’s in DELPHI during the summer of 2014 Delaware for the 2013-2014 academic Graduate Student Colloquium in March and attended the Newport Summer year. 2014 and at Florida State University’s 32nd School on a scholarship from the Victorian Annual Graduate Student Symposium in Society in America in June 2013. Craig In the summer of 2014, Caitlin October 2014. For the latter conference, contributed the essay, “Ahead and Hutchison completed the College of she was awarded the Gunther Stamm Prize Alight in Johannesburg, 1886-1936,” to Arts and Sciences’ Academic Advising for Excellence, and her article on Homer Cities of Light: Two Centuries of Urban Certificate Program, allowing her to is forthcoming in Athanor this fall. She also Illumination (Routledge, 2015), edited by serve as advisor to incoming freshmen delivered a paper titled “The Aesthetics Sandy Isenstadt, Margaret Maile Petty, and and transfer students through the of Violence: Lynching and Spectacle in Dietrich Neumann. He authored catalogue New Student Orientation Program. George Bellows’s The Law is Too Slow” entries about photographers Bob Thall She also led a freshman introductory at the Tufts University Graduate Student and Grant Mudford for the catalogue, course that helped students envision Symposium in March 2015. She was a The City Lost and Found: Capturing New the benefits of a liberal arts education. member of the curatorial team for the York, Chicago, and Los Angeles, 1960- Caitlin presented “Between Two Worlds: exhibition Delaware Awake! World War I 1980 (Princeton University Art Museum, The Liminal Spaces of Pompeii” at the at Home and Abroad, on view in fall 2014 2014), edited by Katherine A. Bussard, 2014 UD Art History Graduate Student at the University of Delaware’s University Alison Fisher, and Greg Foster-Rice, which Colloquium and spoke on “Western Museums. This past summer, Margarita accompanied the exhibition he worked on European Monastic Architecture and its was the 2014 Alfred Appel, Jr. Fellow at as a McCrindle Intern at the Princeton Heritage” at the Osher Lifelong Learning the Delaware Art Museum, where she University Art Museum from 2013 to 2014. Institute. Most recently, she participated curated The Puzzling World of John Sloan, In the summer of 2013, he was a graduate in San Jose State University’s 21st Annual on view from June 6 to September 6, 2015. intern in the Department of Architecture Art History Symposium, “Between Two and Engineering at the National Gallery Worlds: Syncretism and Alterity in Art,” Craig Lee’s dissertation proposal, “Letter of Art. Craig presented conference with the paper “From Clonmacnoise to Building: Signage, Modern Architecture, papers at the Society of Architectural Capacho: Methodologies in the Study of and the American Cityscape,” was Historians Annual Conference in Austin, Monumental Stone Crosses.” approved in spring 2014 and received a TX (April 2014), Loyola University Chicago Citation of Special Recognition for the (November 2014), Savannah College of Art Anna Juliar is the Margaret R. Carter Manny Award from the Graham and Design (February 2015), the Emerging Mainwaring Curatorial Fellow in the Foundation for Advanced Studies in Scholars Symposium at Winterthur Department of Prints, Drawings, and the Fine Arts. He has received support (April 2015), and the Buell Dissertation Photographs at the Philadelphia Museum for his research in the form of a Library Colloquium, Columbia University (May of Art. With Shelley R. Langdale, Associate Research Grant, Getty Research Institute; 2015). Curator of Prints and Drawings, she a FOARE Fellowship, John W. Hartman curated the exhibition Dance: Movement, Center for Sales, Advertising & Marketing

“The Novel and the Bizarre: Salvator Rosa’s Scenes of Witchcraft.” Amy Torbert and Katrina Greene taking a break from listening to talks at CAA in Chicago, Photo courtesy the Cleveland Museum of Art. February 2014. Photo courtesy Amy Torbert.

