826 schermerhorn

COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2015 from the chair's office

Dear Students, Colleagues, and Friends, 826 schermerhorn COLUMBIA UNIVERSITY This is an exciting moment to start my term as department chair. The searches we completed last year bring new faces to DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY Schermerhorn. Meredith Gamer will be joining us as Assistant Professor of European Art, 1700–1900. Meredith earned her MIRIAM AND IRA D. WALLACH FINE ARTS CENTER PhD from Yale with a dissertation on eighteenth-century British art, though her expertise extends to the broader Atlantic FALL 2015 and British colonial worlds. She has already co-curated the major exhibition Figures of Empire: Slavery and Portraiture in 4 16 Eighteenth-Century Atlantic Britain and has worked extensively on the cataloguing of Turner drawings at the Tate Britain. Mapping Mesopotamian Monuments Media Center Offers New Digital Michael J. Waters will be our new Assistant Professor of Renaissance Architectural History. Michael received his PhD from zainab bahrani Framework for Research Projects the Institute of Fine Arts, where he wrote a dissertation on the re-use of ancient building fragments and the transmission of stefaan van liefferinge architectural knowledge. He has published a highly regarded article in the Journal of the Society of Architectural Historians on 6 Renaissance architectural engravings. He will be an anchor to the rebuilding of Columbia’s traditional strength in the history Core Curriculum: Art Humanities 17 at Columbia University’s Global The Bettman Lecture Series of architecture across all periods. Both Meredith and Michael are delaying their arrival by one year in order to complete Center in Paris raymond carlson, emogene cataldo, post-doctoral fellowships, Meredith at Yale’s Institute of Sacred Music, Michael at Worcester College, Oxford University. robert e. harrist jr., holger a. klein, david schneller ioannis mylonopoulos Already with us is Janet Kraynak, the new New Director for MODA director of our MA Program in Modern and 8 janet kraynak Life of a Cathedral: Notre-Dame Contemporary Art: Critical and Curatorial of Amiens 18 Studies (MODA). An authority on Bruce stephen murray Rembrandt’s Changing Impressions Nauman, Janet has also published exten- robert fucci sively on Andy Warhol, Nan Goldin, Do-ho 10 A Virtual Enlightenment 20 Suh, Rosemarie Trockel, and others. She anne higonnet The Wallach Art Gallery Readies comes to us from the New School, where for 125th Street she had taught since 2006. The MODA 12 deborah cullen Critical and Curatorial Studies program, Disclosing New Perspectives on which is about to enter its twentieth year, Hadrian’s Villa Ghosts of the Past: Nazi-Looted Art and Its Legacies has been extraordinarily successful, and its francesco de angelis holger a. klein graduates now occupy major posts both in 13 the United States and abroad. With Janet at Excavation at the Sanctuary of 21 the helm, we look to a still more dynamic Poseidon in Boeotian Onchestos Book Excerpt: Civil / Rights / Act BACK ROW FROM LEFT: Anne Higonnet, Stephen Murray, Stefaan Van Liefferinge, Barry Bergdoll, Ioannis future. ioannis mylonopoulos kellie jones Mylonopoulos, Jonathan Reynolds, Alexander Alberro, Michael Cole, Branden W. Joseph, Jonathan Crary, Francesco de Angelis. FRONT ROW FROM LEFT: Elizabeth W. Hutchinson, Diane Bodart, Rosalind Krauss, Vidya 14 22 Dehejia, Z. S. Strother, Avinoam Shalem, Keith Moxey, Matthew McKelway, Zainab Bahrani, Janet Kraynak, The 2014–15 year featured many memorable Sight of Memory: When Nature Faculty Highlights Noam M. Elcott. Photograph by Emily Shaw and Gabriel Rodriguez. Not included in the picture are: Frederique events. Generous gifts allowed us to contin- Becomes Ideology Baumgartner, David Freedberg, Robert E. Harrist Jr., Kellie Jones, Holger A. Klein, and Simon Schama. ue our annual symposium with Cambridge avinoam shalem Book Excerpt: Leonardo, Michelangelo, and the Art of the Figure University and to host the conferences 15 michael cole “Rethinking Latin American Art and Culture” and “Scribbles and Scribbling in the Early Modern Period”; the conference Scribbles and Scribbling in the we co-organized on Nazi-looted art was standing-room only. Equally distinguished were our activities in more distant places: Early Modern Period 23 Ioannis Mylonopoulos, Robert E. Harrist Jr., and Holger A. Klein inaugurated our new Art Humanities program in Paris, diane bodart Mellon Lectures Stephen Murray took his undergraduates to Amiens, and students participated in the excavations that Francesco de Angelis vidya dehejia Repatriating Indigenous Art: continues to direct at Hadrian’s Villa in Tivoli and Ioannis Mylonopoulos at the sanctuary of Poseidon in Boeotian Onchestos. Messages Across Time and Space: 25 Inupiat Drawings from the 1890s Book Excerpt: The Unfinished In the spring, Vidya Dehejia will give the Mellon Lectures at the National Gallery in Washington. And this issue of 826 elizabeth w. hutchinson vidya dehejia Schermerhorn will reach you before the exhibition Rembrandt’s Changing Impressions, curated by our student Robert Fucci, ends its run at the Wallach Art Gallery on December 12. It’s a terrific show that I hope you all have a chance to see — you 16 26 Cambridge-Columbia Symposium Fellowships, Dissertations, may just bump into Art Humanities classes, some of which are taking place in the galleries. While you’re here, please come julia vazquez Undergraduates Awards and Prizes, and visit us in 826. Alumni News Conference: “Rethinking Latin With best wishes for the holiday season, American Art and Culture” 30 nicholas morgan New Advisory Council Members

31 With Thanks Michael Cole Professor and Department Chair Birkleyn, Diyarbekir’s Province, Turkey. Detail of Assyrian relief. Photograph by Gabriel Rodriguez. Mapping Mesopotamian Monuments

ainab Bahrani, the Edith Porada Professor of Ancient Near The Mapping Mesopotamian Monuments team of archaeologists is and archaeological sites in Iraq and Syria, the work has taken on a more Eastern Art and Archaeology, established a project called international. It includes participants from the US and Western Europe, urgent nature. The significance of the project, which is a long-term Mapping Mesopotamian Monuments in 2012. In the summer of from Iraq and from Turkey, including colleagues from the State Board work, has been unfortunately borne out by the appalling recent events Z2015 she continues to direct a team that has conducted on site fieldwork of Antiquities and Heritage in Baghdad. The first field season took in Iraq, Syria, and southeastern Anatolia, all of which belong to the recording standing monuments and architecture across Iraqi Kurdistan place in 2013 in Iraq when Professor Bahrani and her team documented area archaeologists refer to as Mesopotamia, the ancient lands of the in Dohuk, Erbil and Suleymaniyeh, and in southeastern Turkey in the ancient Mesopotamian monuments and rock reliefs, early Islamic and Tigris and Euphrates rivers. Heritage sites, historical architecture and region of Diyarbekir and Mardin. Professor Bahrani hopes to contin- early Christian architecture, mosques and madrasas, churches and mon- monuments are in grave danger throughout the region but it is not ue this work in the rest of Iraq, into the south. The survey is focused asteries, Yezidi sanctuaries and shrines, ancient bridges and aqueducts, only antiquity and archaeology that are in peril. As they continue to be specifically on monuments and architecture, and purposefully has no Ottoman era buildings and early twentieth century buildings. The team destroyed as a means of erasing the presence of communities of people historical, cultural, or religious boundaries. The documentation is inclu- uses a range of technologies including photogrammetry, perspectival and their history, the project that began as an archaeological-historical sive because the project aims to record the remarkably diverse history of stills, and 360° immersive panoramic records while mapping things survey, is now an even more urgent record of endangered historical this region, a diversity of peoples and religions that is being deliberately geospatially. For each work the team assesses the condition and state monuments and sites. and violently erased. of preservation, and provides detailed descriptions. Mapping Mesopota- mian Monuments has to date an archive of thousands of images that the zainab bahrani The second season of fieldwork conducted from May to June 2015, Columbia team has made on site. ancient near eastern art and archaeology focused on documenting rock reliefs, historical mosques and monasteries Opposite: Birkleyn, Diyarbekir Province, Turkey. Gabriel Rodriguez from the Media in southeastern Anatolia. The team documented the extensive circuit They are currently curated in a closed archive. The work is funded Center for Art History photographs an Assyrian relief in one of the sources of the walls and towers of Diyarbekir, the ancient mosque with its reused and supported by a multi-year grant from Columbia University’s Pres- Tigris River. Photograph by Zainab Bahrani. above: Dara, Mardin Province, Turkey. Ruins of rock-cut buildings from the Roman fortress of Dara, built c. sixth century classical capitals and columns. They also studied several rock reliefs ident’s Global Innovation Fund, awarded to Professor Bahrani in 2012. CE. Photograph by Gabriel Rodriguez. right: Diyarbekir, Diyarbekir Province, dating to the Neo-Assyrian era and some early Christian monasteries. Although the proposal and the plan for the project, and the first season Turkey. Mapping Mesopotamian Monuments team documenting the city walls at of fieldwork preceded the recent targeting of museums, monuments, an area known as Dağkapı. Photograph by Zainab Bahrani.