26 GRADUATE STUDENT NEWS This year, Sarah Leonard was awarded at the University of Delaware Library. In Colin Nelson-Dusek received a Global a Mellon Curatorial Fellowship to November 2013, she presented “‘Nothing Dissertation Development Grant from the support her coursework and internships could be more pitiably effeminate’: Art History Department in 2014, which he in pursuit of the Curatorial Track PhD. J. W. Waterhouse’s The Favorites of the used to travel to France for his dissertation Emperor Honorius and the Victorian Cult research on the sculptor Antoine Bourdelle of Manliness” at the annual conference and his interpretations of classical antiquity of the Victorian Interdisciplinary Studies in early twentieth-century Europe. From Association of the Western United 2012 to 2014, Colin worked as the States. More recently, Sarah presented education coordinator at the American “An Edwardian Garden on American Craft Council in Minneapolis, where he Soil: Marian Coffin’s Gibraltar” at the organized and presented lectures and Pennsylvania Academy of the Fine Arts educational programming, wrote articles Graduate Symposium, February 2015. in print and online form, and planned special events related to the contemporary Sarah Leonard presenting at PAFA’s Graduate Symposium “The Artist and the Garden.” Art McLaughlin is the Chair of the American craft movement. He gave a talk Photo by Amy Torbert. University of Delaware’s Dover Osher on the history of local sculpture in Saint Lifelong Learning Curriculum Committee Paul, MN in October 2013 and recently In the summer of 2014, she undertook an and a member of the Biggs Museum of presented “Antoine Bourdelle’s Monument internship at the Harvard Art Museums, to General Alvear and Interpretations of where she assisted with research for an Classical Antiquity during World War I” at upcoming exhibition centered on the the Midwest Art History Society’s annual collections of Harvard’s eighteenth- conference in March 2015. century Philosophy Chamber. She is now a curatorial intern at the Delaware Isabel Oleas was granted an internship Art Museum. Along with eight other during summer of 2013 for the Samuel graduate students in the Department, H. Kress Digital Reconstruction Project, she collaboratively curated the exhibition supporting the development of a website Delaware Awake! World War I at Home that showcases Old Masters’ painting and Abroad, which was on view during techniques. She received the Global the Fall semester, 2014, at the University Curator Ryan Grover and Art McLaughlin at the Biggs Dissertation Development Grant to Museum of American Art. of Delaware’s University Museums. In Photo courtesy Art McLaughlin. explore primary and secondary sources June 2013, Sarah presented “The Beauty related to the history of the Society of and Politics of Plants: William Morris and American Art’s Education Committee. Jesus in colonial Quito, and she consulted the Garden,” at the symposium “Earth On November 5, 2014, Osher held an archives in Quito, Santiago de Chile, and Perfect? Nature, Utopia, and the Garden,” Instructor Appreciation Day at the Biggs at Saint Louis University during summer held at the University of Delaware; she Museum, also located in Dover, DE. The 2014 and winter 2015. also curated a display case exhibition for day’s events included a guided tour of the that symposium, featuring books, prints, Museum and presentations by Art and the and watercolors from Special Collections Biggs Curator, Ryan Grover. and the Mark Samuels Lasner Collection

Saint Francis Church in Quito. Photo by Isabel Oleas Mogollón. Incoming graduate students, fall 2014. Kiersten Mounce, Jessica Larson, Isabel Silva, Jordan Hillman, Kaila Schedeen, Desiree Annis. Photo by George Freeman. 27 GRADUATE STUDENT NEWS Galina Olmsted has received continued Jeff Richmond-Moll presented the Hannah Segrave received a Summer support in the Curatorial Track PhD paper, “Sculpture and Spectacle: Horatio Fellowship from the Department of Art program through the Andrew W. Mellon Greenough’s Christ and Lucifer,” at the History to fund her CTPhD internships at Foundation Fellowship, awarded in CAA Annual Conference in New York the Cleveland Museum of Art in European 2013-2014 and renewed for 2014-2015. Paintings and Sculpture 1500-1800 (2013- In the spring of 2015, she traveled to 2014). Upon completing her doctoral Boston to present her paper “Vous êtes internships, she was subsequently hired banquier, M. May?: Commerce and by the CMA to curate the exhibition, “The Caricature in Degas’s Portraits at the Novel and the Bizarre: Salvator Rosa’s Stock Exchange,” at Tufts University and Scenes of Witchcraft,” on view in the new to New York to participate in a graduate Julia and Larry Pollock Focus Gallery from seminar on François Boucher’s drawings February 15 to June 14, 2015. In support at the Morgan Library & Museum. In the of the exhibition, she has given numerous summer of 2014, Galina was a graduate talks, including “The Inside Scoop: Behind curatorial intern in the Department of the Bizarre” and “Scholars on the Circle.” French Paintings at the National Gallery of She published the essay “The Novel and Art, and she contributed to the catalogue the Bizarre: A focus exhibition looks at accompanying the exhibition Gustave four 17th-century tondi by Salvator Rosa,” Caillebotte: A Painter’s Eye, which opens in the January/February 2015 edition in Washington, D.C. this June before of Cleveland Art. She also appeared traveling to the Kimbell Art Museum on the Modern Art Notes Podcast with in November. Galina stayed on at the Tyler Green. During 2014, she was a Jeff Richmond-Moll with a “wounded tree” National Gallery as an Exhibition Assistant monument at Gettysburg. c Teaching Assistant and gave lectures for for the Caillebotte show through January Photo courtesy Jeff Richmond-Moll. two courses in the Department of Art 2015. History, and also completed her CTPhD last February. He gave a paper “‘The Internship Colloquium and major field In the spring of 2013, Tiffany Racco Inevitable Triumph’: Violet Oakley’s The examinations. At the 2013 University of received an Excellence in Teaching Award Angel of Victory (1941)” at Yale University’s Delaware Graduate Student Symposium, from the University of Delaware, an honor May 2015 conference “‘In the Same Boat’: she presented the paper, “‘Gone is the that came on the heels of two rewarding British and American Visual Culture infinite distance between the human and teaching experiences as a teaching assistant during the Second World War.” As the divine’: Meaning and Material in Bernini’s for “Baroque Art,” and as a lecturer for 2013 Alfred Appel, Jr. Curatorial Fellow at Memorial to Maria Raggi.” “Italian Renaissance Art.” In 2013-2014, the Delaware Art Museum, he organized she received the Chester Dale Pre- the 2014 exhibition “‘Blessed Are the Emily Shartrand began volunteering her doctoral Fellowship at the Metropolitan Peacemakers’: Violet Oakley’s The Angel of time in the Rare Books and Manuscripts Museum of Art to conduct research for Victory (1941),” reuniting Oakley’s wartime Department of the Walters Art Museum her dissertation, “Luca Giordano: Speed, altarpiece with preparatory studies and in the winter of 2014. While there Emily Imitation, and the Art of Fame.” While related works for the first time. wrote catalogue entries for over twenty collaborating closely with members of Franco-Flemish manuscripts including the European Paintings curatorial and Ashley Rye-Kopec received a Delaware many Books of Hours and several volumes conservation staff at the Met, including Public Humanities Institute (DELPHI) of the Beaupré Antiphonary, all as part of Xavier Salomon and Keith Christiansen, Material Culture Studies Graduate the Walters’ ongoing effort to digitize their Tiffany completed a dissertation chapter Research Fellowship (2014-2015) in manuscript collection. These entries have that investigates paintings done by support of her dissertation, “No One a since been published online as part of The Giordano in imitation of other masters Stranger: Anglo-American Representations Digital Walters. For the summer of 2014 such as Dürer, Raphael, and Ribera. The of Venetian Labor, c. 1866-1900.” From the Art History Department, University of fellowship at the Met also allowed Tiffany 2012 to 2014, she was the Research Delaware provided funding for Emily to the time to complete an article entitled, Assistant in the Mark Samuels Lasner continue as an intern at the Walters. While “Darkness in a Positive Light: Negative Collection at the University of Delaware completing her coursework and studying Theology in Caravaggio’s Conversion Library. She has served as the book review for her upcoming examinations Emily has of Saint Paul,” which was accepted for editor for Winterthur Portfolio since guest lectured on manuscripts for a course publication in the scholarly journal Artibus the fall of 2014. Ashley has presented at the Osher Lifelong Learning Institute, et Historiae. In March 2015, she presented papers related to her dissertation at the University of Delaware (2015) and a version of this paper at the Renaissance Southeastern College Art Conference presented a paper titled “The Materiality Society’s Annual Meeting in Berlin. In in Greensboro, NC (2013) and the of Light in the Mi`Rajnama” at the Art September 2014, Tiffany moved to Rome, Nineteenth Century Studies Association History Department’s Graduate Student Italy to begin a two-year Kress Fellowship annual conferences in Chicago, IL (2014) Colloquium, University of Delaware at the Bibliotheca Hertziana, where she is and Boston, MA (2015). (2015). continuing (and eventually finishing) her work on Luca Giordano. 28 GRADUATE STUDENT NEWS In 2014, Liz Simmons, an Andrew W. Library (Pasadena, CA), American Lifelong Learning Institute, University of Mellon Fellow in the Curatorial Track Antiquarian Society (Worcester, MA), John Delaware (2014). In 2013, she presented PhD Program, curated Pets on Paper: Carter Brown Library (Providence, RI), the paper, “Super Housekeeping? Cats and Dogs in Early Modern Europe, and Winterthur Museum and Library— Dorothy C. Miller’s Curatorial Career a rotation of Old Master prints and which, when combined, offer eight months at the Museum of Modern Art,” at the drawings, as part of an internship with of funding support. She presented aspects Pennsylvania Academy of the Fine Arts. the Princeton University Art Museum. of her dissertation research at the Yale (See the exhibit’s web portal: http:// Center for British Art (2013), the College In 2013 Rachel Zimmerman received the artmuseum.princeton.edu/object-package/ Art Association (2014), the Society of Early Anna R. and Robert T. Silver Award for cats-and-dogs/22806.) Previously, she was Americanists Annual Conference (2014), a summer intern at the National Gallery the Association of Historians of American of Art in Washington (2013), where she Art (2014), and finally, Delaware’s own researched attribution issues surrounding Material Culture Symposium for Emerging engravings by Andrea Mantegna in the Scholars (2015). Department of Old Master Prints. She has spoken to the docents at Princeton In the summer of 2013, Spencer Wigmore (2014) and at the Osher Lifelong Learning worked as a Graduate Curatorial Intern Institute, University of Delaware (2015). in the Department of Photographs at In 2013, Liz presented “Echoes of Hellas: the National Gallery of Art, conducting Antique and Aesthetic Synesthesia in Late research for an upcoming exhibition of Victorian England,” in which she discussed nineteenth-century American landscape an Arts and Crafts luxury printed book, photography. The following spring, at the 2013 James A. Rawley Conference he earned his Master’s degree. Last in the Humanities at the University of summer, he was the Bruce and Dorothy Nebraska—Lincoln. Dines Graduate Fellow at the Petrie Rachel Zimmerman examining an Institute of Western American Art at eighteenth-century inventory at the Casa do Pilar, Ouro Preto. Amy Torbert advanced to candidacy the Denver Art Museum. He will be Photo courtesy Rachel Zimmerman. in September 2013. She began her returning to the Denver Art Museum dissertation project—studying the business this summer to contribute writing and Excellence in Teaching from the University research to the Museum’s upcoming of Delaware Department of Art History. Western Passages publication. In the fall She also received a Global Dissertation of 2014, he presented a paper entitled Development Grant from the Department “Crowded Deserts and Empty Gardens: of Art History (2013), a Dissertation Custer’s Black Hills Exhibition, William Fellowship from the Winterthur Museum Henry Illingworth’s Stereographs, and and Library (2014-2015), and a Theodore the Question of Federal Oversight” at E. D. Braun Research Travel Fellowship the University of Oklahoma’s Graduate from the American Society for Eighteenth- Symposium: “New Perspectives in Native Century Studies (2015) to support her American Art and Art of the American dissertation research on elite material West.” With eight other graduate students, culture in eighteenth-century Minas he collaboratively curated the exhibition Gerais, Brazil. Her dissertation research