4 826 schermerhorn 5 core curriculum Opposite: Professor Holger A. Klein and Art above: PhD candidate Lindsay Cook, Professor Robert E. Harrist Jr., and Art Humanities students in the Jardin du Humanities students in the nave of the Basilica of Luxembourg in Paris. Photograph by Susan L. Boynton. Below: Professor Ioannis Mylonopoulos’ Art Humanities Art Humanities at Columbia Saint Denis. Photograph by William Kenick. students at Monet’s gardens in Giverny. Photograph by Ioannis Mylonopoulos. University’s Global Center in Paris

n the summer of 2013, the Department Western Art each academic year, taught by as the majestic cathedral of Amiens, the palace and instructors conducted all field trips to Iof Art History and Archaeology was among a tenured or tenure-track faculty member and gardens at Versailles, and Monet’s house museums and monuments and all concert, the first Arts and Sciences departments to at Reid Hall, Columbia University’s Global and garden in Giverny. Professor Mylonopoulos opera, and other performance visits together. secure university funding to deepen the Center in Europe. is followed by Professor Holger A. Klein, who Both student demand and the pedagogical global purview of the liberal arts at Columbia. currently teaches two sections of Art Human- results of the joint courses were remarkable Established under the auspices of the Andrew Professor Ioannis Mylonopoulos was the ities during the 2015–2016 academic year. and give hope for an expanded offering of W. Mellon Foundation, Columbia’s Global first faculty member to teach Art Humanities courses in 2016. Liberal Arts Initiative was set up to enable in Paris during the spring semester of 2015. In addition to the semester-long program, the departments to take advantage of Columbia’s Thirteen students took full advantage of the department also piloted a new joint summer Thanks to the incomparable artistic and expanding network of international partner- cultural and artistic opportunities in Paris and program with the Music Department to teach musical resources of Paris, the intellectual ships and Global Centers to develop innova- visited famous collections and museums in Art and Music Humanities at Reid Hall as a synergy that emerged between Art and Music tive new curricular programs for undergradu- the “City of Light:” from the celebrated Greek “package deal.” In the summer of 2015, a group Humanities in the summer, and the truly ates abroad. galleries of the Louvre to the Musée d’Orsay of seventeen students took both courses, which outstanding group of students who partici- and the Musée Picasso. Classes on the Italian met on alternate days. The two instructors, pated, all professors agree that teaching Art Given the centrality of the Core Curriculum or Northern Renaissance and Baroque were Professor Susan L. Boynton, chair of the Humanities at Reid Hall is one of the best in Columbia’s undergraduate education, the not confined to the classroom, but brought Department of Music, and Professor Robert E. pedagogical experience they ever had. department was successful in its proposal to the students in front of original paintings and Harrist Jr., attended each other’s classes, which offer a sustainable program of at least one sculptures in the Louvre. In addition, students were taught with the help of the program assis- professors robert e. harrist jr., course of Art Humanities: Masterpieces of visited famous monuments outside Paris, such tant, PhD candidate Lindsay Cook. Students holger a. klein, ioannis mylonopoulos

6 826 schermerhorn 7 Life of a Cathedral: Notre-Dame of Amiens An Undergraduate Travel Seminar, Spring 2015

n spring 2015 I travelled for a week in March undertook intense study visits to Notre-Dame warm — ideal weather to walk by the River to the Musée de Picardi, which contains many that was entirely magical. A key element in images, panoramas, and animations that we with ten of our best undergraduate students of Paris, the Louvre, the Sainte-Chapelle and Somme in Amiens and undertake our climb bits and pieces from the cathedral. this success was the presence and skills (organi- have gathered online. I should very much to the Notre-Dame of Amiens, the cathe- the Musée de Cluny. Some of us looked at into the upper parts of the cathedral. I had zational and pedagogical) of Lindsay Cook, a like to engage the interest and support of our Idral featured in our beloved Core Curriculum additional churches (Saint-Germain-des-Prés, secured permission from the French author- On Thursday evening we caught the train back doctoral candidate beginning her dissertation alumni in our attempt to energize the Art course, Art Humanities. The seminar focused Saint-Gervais-and-Saint-Protais, Saint-Julien- ities for the climb and was delighted when down to Paris to spend our last night in the on Parisian Gothic architecture. I would like Humanities website. upon the life of the cathedral — the human le-Pauvre, Saint-Séverin etc.), but I like to they left us to ourselves without the constraint Hôtel de Senlis — giving us a very easy ride to express my warmest thanks to Louise and opposite: Amiens Cathedral. Exterior, upper chevet context in which the great monument was leave some flexible time for others to visit of a guide. The high point of the day was the on the RER up to the airport on Friday. We Len Riggio who made this wonderful experi- and buttresses. Photograph by Stephen Murray. conceived and in which it functioned. That the museums and monuments of their own ascent into the central steeple — one of the landed in New York in the last snowstorm of ence possible. TOP: Amiens Cathedral. Interior, choir facing west. human context was understood in terms of choice. While in Paris we had our first group last great Gothic steeples to have been built the season. Photograph by Stephen Murray. inset: Professor the interacting worlds of the layfolk (medieval meal together at Le Polidor on the Rue (begun 1528). The challenge now is to attempt to funnel Stephen Murray and students at Amiens Cathedral. Photograph by Jacob Kayen. pilgrims as well as modern visitors including Monsieur le Prince. Of the more than twenty summer programs some of this excitement and energy into the ourselves), the clergy, and the artisans — During the following two days the students and extended excursions I have hosted, this website that we use to teach Art Humanities. masons, carpenters, glaziers etc. After our bitterly cold winter in New York it presented their work. Each of them had pre- was by far the most enjoyable and, I believe, We are currently engaged in reworking our was a great joy to walk the streets of Paris in pared a presentation (topics included tombs, the most successful. The combination of gifted website and making it interact dynamically Our group first spent three nights in Paris temperate weather. But on Tuesday, the day we choir stalls, stained glass, portal sculpture etc.). and highly motivated students, wonderful with the way we teach. I hope to write an at the Hôtel de Senlis, quite close to the went up to Amiens, the spring seemed to turn It had turned very cold, but the students did museums and churches (and dinners) made electronic book on Amiens Cathedral that will stephen murray Luxembourg Gardens. During that time we miraculously to early summer — sunny and extraordinarily well. We also enjoyed our visit the whole experience come together in a way interact with the hundreds of high-resolution medieval art and architecture

8 826 schermerhorn 9 AVirtual Enlightenment

Barnard and Columbia seminar students have repopulated one Students were challenged to invent digital ways to show how the of the Metropolitan Museum of Art’s period rooms and brought space and objects of the Met’s Tessé Room expressed Enlighten- its objects to digital life. ment values. One team studied the intimate mother-daughter story and the global trade story behind an exceptionally important Thanks to a generous grant from the Mellon Foundation, A furniture pair commissioned by Queen Marie-Antoinette. A Virtual Enlightenment put the art history department at the second team revealed how the space of an eighteenth-century forefront of Columbia’s move toward digital humanities, with a room was used by owners, guests, and servants. A third team new seminar format that combines traditional teaching with brought artisans back into the room’s story by studying tools both museum sessions and a digital lab. and materials, and by linking objects in the room to plates from images in Diderot’s Encyclopédie. Danielle Kisluk-Grosheide and Jeffrey Munger, curators at the Metropolitan Museum’s Department of European Sculpture To see snuffboxes revolving as if twirled in a hand, servants and Decorative Arts, led four sessions at the Met. Students were replacing candles, the original bright colors of marquetry, a thrilled to go behind gallery cordons and stand next to historic table set with Sèvres porcelain, and much more, go to: opposite: Composite image of Marie-Antoinette and lacquer furniture from the website A Virtual Enlightenment: A Lacquer World (http://cool.barnard.edu/ave) desks, handle small objects, and see countless details no ordinary http://cool.barnard.edu/ave/ TOP: Composite image of Marie-Antoinette at a desk in the Tessé Room from A museum visitor notices. Virtual Enlightenment: Materials and their Makers (http://cool.barnard.edu/ave) anne higonnet BOTTOM: Composite image of servants at work in the Tessé Room from A Virtual nineteenth-century art Enlightenment: Uses of Space (http://cool.barnard.edu/ave)