Graduate students Isabelle Havet and Amy Torbert Delaware Awake! World War I at Home was further funded by a fellowship in at the Braque exhibition in Paris. . Photo courtesy Amy Torbert. and Abroad, on view in fall 2014 at the conjunction with the Delaware Public University of Delaware’s University Humanities Institute (2014), for which of publishing prints in London and Museums. she created an educational website, “A America between 1760 and 1790—with Casa Mineira Setecentista” at: http:// six months of archival research in London, Karli Wurzelbacher served as a Research mgsetecentista.weebly.com. In 2014, she supported by the Paul Mellon Centre Assistant at the NYC Landmarks50 presented papers at Queen’s University in for Studies in British Art, the Institute Alliance in the fall of 2014. With eight Kingston, Ontario, at Tulane University for Historical Research at the University other graduate students, she collaboratively in New Orleans, at Ohio State University of London, and a Departmental Global curated the exhibition Delaware Awake! in Columbus, at the Museum of Fine Dissertation Development Grant. In 2014, World War I at Home and Abroad, on view Arts, Houston and at the University of a Smithsonian Predoctoral Fellowship at in fall 2014 at the University of Delaware’s Delaware. Her presentation “A Brazilian the National Portrait Gallery (Washington, University Museums. She published the Idiosyncrasy: Hammocks and Social Status D.C.) and a grant from the Lewis Walpole essay “Janet Fish: The Personal and the in Colonial Brazil” at the 2014 EC/ASECS Library (Farmington, CT) provided further Perceptual” in Janet Fish: Master of Light annual meeting was awarded the S. Eric time for dissertation research and writing. & Shadow (Huntsville Museum of Art, Molin Prize for Best Conference Paper by Amy is currently enjoying the life of an 2014), edited by Peter J. Baldaia. She a Student. In May 2015, Rachel presented itinerant scholar by stringing together four also spoke at the Delaware Center for the a paper at the University of Maryland, short-term fellowships–from the Huntington Contemporary Arts (2015) and the Osher College Park. 29 ALUMNI CORNER

Art Historians and Conservators Working Together Considering Works by James McNeill Whistler and Andrew Wyeth By Joyce Hill Stoner (PhD 1995)

Since earning a (somewhat late-in-life) Whistler’s materials, doctoral degree in Art History at UD in techniques, and 1995 while living life as a practicing and aesthetic effects teaching paintings conservator, one of with the dozen or my continuing goals has been to facilitate so art historians in interactions between art historians and attendance. conservators. The second was I was privileged to attend and speak at a two-day event, two such interactive conferences in 2014; October 17-18, the first was the Lunder Consortium “Andrew Wyeth for Whistler Studies, “Object Study in Context: Dr. Joyce Hill Stoner lecturing as part of the Lunder Consortium for Whistler Studies, Workshop,” Freer Gallery of Art, June Contemporary Art Freer Gallery of Art. Photo courtesy Joyce Hill Stoner. 9-12, 2014. Lee Glazer, the curator of and Scholarship,” American Art at the Freer, led tours of one day at the National Gallery of Art, galleries and studios. I spoke on Andrew the exhibition, An American in London: coinciding with the Andrew Wyeth Wyeth’s tempera technique and told a bit Whistler and Battersea Bridge, and Emily exhibition, Looking Out, Looking In, and about my experience posing for him. Jacobsen (paper conservator) and I (as the second day at the Brandywine River painting conservation consultant) discussed Museum of Art with time in the Wyeth

Art History in an Era of Climate Change By Nenette Luarca-Shoaf (PhD 2012)

My work as the 2014-2015 John E. have had in shaping the Mississippi as a video artist who treats the river as both Sawyer Seminar Postdoctoral Fellow at cultural and physical landscape. While a place of trauma and of healing, and the Institute for Advanced Study of the my methodology has always been an historian who mines blues music and University of Minnesota has pushed me interdisciplinary, the discussions I have Richard Wright’s short stories for ways to consider ways that art history can speak had this year as part of a faculty reading of understanding African American to contemporary issues and function group, and the work I did to organize an experiences during and after the 1927 within public life beyond the classroom or interdisciplinary panel discussion on race Mississippi River Flood. museum. and environmental discourse, has made it ever more clear that the river has always The politics and ethics of studying a place The theme for this iteration of the been more than a line on a historical where people continue to live and work, Sawyer Seminar, a comparative study of map or the setting for some of the most on which environmental crises have and cultures undertaken by various institutions canonical paintings in American art. As will unfold, and where race, class, and and funded by the Andrew W. Mellon part of the symposium, “The Once and power dictate access has implications for Foundation, has been “Making the Future River: Imagining the Mississippi in the way we narrate its past. My experiences Mississippi: Formulating New Water an Era of Climate Change,” I moderated this year have demonstrated that critical Narratives for the 21st Century.” The panels on “River as Image” and “River as considerations of historical visual culture subject dovetails with my research into Place” that included a program of New can bring unique insights to conversations the way that the river was portrayed in Deal-era and contemporary short films, about the future of a particular place. nineteenth-century visual culture of the an artist speaking about her place-based United States and the role that images collaborative practice, an indigenous