10 826 schermerhorn MAPPING MESOPOTAMIA MONUMENTS 11 Disclosing New Perspectives on Hadrian’s Villa

he second fieldwork season at Hadrian’s Villa led by Professor In addition to new activities and initiatives (such as guided site visits TFrancesco de Angelis and his colleague Professor Marco Maiuro for Columbia alumni; fieldtrips to Tivoli and Ostia; the cataloguing of (Columbia University, Department of History) has yielded unexpected marble architectural fragments), the 2015 season also saw a substantial and exciting results. In an expansion of the boundaries of the previous increase in the number of participants. Over a period of two months, campaign, the excavation has started uncovering a previously unknown thirty-three new and fifteen returning students joined the six core residential building with largely preserved decoration: floor mosaics team members and the ten assisting specialists (ancient and medieval with both abstract and figural patterns, precious marble revetments, ceramics, architectural decoration, geophysical prospections, palaeobo- wall paintings with red and yellow panels divided by delicate vegetal tanical analyses, Renaissance architecture) from the University of Rome motifs — even ceiling frescoes, populated by griffins and sphinxes. La Sapienza and other American and Italian institutions. A fellowship Comparanda from both the villa and elsewhere (especially Ostia) program established thanks to the generosity of anonymous donors and suggest that, despite the richness of the decoration, the building was sponsoring institutions supported student participation: the Depart- not used by the emperor himself but rather by a high-ranking mem- ment of Art History and Archaeology, the Classical Studies Graduate ber of the staff. Geophysical prospections in the surrounding area Program, and the Departments of Classics and History. have furthermore revealed a vast network of similarly oriented edifices forming a mini-neighborhood within the villa. These and other findings provide a new vantage point from which to investigate the ancient life at Hadrian’s Villa and better understand the complexity of its art and francesco de angelis architecture. roman art and archaeology

LEFT: Fragment of ceiling fresco, from Columbia’s excavation at Hadrian’s Villa, July 2015. RIGHT: Detail of fragment. Photographs by D. Nocera.

East end of the northern wall of the monumental rectangular building at Site B, Onchestos Excavation Project. Photograph by Ioannis Mylonopoulos.

Excavation at the Sanctuary of Poseidon in Boeotian Onchestos

n the summer of 2015, Columbia University’s excavation at the sanctuary of Poseidon in Boeotian Onchestos continued with Igreat success. For six weeks (June 8 to July 18), Professor Ioannis Mylonopoulos and a group of students from Columbia University, Barnard College, and Oxford University explored Site A and — more intensively than in 2014 — Site B, the religious and the administrative centers of the sanctuary, respectively. The results of the campaign place the site in a firm historical context.

At Site A, the excavation showed that the annex next to the impressive sixth-century stoa was a large closed room that stored dedications and not a portico-like structure, as was suggested after the 2014 campaign. Thanks to a bronze coin from the reign of Philip II of Macedonia, the building can be now dated between 338 BCE, when Philip moved the center of the Boeotian Confederacy to Onchestos, and the king’s assassination in 336 BCE. Silver coins attest to the close, albeit short, connection between the sanctuary and the important Euboean city of Chalkis, member of the confederacy between 308 and 304 BCE. At Site B, parts of a substantial round structure (with a diameter of over 131 feet) were excavated. Its date is still un- certain, but it seems to predate the mid fourth century BCE. In addition, a large part of the northern wall of a monumental building from the late fourth century was unearthed. The wall is over 13.1 feet wide and 91.8 feet long. Several architectural terracottas bearing floral and abstract decoration in black, white, and red color on a beige background were uncovered.

ioannis mylonopoulos greek art and archaeology

12 826 schermerhorn 13 Sight of Memory: When Nature Becomes Ideology Scribbles and REPATRIATING INDIGENOUS ART Scribbling in the Early Messages Across Time and Space: Inupiat Modern Period Drawings from the 1890s at Columbia University

when the new curator of Art Properties, the native village Kingigan on the Bering Roberto C. Ferrari, alerted Elizabeth W. Strait. The drawings may have been made Hutchinson to the fact that Columbia owns a as part of a school lesson, but their dispersal few hundred objects of Native American art, suggests that they were made to be given away the associate professor knew exactly what to or sold to non-Natives. Members of the class do. She was committed to curating an exhibi- were impressed with the care used by the art- tion for the gallery at Columbia’s Center for ists to capture the specifics of the regalia worn the Study of Ethnicity and Race and had been by the figures in the drawings and to convey looking for an exhibition concept that could the details of the actions of the dancers and involve students. She decided to frame the musicians. The study of the works led to a list exhibition around a group of ten pen, pencil, of questions that were subsequently answered and ink drawings by Inupiat artists of north- by research, including tracking down the event Titian, Pala Gozzi, 1520, Museo Civico, Ancona: west Alaska in the late nineteenth-century that being depicted (the Kivgik, or Messenger scribbles on the back of the painting. are part of Columbia’s collection.The nine Feast, still an important event in many Inupiat students enrolled in her spring 2015 graduate communities), the significance of the clothing scribbles and scribbling in the early modern seminar, Repatriating Indigenous Art, conduct- and other objects depicted, the history of this period is a joint project between Columbia ed research on these drawings while learning community’s interactions with non-Natives, University and the Université Paris I, sup- about developments in source community and the ways in which these drawings fit ported by Columbia’s Alliance Program and consultation and collaboration in museums into a longer history of visual culture in this co-directed by Diane Bodart, Francesca Alberti, and other collections. community and region. The answers to these and Philippe Morel, that investigates the questions were tracked down by consulting the creative process of scribbling and scribbles by The drawings were donated to Columbia work of both scholars and Inupiat community artists. During the past decades, scribbles and in 1935 as part of the Bush Collection of members, the latter primarily through resources schematic drawings have been found on the Religion and Culture, a collection assembled available on the Internet. Al-Ruwayyis, Lower Galilee (Palestine/Israel), graveyard. Photograph by Avinoam Shalem. margins of early modern artworks by artists by philosophy professor Wendell Ter Bush, such as Leonardo, Michelangelo, Raphael, and a student of John Dewey who was interested The exhibition opened in September and is Titian. This graphic production, which has using objects in the classroom as a means of accompanied by a website that has been shared not received much attention from scholars, enriching students’ understanding that aesthetic with the community of Kingigan, which today With Mostafa Minawi, Assistant Professor, Department of echoes the ideas of “controlled regression” and values existed in all cultures. Bush gave no hosts an annual dance festival in September History, Cornell University “scribbling style” that Ernst H. Gombrich and information about where or when they were that continues the tradition depicted in these Ernst Kris used in their seminal essay “The acquired. Exhibition research began with a works of a century ago. The exhibition can ities, villages and other forms of human settlement, like works of Principles of Caricature” when questioning close examination of the works themselves. be accessed at: Cart, are in constant flux, a process of shaping and reshaping, of the late appearance of caricature at the end of The close resemblance of the drawings to http://cool.barnard.edu/InupiatDrawings being erased, demolished, newly designed, renovated and preserved. the sixteenth-century. The newly discovered documented works in the Smithsonian and Like a canvas on which marks of artistic activities — lines, scratch- material belongs to an earlier chronology, the Alaska Museum identified this work as the elizabeth w. hutchinson es, stains of colors and spots — are visually documented, the urban which predates the official birth of caricature, product of students working closely with and rural landscapes accumulate and display through their particular north american art to 1914; feminist and and therefore should be rethought within the missionary teachers Tom and Ellen Lopp in cultural theory structures, urban planning, architecture, streets, allies, parks and public wider field of visual culture of that period. monuments histories of urban creativity and imagined landscapes In order to understand the status, perception of inhabitants. Thus the plethora of built substance and nature that and uses of such “unlearned” drawings at a turns spaces into places could be read like historical text, markers of Al-Damun, Lower Galilee (Palestine/Israel), graveyard. time when art was dominated by the laws of remembering and forgetting. Photograph by Avinoam Shalem. disegno, the project intends to consider artists’ scribbles in relation to the wider popular In December 2014, Shalem and Minawi travelled to Palestine/Israel and and anonymous practices of the images. A started to collect visual and oral material for the research project Sight methodological workshop, associated with the of Memory: When Nature Becomes Ideology (The Topography of Palestine state of Israel offer a large amount of historical evidence that shed new creation of a digital archive of early modern Rural Landscape after 1948). The modern era and especially the age of light on the history of forgetfulness in this region. It is hoped that this scribbles, will be organized in spring 2016 with nationalism have brought with them a specific agenda for the re- research will help in shaping the platform for a multitude of narratives the goal of bringing to light this little known structuring the whole of the Levant. This era resulted in the exodus, and to establish a common system of comprehending time that could portion of Renaissance visual culture. relocation, migration, and expulsion of people. The destruction of help to bridge the gap between collective and personal accounts for Inupiat Drawing, Dance cities, villages and other rural settlements, de jure or de facto as part Palestinians and Israelis alike. with Two Women at the Center, of governmental plan, and, more importantly, the desire to eradicate a c. 1890, Bush Collection, Columbia specific history of these sites from the collective national memory, had avinoam shalem diane bodart University. their impact on the landscape of this region. Palestine and the present arts of islam southern renaissance and baroque art