30 ALUMNI CORNER Visions of Place Complex Geographies in Contemporary Israeli Art

You will want to mark your calendars exhibition will be accompanied by a 100- pressing ones in the contemporary for this exciting upcoming exhibition page exhibition catalog. There will be a world. Although focused specifically on co-curated by alumna J. Susan Isaacs website for the exhibition with podcasts Israel, the issues raised by the exhibition (PhD 1991), Professor of Art History and a blog. Other programing will include have wide interest and applicability in and Curator of the Holtzman and an Israeli film festival, musical events, the broader contemporary world, and lectures, family workshops, and visiting many of the artists in the exhibition artists. The exhibition will be on view from exhibit their work internationally. An September 17 to December 13, 2015 at the Stedman Gallery, Rutgers University, Camden, NJ with a reception on October 11, 2015. It will then be presented from February 5 to April 2, 2016 at the Center for the Arts Gallery, Towson University, Towson, MD with a reception on February 4, 2016. Related programming will take place at the Delaware Center for the Contemporary Arts, the Gershman Y in Philadelphia, and Goucher College in Maryland.

Anisa Ashkar, Agria Matia 3, 2006. Digital print, Israel offers a unique opportunity for a 100 x 100 cm. major exhibition of contemporary art and extensive, related programming, providing exhibition demonstrating the richness, Andi Arnovitz, Betrothed to the Land, 2012. Silk a series of lenses through which to view complexity, and diversity of perspectives in organza, stones and thread. Courtesy of the artist. Photo by Avshlom Avital. and to better understand the complexities contemporary Israeli art, and by extension, of the country. Geography, in its physical, Israeli society, is particularly timely and Center for the Arts Galleries at Towson personal, religious, intellectual, political, can provide a rich artistic experience, while University. Professor Isaacs is working existential, historical, economic, and also catalyzing a broader dialogue relating on the exhibition (which will feature other manifestations, is an inescapable to the important issues raised by Israel’s approximately 49 works by 36 artists) part of Israeli life, its psyche and art, contemporary artists. with co-curator Dr. Martin Rosenberg and issues in relation to geography in of Rutgers University—Camden. The this broad sense are some of the most

Alumni News

In 2014, Allan Antliff (PhD 1998) Ages’: World War 1 and Cultural Change” Sandra Cheng (PhD 2008), City Tech published Joseph Beuys (Phaidon Press, organized by the State Institute of Art CUNY, delivered a paper, “The Monstrous 2014). He gave a keynote talk, “Aesthetics Studies, Moscow, September 10-12, 2014. Piazza: Francesco Villlamena’s Prints and Anarchy,” as a Distinguished Visitor He was interviewed for the documentary of Grotesque Itinerants,” at the 2014 at the Hurford Center for the Arts and film ‘To Hell with Culture’: Herbert Read, Renaissance Society of America in New Humanities, Haverford College, PA, Art, Anarchy (UK 2014). He continues to York City. Sandra is co-editor of Open on April 8, 2014. His article, “Adrian serve as art editor for the interdisciplinary Inquiry Archive (http://openinquiryarchive. Blackwell’s Anarchitecture,” was journals Anarchist Studies and Cultural net/), a peer-reviewed, online journal reprinted in If I can’t dance to it, it’s Developments in Anarchist Studies. of scholarly papers on visual arts and not my revolution (Cantor Fitzgerald culture. Please feel free to contact her at Gallery, Haverford College, 2014), Heather Campbell Coyle (PhD 2011) [email protected] if you are interested edited by Natalie Musteata. It is available co-chaired the session “Comic Modern” in publishing in Open Inquiry Archive. online at http://exhibits.haverford.edu/ with Professor Margaret Werth at the 2015 ificantdancetoit/essays/. Annual Conference of the College Art Dr. Antliff gave a talk, “Revolutionary Association. Incoming Assistant Professor Violence and the War Against War” at an Jason Hill was among the speakers. interdisciplinary symposium, ‘“Standing Upon the Furthest Promontory of the