14 826 schermerhorn 15 Cambridge-Columbia Symposium Media Center Offers New Digital The Bettman Lecture JANET KRAYNAK Named New Director of on march 13, 2015, Framework for Research Projects Series MA Program in Modern and Contemporary Julia Vazquez, Stephanie O’Rourke, Leah Werier, since its inception in 2004, the Bettman Art: Critical and Curatorial Studies (MODA) Claire Pierce, Charles Kang, he Media Center for Art History has continued its mission to Lecture Series of the Department of Art and Álvaro Lima presented Tserve the Art History Department and the Columbia University History and Archaeology has hosted over fifty am very excited to join the faculty in the Department of papers at the annual as a center for education and research in digital art history. Em- speakers. The Lectures are endowed by a Art History and Archaeology at Columbia and assume the Cambridge-Columbia bedded within the Department of Art History, the Media Center’s bequest of Linda Bettman, a former graduate Idirectorship of the MA Program in Modern and Con- Graduate Symposium. unique research and educational agenda is defined specifically for student in the department. The department temporary Art: Critical and Curatorial Studies (MODA). Professors Frank Salmon, art historians, architectural histori- was honored to host six highly esteemed After nine years at the New School, where I was Associate Taylor McCall, Julia Vazquez, Álvaro Lima, Paul Binski, and Alexander ans, and archaeologists. professors for Bettman Lectures during the Professor of Art History, I am looking forward to the new Leah Werier, Stephanie O’Rourke, Margot Marr welcomed them to Bernstein, Claire Pierce, Charles Kang, and 2014-2015 academic year: Lina Bolzoni, Marc opportunities and challenges the position affords. Cambridge and introduced This year, the experimental digital Max Bryant. Gotlieb, Jesús Escobar, Etienne Jollet, the day’s many talks. This mapping project Archmap has been Bernhard Siegert, and Julia Bryan-Wilson. This is an exciting time for the MODA program. Founded by year’s theme was Art and the Acquisition of Knowledge, inviting papers converted into a production plat- These speakers were the first to participate Professor Rosalind Krauss, and moving into its third decade, the addressing topics ranging from the interaction of artworks with his- form, Art Atlas. Currently, Art Atlas in a new program inaugurated as part of the program continues to expand as recognition of the significance torical epistemes to the use of new technologies in art education. The provides the production framework lecture series called the “Bettman Brunch.” of a free-standing MA program attuned to the specific demands symposium was followed by a visit to the Fitzwilliam Museum, walks for two research projects: Mapping Through the program, department members of the study of contemporary art increases. The MODA program is at the cusp of seismic along the River Cam, and a tour of Jesus College with Professor Mesopotamian Monuments (Profes- could meet separately with a speaker for an changes in the field, offering students the knowledge and skills to grapple with theoretical and Donal Cooper, all coordinated by Margot Bernstein, who served as sor Zainab Bahrani), the Istanbul informal conversation over bagels and coffee. practical questions related to non-traditional media, alternative exhibition models, as well as the Columbia’s graduate student liaison. We are grateful for the generous Research and Documentation Project. Such gatherings created a collegial environ- expansion of art under globalization — training they need to enter into professional careers as gifts from Dr. John Weber whose support has made possible the (Professor Holger A. Klein), and this ment in which speakers and students were able curators, critics and academics, among other pursuits. ongoing exchanges between Columbia and Cambridge. new framework is currently being to discuss their academic research and ideas, as evaluated as the digital platform for well as other professional topics. Moving forward, I aim to solidify existing relationships between MODA and such institutions julia vazquez, phd student archaeological research on Hadrian’s as the Museum of Modern Art and the Whitney Museum, while seeking out further ties to the Villa in Tivoli (Professor Francesco de During the full range of art and cultural institutions in New York City and the beyond. At the same time, I Angelis). Other research projects are 2015–2016 am working to formalize relationships that MODA has with related departments and schools at currently driving new technological academic year Columbia to further encourage students to take advantage of the wealth of academic offerings in Four views of a 3D photogram- Conference: “Rethinking Latin developments at the Media Center as the department fields significant to the methods of art historical and cultural analysis. With the pending move metric model of the Roman togate well. Professor Diane Bodart’s research American Art and Culture” torso in the Stronach Center in the looks forward and expansion of The Miriam and Ira D. Wallach Gallery to the new Manhattanville campus, I Department of Art History and project on Scribbles and Scribbling in to hosting six am working in concert with director and chief curator Deborah Cullen, to increase collaborative alexander alberro, chair of Archaeology, Columbia University. the Early Modern Period triggered the speakers for programming and find more opportunities for students to work with the gallery and organize Barnard’s Art History Department, Source photographs by Gabriel development of a framework to store the Bettman exhibitions (see page 20). and Graciela Montaldo of Colum- Rodriguez, model by Tim Trombley. data and to exchange findings and Lecture Series: bia’s Department of Latin American research results in a transcontinental Charles Barber My background is highly suited to these challenges. Having taught undergraduate and graduate and Iberian Cultures, organized a collaborative project. (November 23: students in a range of departments, and with experience in museums and galleries, writing art conference devoted to “Rethinking “Reading an criticism, curating exhibitions, and serving on editorial boards of various publications (including Latin American Art and Culture,” Besides these faculty projects, close collaboration between the Media Icon of the currently at Art Journal), I bring to the scholarship of contemporary art an integrated, interdis- held on October 2, 2015. Speakers Center and the Center for the Core Curriculum resulted in the Black Moham- ciplinary perspective, with a strong pedagogical interest in the shifting meaning and identities included professors from Princeton, migration of the Art Humanities website. Students who visit their Art med: Georgios Klontzas and Islam”), Mary of artistic institutions and curatorial practice. I have particular expertise in the interdisciplinary Harvard, Cornell, the Art Institute of Humanities website now will uncover an experience integrated with Miller (December 7: “The Trouble with 864: turn of art in the 1960s and its legacy in contemporary practices, including the ways in which Chicago, USC, UC Berkeley, and the other courses that make up the Core Curriculum. The Media Center is Maya Art of the Late Ninth Century”), Huey art responds to and registers political and social crises and CUNY Graduate Center. The papers also working closely with Professor Stephen Murray to create resources Copeland (December 14: “In the Shadow of upheaval. I have written extensively about performance, were broadly interdisciplinary, and for the Amiens section of Art Humanities that leverage the abilities of the Negress”), Michael Ann Holly (Febru- language, sound, participatory practices, issues of medi- the speakers represented a range of the new website in engaging ways. ary 29: “The Back of the Painted Beyond”), ation, reproduction, and digitization among others. This different methodological backgrounds: Kavita Singh (March 28: “Frictional Heritage: experience informs current and planned graduate seminars some literary scholars, some art his- Furthermore, the Media Center’s curated image database, MCID, has Museums between Cultures”), and Stephen J. on focused topics (including Contemporary Art and the torians, and most working with and significantly grown with the addition of several thousands of images Campbell (April 25: “Against Titian”). Lectures Conflicts of Globalization and The Performative Object) as between aspects of both disciplines. Papers covered topics as diverse as from fieldwork around the world. take place at 6pm in the Bettman Lecture Hall well as related programming. Most immediate is our Cuban art of the past ten years, political video art in the 1970s and 80s, (Schermerhorn 612) and are followed by a exciting fall Critical Colloquium, which features the critic and the politics of cosmopolitanism. Several papers shared an interest In the coming year the Media Center will work relentlessly to further reception. We look forward to seeing you at Jason Farago and art historians Siona Wilson and Liz Kotz, in the question of the relationship between Latin American art and develop its role as a reference for evaluating the potential of these new this year’s Bettman Lectures! as well as our “capstone” trip to the Venice Biennale. the global contemporary art world: Others asked timely questions such technologies and work with our students and faculty to adopt them as: “How can Latin American art subvert or question contemporary in order to innovate teaching and research in the fields of art history, regimes of global surveillance and governmental control?” The archaeology and architectural history. conference was made possible by the generous support of the Institute for Studies on Latin American Art (ISLAA). stefaan van liefferinge raymond carlson, emogene cataldo, janet kraynak associate research scholar and director of the media and david schneller, graduate student director, ma in modern and contemporary art: nicholas morgan, phd student center for art history coordinators, bettman lecture series critical and curatorial studies (moda)

16 826 schermerhorn 17 Rembrandt’s

exhibition curated by robert fucci, phd Changing candidate september 9 to december 12, 2015 at the miriam and ira d. wallach art gallery, Impressions columbia university

opposite: Rembrandt van Rijn, Christ Crucified between the Two Thieves: The Three Crosses, fourth state of five, 1653, Davidson Art Center, Wesleyan University, Middletown, Connecticut. right: Rembrandt van Rijn, Christ Crucified between the Two Thieves: The Three Crosses, third state of five, 1653, Metropolitan Museum of Art, New York. Photograph by Gerald Sampson. below: Curator Robert Fucci.

Rembrandt van Rijn (1606–1669) manipu- in this country. The prints lent to the Wallach held on November 5 during the IFPDA print lated his copperplates in unprecedented ways for the exhibition represent some of the finest fair, presented the newest scholarship. A fully to achieve printed images that were often in in quality found in US collections. All of the illustrated catalogue, co-published by Verlag flux. That many of the different results were works exhibited were likely printed by the der Buchhandlung Walther König, Cologne, circulated as finished works in their own right artist himself or under his direct supervision. accompanies the exhibition. marked a new moment in the appreciation of printmaking and the collecting of prints This project has been generously supported in the seventeenth century. Rembrandt not by the Netherland-America Foundation, the only treated the print medium as a means of Dutch Culture USA program by the Consul- crafting visibly changing images, he was also ate General of the Netherlands in New York, the first printmaker to fully explore the use of the International Fine Print Dealers Associa- newly available Asian papers for their aesthetic tion / IFPDA Foundation and the European and technical effects. Many of these variations Institute at Columbia University. were the outcome of Rembrandt’s intense and restless search for results that satisfied his artis- tic sense. Others, especially certain portraits, Lenders to the Exhibition: were probably produced at the instigation of The Baltimore Museum of Art some of his print connoisseur patrons. Davison Art Center, Wesleyan University Harvard Art Museums / Fogg Museum Rembrandt’s Changing Impressions was curated Rembrandt has been a mainstay in the Core Hood Museum of Art-Dartmouth College by PhD candidate Robert Fucci for The Curriculum at Columbia since the introduc- Library of Congress Miriam and Ira D. Wallach Art Gallery. The tion of the Art Humanities course, a course The Metropolitan Museum of Art exhibition highlights eighteen of the artist’s that is taken by nearly every undergraduate at The Morgan Library & Museum most notably intriguing or dramatically altered the university. Rembrandt’s Changing Impres- The Museum of Fine Arts-Boston prints by gathering fifty-two works from var- sions provides instructors and students with The National Gallery of Art ious public and private collections in order to a near-at-hand selection of original works The New York Public Library compare different states of the same work that also functions to introduce Rembrandt’s Philadelphia Museum of Art side by side. This is the first time in over forty prints and aspects of print connoisseurship to Yale University Art Gallery years that such an exhibition focused on all Art Humanities classes over the course of Two private collections, with thanks to Rembrandt’s printed changes has taken place the fall 2015 semester. A scholarly symposium, C. G. Boerner Gallery

18 826 schermerhorn 19 The Wallach Art Gallery Readies for 125th Street

he Miriam and Ira D. Wallach Art The First Year MFA Exhibition highlights work BOOK EXCERPT Gallery, an independent unit in Arts by graduate Visual Arts students. The Wallach and Sciences that works closely with Art has been collaborating with Miller Theatre on CIVIL / RIGHTS / ACT THistory, School of the Arts, and the Libraries, an annual, site-specific wall work and, with is readying for its expansion into a new build- GSAS, we are about to start a new annual The Civil Rights Act of It is this idea of a “total well-being”4 that I want to retrieve here as the ing on Columbia’s “Manhattanville” campus. spotlight of a recent MFA graduate’s work in 1964 reaffirms the entitle- intersection, too, between art and civil rights. Art was also a way to Philosophy Hall’s Café Nous. At Lenfest, The ment to constitutional rights access or extend the sense of well-being, as numerous artists during this After so many years in the planning, the first Wallach intends to do even more with uptown for all U.S. citizens and relief period understood. Practitioners from Noah Purifoy in Los Angeles two structures at 125th Street and Broadway artists, in addition to presenting the MFA from discrimination.1 In the to Lygia Clark in Brazil shared participatory practices that were meant have quickly risen. The elegant, silver Renzo Thesis Exhibition. most basic sense, it speaks to engage and enhance the social and mental ease of their audiences; Piano-designed Lenfest Center for the Arts, to the bonds that hold civil Purifoy in particular endeavored to address African American youth in into which The Wallach Art Gallery will move, The Wallach has long-supported projects society together, and the Watts, an area where an entire population had been dismissed, subject- includes a film/video screening room; a studio shedding new light on Columbia’s special ways that a nation can best ed to a failing economy and deindustrialization. In this way, creativity theatre; a dramatic large gallery floor; and a collections. In our new space, we will have a A grant from The Altman Foundation stimu- secure the well-being of its and beauty encouraged and helped engender a feeling of individual skylit, flexible floor for public programming. “project room” that offers opportunities for lates our outreach, while our Samuel H. Kress citizens. The act seeks to satisfaction, self-love, and, in this sense, health. Just as lay medical The Wallach will relocate from Schermerhorn intimate, rapidly-changing examinations of Interpretive Fellow, Daniela Fifi (an EdD can- assure access to the benefits activism practiced by the Panthers and other progressive groups can be sometime during 2017. Columbia’s treasures that offer more curatorial didate at Teachers College) has pioneered our of nationhood particularly seen as the further democratization of medicine during this period, that opportunities to students, classes, and faculty. youth and family programming. In 2014–2015, for African Americans, who, claim can also be made for art’s life with the rise of alternative spaces, This exciting move positions The Wallach as we served 8,500 visitors, 1,174 K–12 pupils and as the scholar Alondra Nelson has written, over the centuries suffered homegrown galleries, and community exhibitions that brought art to a welcoming gateway to the new campus. As We’re pioneering postdoctoral curatorial 801 Columbia students who visited the Gallery from an unrelieved sense of withered or emaciated citizenship; in other the people and gave them agency, entitlement to their own aesthetics the sole fine art venue on Harlem’s western opportunities as well. Our first postdoc, largely through the Romare Bearden initiative, words, a relationship to the nation that was not full and proper.2 and beauty. Health and art were among the myriad ways that politics edge (one mile west of the Studio Museum in Denise Murrell ‘14 PhD, is specially supported supported by President Lee Bollinger. and collective action were accessed during this period of societal change Harlem), The Wallach will fill a crucial role. by the Ford Foundation as she develops Posing In her book on the Black Panther Party, Nelson focuses on how health in the mid- to late twentieth century. We are working hard to amplify our offering Modernity from her dissertation for us. Ideally, As we ready for The Lenfest Center for the advocacy, specifically, became an approach to political and civil equality, by building resources. Our program will run we can offer such posts regularly to recent Arts, we are working very hard to make The a way to press for the “proper function of the state” regarding its popu- all year long and attract a larger public. graduates who present outstanding proposals Wallach Art Gallery more meaningful, open, An excerpt from kellie jones’ catalogue essay for Witness, Art and Civil lation; “health was a site where the stakes of injustice could be exposed for exhibitions and have evinced a commit- thoughtful, and engaged. We will be sure to Rights in the Sixties (2014), p. 11–13 and a prism through which struggles for equality could be refracted. One crucial area we will develop is contempo- ment to curatorial work. let you know when the opening celebrations Health could also connote inalienable human attributes and freedoms.”3 rary art. Currently, two exhibition series focus will be! 1. For the full text of the Civil Rights Act, see: http://www.ourdocuments.gov/doc. php?flash=true&doc=97&page=transcript on art of the present-day. MODA Curates, Finally, visitors may be noticing more and For the Panthers, the notion of health became a mutable sign that could 2. See Alondra Nelson, Body and Soul: The Black Panther Party and the Fight against a partnership with the MA in Modern and more youth in the Gallery. In addition to our Medical Discrimination (Minneapolis: University of Minnesota Press, 2011), p. 10 signify many ideals; encompassing the individual and the larger polis, Contemporary Art: Critical and Curatorial established adult public programming, The 3. Ibid., p. x, 5 deborah cullen the healthy body became a symbol of social justice. 4. Ibid., p. 19 Studies program fosters outstanding thematic Wallach has been piloting free educational director and chief curator, curatorial projects related to students’ theses. offerings for schools in our neighborhood. the wallach art gallery