31 ALUMNI CORNER

Lael J. Ensor (MA 2009) became Dr. Keller’s brief article on the work of Peggy Guggenheim, A Case Study,” at Assistant Curator of the Visual Resources Deane Galloway Keller as a draftsman and Authentication in Art (AiA), The Hague, Collection at Johns Hopkins University in teacher of anatomy will appear in the Art Netherlands (May 2014). 2013. She currently serves on the Visual Students League of New York publication, Resources Association’s Intellectual Lines from the League, available online Nenette Luarca-Shoaf (PhD 2012) is the Property Rights Committee. She writes at http://www.theartstudentsleague. 2014-2015 Sawyer Seminar Postdoctoral and draws comics and creates stationary org/About/Media/LeaguePublications. Fellow at the Institute for Advanced and jewelry in her spare time. aspx#Lines. Study, University of Minnesota. She served as a catalogue author and guest curator Independent scholar Cheryl Caldwell In 2014 Barbara Kutis (PhD 2013) for Navigating the West: George Caleb Ferguson (PhD 2004) published Highland began a tenure-track position at Indiana Bingham and the River at the Amon Carter Park and River Oaks: The Origins of University Southeast in New Albany, IN, Museum of American Art. In 2015, the Garden Suburban Community Planning where she teaches courses in modern and exhibition will be on view at the Saint in Texas (University of Texas Press, 2014). contemporary art as well as on women Louis Art Museum (through May 17) and The book explores the history of Texas’s and gender in the visual arts. For summer the Metropolitan Museum of Art (June famed suburban communities, seeking 2015, Dr. Kutis has been awarded a faculty 15-September 20). answers to why it was that community fellowship to pursue research for her book planning in Texas has sometimes succeeded project, Artist-Parents: Gender, Identity, Professor Joan Marter (PhD 1974) in the suburbs, but gained little or or no and Domesticity in Contemporary Art. notes that the Woman’s Art Journal acceptance city-wide. In part the book also In January 2014, Dr. Kutis published received a special commendation by the analyzes homes built by architects H.B. an article titled, “Confronting Catholic College Art Association: “The Board of Thomson, C.D. Hill, Fooshee and Cheek, Ideals: Elzbieta Jablonska, Katarzyna Directors recognizes and commends the John F. Staub, Birdsall P. Briscoe, and Kozyra, Dorota Nieznalska” in n.paradoxa: Woman’s Art Journal for thirty-five years Charles W. Oliver, as well as addressing the international feminist journal, which of outstanding scholarship in the field of evolution of the shopping center especially partially derived from her dissertation feminist art history.” At the 2015 meeting via Highland Park’s Shopping Village of research. In addition, she has an essay in New York City, a presentation was made the title, which was one of the first such forthcoming in the edited volume, What’s by the Women’s Committee of the CAA to “shopping villages” in the United States. Cooking: Food, Art, and Counterculture Margaret Barlow, Co-Editor, Ute Tellini, (University of Arkansas Press, 2015). Book Review Editor, and Joan Marter Sarah K. Filik (MA 2011) is Curator of as Editor. Rutgers has co-sponsored the Exhibits and History Programs at East Ellen G. Landau (PhD 1981) retired Woman’s Art Journal for the past ten Jersey Olde Towne in Piscataway, New in 2013 from Case Western Reserve years. The Journal has been published Jersey. The site, which is a division of the University, Cleveland, OH. Currently continuously for more than thirty-five Middlesex County Cultural and Heritage Andrew W. Mellon Professor Emerita of years, and has been sponsored by Old City Commission, interprets the history of the Humanities, she lives in Pasadena, Publishing in Philadelphia for the past ten central New Jersey and includes multiple CA and is active as an independent years. An interview Dr. Marter conducted eighteenth- and nineteenth-century art historian and curator. Her book with Ana Mendieta in 1985 was recently structures that have been preserved and Mexico and American Modernism (Yale transcribed and published in Traces: Ana relocated. The exhibit, Raritan Landing… University Press, 2013) was published Mendieta (Hayward Gallery, 2014). Marter Uncovering a Forgotten Past, focuses on with grants from the National Endowment had an essay on Herbert Ferber published the archaeological excavation of a colonial for the Humanities, Terra Foundation in When Modern Was Contemporary port community adjacent to the site. Filik for American Art, and Society for the (Neuberger Museum of Art of Purchase also serves as a trustee for the Raritan- Preservation of American Modernists. College, SUNY, 2014). Her essay on Millstone Heritage Alliance and the Her essay, “Still Learning from Pollock,” Mimi Smith appeared in Mimi Smith, Sayreville Historical Society. appeared in Jackson Pollock’s Mural: The Constructing Art About Life (Lemmerman Transitional Moment (Getty Publications, Gallery, New Jersey City University, 2014). William B. Keller (PhD 2007), now 2014) and her essay “‘Biographies and An essay on painter Juanita McNeely writing as an independent, completed in Bodies’: Self and Other in Portraits appeared in Juanita McNeely: Indomitable 2014 seventeen years of service as Director by Elaine and Bill de Kooning,” is Spirit (Kniznick Gallery, Brandeis of the Anne & Jerome Fisher Fine Arts forthcoming in Her Action: Women and University, 2014). Marter presented the Library, University of Pennsylvania. Over Abstract Expressionism (Yale University keynote address: “Missing in ‘Action,’ the last year, he has lectured at the New Press for the Denver Art Museum, Women and Abstract Expressionism” at Haven Museum, the New Haven Free 2016). Dr. Landau lectured on “Robert Case Western Reserve University, October Public Library, and in Maine, on the Motherwell, Mexico and Abstract 24, 2014 in a symposium in honor of Ellen work of Deane Keller: as a monuments Expressionist Identity,” at the Pollock- G. Landau. She lectured on Alexander protection officer with the U.S. Fifth Army Krasner House and Study Center, East Calder’s innovations in theatrical sets at in Italy during the Second World War, Hampton, NY (August 2014) and on the Wadsworth Atheneum, Hartford, CT, teacher of drawing and painting at Yale, “Conservation as a Connoisseurship April 29, 2014. Lectures on contemporary and mural and portrait painter. In 2015, Tool: Jackson Pollock’s 1943 Mural for women artists were given at Woodmere Art