mechanics of a largely secretive market in Museum, the conference brought together art curators and directors, it was our goal to ask An estimated 250 people attended this confer- Ghosts of the Past: looted art, the complicity of art historians, historians and historians as well as scholars of broader questions and open up the discussion ence, and the discussions were engaged and Nazi-Looted Art the shortcomings of post-war de-nazification, provenance research and legal practice, muse- to one of a more general nature, that is of our lively. The conference was live streamed, and and the provenance not just of Mr. Gurlitt’s ums directors, curators and journalists. historical, professional, and moral responsibil- had very broad international coverage. Articles and Its Legacies holdings, but of many works of so-called ities vis-à-vis the legacies of Nazi-looted art. in the Frankfurter Allgemeine and Süddeutsche “Degenerate Art,” expropriated by the Nazis Organizing a conference on Nazi-looted art The problems we encounter today are bound Zeitung reported and assessed the conference’s and sold for hard currency by state authorities. and its manifold legacies seemed only natural up with questions of the rise of modernism in contribution to the ongoing debate. The Ever since the discovery of Cornelius It has also raised a host of legal and ethical following the heated debates and controversial European art and culture during the first half conference’s papers will be published in New Gurlitt’s hidden collection of more than 1200 questions concerning restitution and what one discussions about the responsibilities of both of the twentieth century, and its continuation German Critique by the four conference works of art in his Munich apartment at the might call belated transitional justice for stolen governments and representatives of profes- after the devastation of the Second World War. eorganizers Andreas Huyssen, Holger Klein, end of February 2012 — and 200 additional art and its former private or public owners. In sional groups that ensued very quickly after They are also bound up with our own attitudes Elisabeth Rochau-Shalem, and Avinoam works found in Gurlitt’s second home in order to take up these important issues, the the Gurlitt affair. However, our conference towards the past and with what we believe our Shalem. Salzburg two years later — the story of the Art History Department hosted an interna- was not a conference on the Gurlitt case. historical, political, and ethical responsibilities Gurlitt Collection has made headlines around tional conference entitled Ghosts of the Past: While it seemed unavoidable at times to speak are, resulting in controversial views and dis- the world. Beyond the bizarre obsession of Mr. Nazi Looted Art and its Legacies from February about the German government’s handling cussions, all of which we encountered during Gurlitt, who lived with and for his artworks 19 through February 21, 2015. Co-organized of the Munich and Salzburg Art troves and our conference, and which led to a productive hidden from public view, the case has raised with Columbia University’s Deutsches Haus the consequences and problems it posed engagement with the past and the issues at the holger a. klein fundamental questions about the role of art and developed in collaboration with the for lawyers and legal scholars, provenance core of our interest. early christian, byzantine, and western dealers during and after the Third Reich, the Goethe-Institut New York and the Jewish researchers, art historians as well as museum medieval art and archaeology

20 826 schermerhorn 21

A.W. Mellon Lectures in the Fine Arts at the faculty National Gallery in Washington highlights I will be presenting the 65th annual A.W. Mellon Lectures in the Fine Arts at the Na- tional Gallery in Washington DC in spring Alexander Alberro published Trilling Book Award. The book Architecture Museums (ICAM) at the Kunsthistorisches Institut in Entitled Leonardo, Michelangelo, In spring 2016, she will be pre- of 2016. The talks will be held on six consecu- essays in the journals October, was based on her 2010–2011 Slade in Montreal and in New York. Florenz. She wrote an essay review and the Art of the Figure, it centers senting the 65th annual Andrew tive Sundays from April 3 – May 8, and will Mousse, e-flux, and Art Newspa- Lectures at Oxford University. She Lecture invitations took him to on portraiture in the Revue de l’Art. on the battle paintings that the W. Mellon Lectures in the Fine focus on the superb festival bronzes created per, as well as in Parachute: The delivered a lecture on “Sumerian Sydney, Berlin, Munich, Massa- two artists designed for Florence’s Arts at the National Gallery in by master artists during the 400 years of the Anthology Volume III. His “The Art and the Modernist Avant- chussetts, Oregon, and Auburn, Jonathan Crary and his fellow Great Council Hall (see p. 22). Washington DC, to be held on rule of the Chola dynasty, c. 850–1280. I Groupe de Recherche d’Art Visuel Garde” at New York University, Alabama, as well as to the New editors at Zone Books will be The year also saw the publication six consecutive Sundays between will go beyond the sensuous (having curated and Instability in the 1960s” was another titled “The Discourse of York School of Interior Design celebrating the 30th anniversary of a Japanese translation of A New April 3 and May 8. the 2002 exhibition The Sacred and the Sensuous on this aspect of published in Spanish translation Artefacts and Things” at Mardin where he delivered the inaugural of the founding of the press this History of Italian Renaissance Art the bronzes), asking questions of the material that have never before by MALBA in Buenos Aires, and Artuklu University in Turkey, Michael I. and Patricia M. Sovern winter. Zone is the product of a that he co-authored with Stephen Noam M. Elcott’s first book, been asked. Where does the copper come from? There is none in the the book-length volume Luis and a paper at the Metropolitan Lecture on Design. collaboration begun at Columbia J. Campbell. In 2014–2015 Cole Artificial Darkness: An Obscure Chola kingdom. What was the source of wealth that enabled superb Camnitzer In Conversation With Museum of Art in New York in in the mid-1980s when Crary and published articles on Renaissance History of Modern Art and Media, bronzes to be cast despite constant warfare? Why did the Chola Alexander Alberro was published connection with the exhibition, Diane Bodart received a grant two fellow graduate students dis- allegory, on the photography is forthcoming this spring from citizens use their temple walls as the public records office, covering in both English and Spanish by Assyria to Iberia. During the sum- from the Columbia University tracted themselves from their dis- of sculpture, on the aesthetic of University of Chicago Press. This them with inscriptions relating to the temple, from gifts of bronzes the Fundación Cisneros in New mer, she continued her fieldwork Alliance Program for her joint sertation research with far-fetched impoverishment, and on medallic past year, he published essays and jewelry to judicial matters relating to misappropriation of temple York. He presented public lectures project, Mapping Mesopotamian project with the Université Paris 1, schemes for starting a small press. images of political resistance. on contemporary photogra- funds and the like? How did a widowed queen become one of the in New York, Rio de Janeiro, Monuments (see p. 4–5), docu- Scribbles and Scribbling in the Early Most recently, he was the sponsor- Together with Professor phy (MoMA), Paul Scheerbart most influential patrons of art in a male-dominated society? Was the Toronto, Philadelphia, Vilnius, menting endangered monuments Modern Period (see p. 15). The first ing editor for Zone’s translation Alessandra Russo (LAIC) he has and Bruno Taut (UCP), and quest for pearls behind the conquest of Sri Lanka? Did the desire to Beijing, Vienna, Vancouver, and and heritage sites in southeastern workshop related to the project, of Alexander Kluge’s History and been awarded a major multi-year Tony Oursler (LUMA), penned control the lucrative trade between Aden and China motivate Chola Berlin. He also organized and Anatolia and Iraq. Sgraffio to Graffiti: Archaeology of Obstinacy, Ben Kafka’s The Demon grant from the Getty Founda- multiple reviews, and gave and raids into southeast Asia? moderated two international a Gesture, was devoted to graffiti. of Writing, and Felicity Scott’s tion to investigate connections conducted interviews in Europe symposia at Columbia University: Barry Bergdoll curated the exhi- She was named the MacDonald forthcoming Outlaw Territories. between sixteenth-century art in and South America. He present- vidya dehejia Critique and the Contemporary bition Latin America in Construc- Summer Fellow for 2015 for her Italy and Latin America. ed invited lectures at the Museu indian and south asian art (see p. 16) and Neoliberalism at tion: Architecture 1955–1980 (March research project, Forbidden Images The exhibition on Renaissance de Arte do Rio (Rio de Janeiro), the Margins. to July 2015) at MoMA and was in the Italian Judicial Archives. sculptors’ drawings that Michael Francesco de Angelis was Austrian Film Museum/Inter- immersed in related symposia She participated in a panel on Cole co-curated at the Isabella named corresponding member nationales Forschungszentrum the project will also be to examine presents” program, was named Zainab Bahrani’s book The and panel discussions for much the double-sided object at the Stewart Gardner Museum closed of the Istituto Nazionale di Studi Kulturwissenschaften (Vienna), the critical dialectic between con- a Columbia Public Fellow, and Infinite Image: Art, Time and the of the spring and summer. In fall annual meeting of the CAA and in January, having been named Etruschi e Italici, and is now the Vrije Universiteit (Amsterdam), templation and the new technol- spoke in a bar as part of New Aesthetic Dimension in Antiquity 2014 he co-hosted the biannual was invited to speak at the Surface the best old masters exhibition of president of its American section. Sonic Acts Festival (Amsterdam), ogies of speed and proliferation in York’s Raising the Bar lecture (Reaktion/University of Chicago convention of the meeting of the symposium at the IFA and at the 2014 by The Boston Globe. In the He published articles on Etruscan the Princeton University School the age of digital reproduction. series. She also participated in a Press, 2014) won the 2015 Lionel International Confederation of conference Leonardo in Dialogue same month, Cole’s new book ap- sarcophagi, on the reconstructions of Architecture, and Rice Univer- Getty Research Institute work- peared from Yale University Press. of Homeric artifacts by Hellenis- sity (Houston). He was named Robert E. Harrist Jr. writes: The shop, and published essays on tic antiquarians, and on the visual a senior fellow at the Internatio- highlight of my year was teach- Turner and on Impressionism, BOOK EXCERPT memory of Greece in Rome. He nales Kolleg für Kulturtechnikfor- ing Art Humanities in Paris this as well as exhibition and book re- presented parts of his current schung und Medienphilosophie summer — the best pedagogical views in Apollo and Public Books. research projects on Roman (IKKM, Weimar) for 2017. experience I’ve ever had. And how Leonardo, Michelangelo, and the Art of the Figure ornament and on embodiment could it not be? Teaching about Working with a spring 2015 Scholars who have written about a This would bring it much closer to the diagrams from the mechanical in Etruscan art at conferences at David Freedberg spent his fall art in Paris is like teaching about class of nine graduate students, Leonardo drawing in Windsor, show- literature that Leonardo surely knew, a chief difference being that Stanford and the Wissenschafts- 2014 on leave at the Wissen- angels in heaven (see p. 6–7). Elizabeth W. Hutchinson curated ing a cannon foundry, have tended to Leonardo expands the field of investigation to include not only the kolleg in Berlin. His summer was schaftskolleg in Berlin, of which About a month after returning an exhibition featuring drawings dwell on Leonardo’s fascination with moving weight but also the moving body. His drawing is both a largely spent directing a group of he is chairman of the Academic from Paris, I went to China to from Columbia’s Art Properties artillery and with large casting oper- depiction of engineering and an image of labor, but it is especially a nearly fifty committed and en- Advisory Board; in the spring he work with students at the China in Avery Art and Architecture ations. (The drawing dates to around demonstration of the inextricability of the two. The sheet describes thusiastic student participants of was senior research scholar at the Academy of Art in Hangzhou Library. Messages across Time and 1485–90, the period of Leonardo’s how bodies operate machines and also shows how machines require the Advanced Program of Ancient Getty Research Institute; and in and traveled with them and two Space: Inupiat Drawings from the monumental bronze Sforza monu- specific movements from bodies. History and Art (APAHA) at March he accepted the director- colleagues to Mt. Tai to study 1890s at Columbia University pres- ment.) But of course this can not be a Hadrian’s Villa (see p. 12). ship of the Warburg Institute at stone inscriptions. ents drawings of a festival called description of an actual foundry: the One reading of the Windsor drawing would be to say that it depends the University of London. His the Messenger Feast produced in workers are nude. Perhaps the cannon on an analogy. Some of the earliest Renaissance engineering illustrations Vidya Dehejia’s new book The longstanding interdisciplinary Anne Higonnet was the PI for an the village of Kingigan at Wales, here serves primarily as a representa- come from doctors; engineers like Taccola approached their machines Unfinished. Stone Carvers at Work concerns will be reflected in his $800,000 grant to Barnard from Alaska (see p. 15). Through the tion of weight — a chief preoccupa- as though they had “anatomies,” and their drawings subject machines on the Indian Subcontinent will be restoration of the anthropologi- the Andrew W. Mellon Founda- exhibition, which is on view at tion of late medieval mechanics — in to dissection. The important point for the longer history that this book released in November 2015 by Roli cal and biological dimensions of tion, with which she launched a the Center for the Study of Eth- which case the primary subject of the drawing would be, again, the follows, though, is that such drawings instrumentalize the human bodies Books, New Delhi, bringing to a responses to the Warburgian pro- digital seminar on the material nicity and Race from September human body’s actions in the operation of a lever. they portray. conclusion the NEH-funded col- gram, as well as his commitment world of the Enlightenment (see 22 to November 20, and on an laborative project she undertook to the better understanding of the p. 10–11). She delivered a series accompanying website — http:// cool.barnard.edu/InupiatDrawings Excerpt from michael cole’s Leonardo, Michelangelo, and the Art of the Figure, (Yale University Press 2015), p. 95–96 with Peter Rockwell, sculptor global and political contexts of of lectures in the Metropolitan and stone conservator (see p. 25). the uses of images and art. Part Museum of Art’s “Met Museum — Hutchinson and her students