32 ALUMNI CORNER Museum in Philadelphia, and Montclair Studies Program at Dumbarton Oaks in The Movement of Images in Early America State University. Dr. Marter has been Washington, D.C. during fall 2014. appeared in Common-place, an online working for three years as co-organizer journal sponsored by the American of an exhibition entitled Bold Gestures: Marina Pacini (MA 1988), Chief Curator Antiquarian Society, in winter 2015. In Women and Abstract Expressionism, which at the Memphis Brooks Museum of Art, addition to contributing two essays to the will open at the Denver Art Museum in the organized Marisol: Sculptures and Works Yale University Art Gallery Bulletin, she spring of 2016. She is Editor and principal on Paper, which was on view at the Brooks published “The Gallery of the Louvre as essayist for the book to be published by Museum (June 14-September 7, 2014) a Touring Exhibition Painting” in Samuel Yale University Press, which also includes and El Museo del Barrio in New York City F. B. Morse’s “Gallery of the Louvre” and essays by Ellen G. Landau, Robert Hobbs, (October 8, 2014-January 10, 2015). The the Art of Invention (Terra Foundation and Susan Landauer, with biographies of exhibition was accompanied by a catalog for American Art, 2014), edited by Peter artists by Aliza Edelman. The show will co-published by Yale University Press. John Brownlee. Dr. Pohrt presented at the travel in 2016 and 2017. Yale Center for British Art’s colloquium Michael W. Panhorst (PhD 1988) on the Greek Slave (October 2014) and Katharine Martinez (BA 1968) has been published the book The Memorial Art participated in the College Art Association the Director of the Center for Creative and Architecture of Vicksburg National panel “Museums in Disguise: Visual Art Photography, University of Arizona since Military Park (Kent State University and Performance in the Early National 2010. She previously served as Director of Press, 2015). He published “Tabernacles: United States” (February 2014). She gave the Winterthur Library between 1988 and Open-Air Sanctuaries in Nineteenth- gallery talks at the Yale University Art 1993, and in 1990 she was also appointed Century Alabama,” in Alabama Heritage Gallery on nineteenth-century views of Director of the Division of the Library, (Winter 2015), “The First of Our Hundred the American West, the intersection of art Academic Programs, and Publications. Battle Monuments,” in Southern Cultures and bioethics, and the sculptural group While working at Winterthur, she was an (November 2014), and “Places in Peril Jephthah and his Daughter by Hezekiah Adjunct Professor in the Department of 2014,” in Alabama Heritage (Fall 2014). Augur. Art History between 1989 and 1993. She is currently conducting research for a book Theresa Papanikolas (PhD 1999) Marianne Richter (MA 1991) has been titled tentatively “Home and Heart: The is curator of European and American named the director of the Columbus Exploitation and Reception of the Modern Art at the Honolulu Museum of Art, Museum, a mid-sized museum of Body in Photography, 1880-1915.” a position she has held for the past six American art in Columbus, Georgia, which years. At the museum, she has organized also maintains a focused history collection. In 2014, David McCarthy (PhD 1992) numerous exhibitions and authored their gave three public lectures: “Putting accompanying catalogues. Her projects Kristel Smentek (PhD 2008), Associate Westermann in a Box: Utility and include Georgia O’Keeffe and Ansel Professor of Art History, Department Limitations of the Catalogue Raisonné,” Adams: The Hawaii Pictures (2013), of Architecture, MIT, published the (CAA); “Thinking Inside the Box: Art Deco Hawaii (2014), and a major book, Mariette and the Science of the American Sculpture of the 1960s,” reconfiguration and reinstallation of the Connoisseur in Eighteenth-Century (Memphis Brooks Museum of Art); and museum’s twelve galleries devoted to Europe (Ashgate, 2014). When not “Bringing the War Home: American European and American art. Although shoveling New England snow, she is Artists and Vietnam,” (Southern Methodist a generalist at the museum, she has working on a new book project on the University). He published an essay in continued her research in French Dada impact of Asian-European exchange on Peter Blume: Nature and Metamorphosis and Surrealism, and is the author of eighteenth-century European art and (Pennsylvania Academy of the Fine Arts, Anarchism and the Advent of Paris Dada: aesthetic theory. 2015). His book, American Artists Against Art and Criticism, 1914-1924 (Ashgate, War, 1935-2010, will be released by the 2010). Catherine Turrill (PhD 1986) has an University of California Press in 2015. essay forthcoming in a special issue of the Tanya Pohrt (PhD 2013) is the Interim journal Memorie Domenicane, scheduled Angelina Meehan (BA 2009) works Curator at the Fairfield Museum and for publication in 2015: “The Frate’s on the Marketing team at the Barnes History Center in Fairfield, CT. From 2011 Follower: Collecting and Classifying the Foundation, where she spends her days through 2014, she was the Marcia Brady Work of Plautilla Nelli in the 1800s.” Now sharing the enthusiasm she developed for Tucker Curatorial Fellow, Department in her 20th year on the faculty of California Post-Impressionist art as a student at UD of American Paintings and Sculpture State University, Sacramento, Dr. Turrill is with the public. at Yale University Art Gallery. In 2015, looking forward to her retirement in 2016, she published “Rereading ‘Court’ in following the end of her third term as chair Micheline Nilsen (PhD 2003) published the Touring Exhibition of Rembrandt of the Art Department. her fourth book, The Working Man’s Peale’s Court of Death,” in Exhibiting Green Space: Allotment Gardens in Outside the Academy, Salon and Biennial, England, France, and Germany, 1870-1919 1775–1999 (Ashgate, 2015), edited by (University of Virginia Press, 2014). She Andrew Graciano. Her book review of was a Fellow in the Garden and Landscape Jennifer Roberts’ Transporting Visions:

33 Donors and Friends

Gifts of $50,000.00 Jennifer K. O’Keefe ‘00 or more Deborah A. Reinholz ‘75 Emily J. Reynolds-Goodman ‘78M William C. Allen ‘72 and W. Cannon Spotswood Lynn Pearson Russell ‘01M and William A. Russell Gifts of $4,000.00 Karol Grubbs Schmiegel ‘75M Elizabeth Kimball Selzer ‘86 or more Susan Silver Carol A. Nigro ‘97M ‘09PhD and Charles T. Isaacs Ernest C. Jr. ‘65 and Patty E. Soffronoff Douglas J. and Patricia G. Stewart Gifts of $2,000.00 Roberta Kupfrian Tarbell ‘68M ‘76PhD or more Catherine L. Turrill ‘78M ‘86PhD H. Perry Chapman Sue Murray Van Fleet ‘58 Cynthia Woerner Foresman ‘69 and Wayne M. Foresman Saul E. Zalesch ‘84M ‘92PhD Ingrid Steffensen-Bruce ‘94PhD and Jeffrey B. Bruce Judith K. Zilczer ‘75PhD Gifts of $1,000.00 Other Gifts or more Stephen Jr. ‘78 and Mary Cay Armstrong Leslie and Janice B. Reidel JoAnne C. Debes Lawrence P. Jr. and Margaret V. Nees Patricia K. Edmonson ‘08M Virginia Wagner Foster ‘81M ‘87PhD Gifts of $500.00 Kathryn Davis Gardner ‘87M or more Tracy Chapman Hamilton ‘90 Ellen J. Friedman ‘76 Cristian A. Harris ‘92M ‘00PhD and Ana Pozzi-Harris ‘96 Maureen Keefe ‘81 Virginia K. Homer Mark Samuels Lasner and Margaret D. Stetz Walter S. and Bonnie J. Ivankow Damie ‘56M and Diane B. Stillman Robin S. Kershaw ‘76 Kathryn S. LaPrad ‘07 ‘10M Gifts of $100.00 Tracey Legat ‘97 or more Kathryn A. Lennox Julie A. Aronson ‘95PhD Danielle S. Liss ‘98 Barbara A. Baxter ‘79 and Marc Postman Scott J. Mangieri ‘08M Kathleen Motes Bennewitz ‘97M and William S. Bennewitz Bill and Christine S. Marks Jody L. Blake ‘92PhD Roberta A. Mayer ‘96M ‘00PhD Charles T. Butler ‘76 and Marilyn Laufer Alexis A. Mucha ‘04 Catherine Malmberg Caple ‘79 and George H. Caple Vimalin Rujivacharakul Sandra Cheng ‘00M ‘08PhD Michelle L. Savant ‘93 H. Nicholas Blake Clark ‘75M ‘82PhD Audrey K. Scanlan-Teller ‘94M ‘05PhD John S. and Helen L. Crawford David W. Shamlian ‘79 Audrey Raught Dahlenburg ‘91 Heather Karasow Smith ‘92 Abigail Gobble DiMatteo ‘92 Kimberlie Gumz Fixx ‘88M Matching Gifts Margaret B. Brizzolara ‘88 and David B. Florenzo American Endowment Foundation Noriko E. Gamblin ‘89M Community Foundation of New Jersey Ann E. Gibson ‘84PhD IBM International Foundation Barbara Elliott Hallett ‘63 P&G Fund of The Greater Cincinnati Foundation Karen C. Hinson ‘81 Mary F. Holahan ‘74M ‘78PhD and Luigi Caporaso Duncan C. Holyoke ‘00 Richard T. ‘83M and Pamela M. Jett Sylvia Leistyna Lahvis ‘90PhD and Frederick Lahvis Deborah Williams MacIntyre Sheldon ‘01 Joan Mastrangelo Marter ‘70M ‘74PhD Jacqueline Corman Meisel ‘71M Elizabeth J. Moodey ‘87M

Thanks to all the friends and alumni who have made generous contributions to the Department between June 1, 2013 and May 1, 2015. Your gifts are used for many worthwhile purposes—to create professional development opportunities for our students, to support programs that enrich our curriculum, and to fund special events that deepen our understanding in the history of art.

34 34 University of Delaware Department of Art History 318 Old College Newark, DE 19716-2516

Participants in “Rembrandt’s Art History” seminar (Professor Perry Chapman). Undergraduate and graduate students in Art History and MA students from both the Winterthur/University of Delaware Program in Art Conservation and the Winterthur Program in American Material Culture examined the role of the past in Rembrandt’s creative process. Having students from multiple disciplines, and with different perspectives on the art object, made for rich discussion and engaging exchanges of ideas. Front row: Miranda Dunn (WUDPAC), Lily Higgins (WPAMC), Emily Pazar (WPAMC), Amanda Terzian. Middle row: Bryce Gates, Natalie Giguere, Perry Chapman, Elisabeth Mallin (WPAMC), Nathalie Filler. Back row: Rosey Verbin, Isabel Silva, Jessy Larson, Sydney Beall (WUDPAC). Photo by George Freeman.