22 826 schermerhorn 23 faculty highlights BOOK EXCERPT

positions. Our first explanation is the existence the exigencies of the process of a certain mode offer close visual analysis as well Ludwig-Maximilians-Universität Kōgei Sen’i Daigaku) on collabo- the Great Cathedrals.” The course The Unfinished of a ‘flexible concept of finished work,’ in of construction. When decorative sculpture, as contextualizing information (CASLMU). In September 2015, rative research in architecture and was based upon the film of the which completion meant the readiness of a whether architectural or figural, is carved along provided by both scholars and he relocated to Paris, where he is painting with Francesco Benelli same name that he had made with The ‘why’ of shrine for consecration and use, rather than the building blocks of a monument prior to members of Bering Strait Inupiat teaching Art Humanities at Reid (University of Bologna) in early Nova. He gave three major public unfinished the perfection of every structural or sculptural construction, as against being applied to the communities, including dancers Hall as part of a program support- July. From this fall he is serving presentations: on November 3, work is an detail. Such flexibility was perhaps embed- surface of blocks already in position, the issue who participate in the Messenger ed by the Mellon Global Liberal the University as the Director of a talk at Yale University, “Life intriguing ded in sacred notions of impermanence and of ‘the rhythm of construction’ comes into Feast today. Arts Initiative (see also p. 6–7). Art Humanities. of a Cathedral: Notre-Dame of question to imperfection, and was hence readily acceptable play. This rhythm demands that the supervis- As Alliance Visiting Professor, Amiens”; on February 8, a talk on which there is to patrons, architects/foremen, sculptors, ing architect, constrained to meet a deadline Kellie Jones’s latest exhibition he will also be teaching at our the Winchester Cathedral as part no one single clergy and lay-people alike. It is intriguing to for the consecration and hence completion Witness, Art and Civil Rights in partner university, Paris I, of the Metropolitan Museum’s, answer; the note that none of these various stakeholders of the shrine, must of necessity put such the Sixties — celebrating the 50th Panthéon-Sorbonne. While in “Sunday at the Met” series and in explanation came forward to complete pillars or images, building blocks in place at the appropriate anniversary of the Civil Right Act Paris, Professor Klein continues celebration of the presence of the varies from one to remove chisel marks, or provide clear fram- time, whether or not their decorative carving — opened at the Brooklyn Mu- to direct the Istanbul Research and famous twelfth century Win- site to the next and, in fact, from one section ing devices for sculpted panels, even though is complete. Only thus could a monument rise seum in March 2014 (see p. 21). It Documentation Project. chester Bible, then on display; of a monument to another. Thus far, the focus such monuments remained in use as places of upwards to receive its crowning stone whose travelled to The Hood Museum and on May 2, a talk in the Col- has been on uncovering the specific historical worship for several hundred years thereafter. placement signaled its readiness for use. The of Art at Dartmouth College (fall Janet Kraynak’s book, Nauman loque de Chartres, “Qu-est-ce-que circumstances that led to incomplete work at While the original intention was undoubt- rhythm of construction thus helps explain 2014), and the Blanton Museum Reiterated, was published by the l’architecture gothique?” The talk one site or another (Ajanta and Mamallapur- edly to complete the shrine in every way, the unfinished work on an entire category of built of Art at the University of Texas, University of Minnesota Press was entitled, “Le grand dessein am are prime examples); this involved probing final decision on unfinished work may be monuments. Austin (spring 2015). Her book, (2014) (see p. 17) and her article gothique.” In October 2015 he into the decline in the fortunes of individual viewed as an intentional, perhaps collaborative South of Pico: African American on contemporary German artist, worked in Amiens as a fellow at patrons, which led to a withdrawal of funding choice, rather than an accident or a failure to Artists in Los Angeles in the 1960s Rosemarie Trockel, was published Professor Matthew McKelway in the University of Picardie on the and, in turn, to abandoning a monument. successfully complete a commission. It also and 1970s, will be published by in the Journal of Visual Culture the mountains at Nasu in Tochigi Digital Cathedral project. Our study of a range of unfinished work, both urges us to reconsider what exactly was con- Excerpt from vidya dehejia’s and peter Prefecture. Duke University Press in 2016. (August, 2014). Her essay “The rock-cut and structural, has led us to come up sidered to constitute an adequate sacred space. rockwell’s, The Unfinished: Stone Carvers at Yale University Press, in conjunc- Land and the Economics of Ioannis Mylonopoulos gave with two major interpretations that emerge Our second explanation for the widespread Work on the Indian Subcontinent, (Roli Books, tion with the Hutchins Center Sustainability” (recipient of the Keith Moxey’s book Visual public lectures at the Swed- from two distinctly different methodological occurrence of unfinished work emerges from 2015), p. 10-11. for African and African American 2011 Art Journal Award of Distin- Time: The Image in History (Duke ish Archaeological Institute in Research at Harvard University, ction) was reprinted in the antho- University Press, 2013) was Athens, Free University Berlin, will bring out her following book logy, Critical Landscapes: Art, translated into Spanish as El École Pratique des Hautes Études, Art is An Excuse: Conceptual Space and Politics (University of tiempo de lo visual: La imagen en University of Southern California, Strategies, 1968–1983. California Press, 2015), co-edited la historia (Sans Soleil, 2015), and University of Thessaly, Humboldt at the Scuderie del Quirinale in Campinas (UNICAMP). Her EMERITUS FACULTY by Emily Eliza Scott and Kirsten will shortly appear in French as University Berlin, and Université Rome. He also lectured at CAA book, Humor and Violence: Seeing Branden W. Joseph published the Swenson. She also gave a talk at Les temps du visuel: L’image dans Paris 1. He has been invited to cu- on “What is Contemporary in Europeans in Central African Art, Richard Brilliant has completed a essays “A Shard in the Wound” in the 2015 CAA annual conference l’histoire (Les presses du reel, rate an exhibition at the Onassis Islamic Art?” at the Art History 1850–1997 will appear in 2016 book, Death: from Dust to Destiny, the monograph Let’s Destroy Work on sound and violence, part of a 2015). He lectured at the Univer- Cultural Center NY. He pre- Institute in Zurich on “Translating with Indiana University Press. At and is giving a series of lectures by the artist Marco Fusinato and new book project; also upcoming sity of Sydney, the University of pared and submitted several new Images: When Art becomes Text” Columbia, she is preparing a sym- at Columbia’s Heyman Center “Nose-to-Nose with a Mutant,” is a commissioned essay on the Salzburg, Duke University, the publications primarily on sacred at Dumbarton Oaks in Washing- posium for the spring on Biennale for the Humanities entitled an essay on photographs of work of the contemporary painter, Institute for Critical Studies and architecture and religious iconog- ton on textile and architecture; and Cultures in Africa for which she “Antiquity and the Renaissance”. purported UFOs in Imponderable: Jon Pestoni. the Center for the Image, Mexico raphy. In the spring term of 2015, at the Free University in Berlin on will be conducting research in He taught an undergraduate The Archives of Tony Oursler, an City, the University of Minnesota, he was the first faculty member to figural knowledge. From Decem- Lubumbashi (DRC). seminar on portraiture in spring exhibition catalogue sponsored by Matthew McKelway returned to the University of Toronto, and teach Art Humanities at Reid Hall ber 2015 till end of January 2016 2015. He is considering a revision the LUMA Foundation in Zurich. the US in August after spending a the University of Virginia. He in Paris. In the summer of 2015, he will hold the Lester K. Little of his book Portraiture (Reaktion He also lectured on the artist year on sabbatical in Tokyo, where currently works on an anthology he continued his excavation in Scholar in Residence at the Books), which has been in print Carolee Schneemann at the Art- he gave lectures on Ogata Kōrin The Time of the Image/The Image Boeotian Onchestos (see p. 13). American Academy in Rome. since 1991. ist’s Institute in New York and the at the Nezu Museum and Nagasa- in Time. Avinoam Shalem edited (with Getty Research Institute in Los wa Rosetsu at the Tokyo Research Jonathan Reynolds published a Olga Bush) Gazing Otherwise: This past year, Z. S. Strother Esther Pasztory is working on Angeles, and on the filmmaker Institute for Cultural Properties Stephen Murray’s new book, new book, Allegories of Time Modalities of Seeing In and Beyond published Vladimir Markov and two major projects; Teaching the Paul Sharits at Art Center in Pasa- (Tōbunken). An article on paint- Plotting Gothic (University of and Space: The Visualization of the Lands of Islam. This publi- Russian Primitivism: A Charter Aztecs, a book about her teaching dena, the University of California, ings of the Tale of Genji by Iwasa Chicago Press), scheduled for Japanese Identity in Photography cation appears in the Harvard for the Avant-Garde (with Jeremy experiences, and a book collec- Irvine, and the School of the Matabei appeared in the jour- late 2014, appeared in March and Architecture, 1940–1990 University-based Muqarnas: An Howard and Irēna Bužinska) tion of short vignettes from both Arts at Virginia Commonwealth nal Kokka in May, and another, 2015. During his sabbatical leave (University of Hawaii Press, 2015), Annual on the Visual Cultures of (Ashgate 2015). She delivered her professional and personal life University in Richmond. about one of the oldest painted in the fall he spent a month in and spent three weeks — with the Islamic World. He contributed guest lectures in São Paolo, Rio entitled Colors of the Horizon. Her depictions of the Kabuki theater, Amiens, starting a new book support from the Association the essay “Reading between the de Janeiro, and Riga (Latvia) book, Aliens and Fakes: Popular Holger A. Klein spent the will follow this winter in the same project entitled Life of a Cathe- for Asian Studies and Barnard Lines: Thinking with Matisse’s and co-taught the first graduate Theories of the Origins of Ancient summer in Munich as a vis- journal. He also commenced an dral. In November 2014 he taught College — conducting research 'Cut-Outs' to the catalogue of the seminar on African art in Brazil America, was just published by iting fellow at the Center exchange program with Kyoto a mini seminar for our Alumni in Japan on the architect Shirai exhibition Matisse.Arabesque held at Universidade Estadual de Polar Bear Press. for Advanced Studies of the Institute of Technology (Kyoto Association, entitled “Building Seiichi.

24 826 schermerhorn 25 the 18th centuries research joe and wanda corn rudolf wittkower f inishing Zachary Stewart Alexander Hyman dissertation : “The Inte- meyer schapiro book prize : “Construct- ognition, and Contemporaneity” fellowship predoctoral fellowship grant grated Interior: Parish Church ed Regionalism: Architectural (Sponsor: Kellie Jones) fellowship awards for excellence in art Gabriella Szalay: “Materializing Caitlin Beach: “Commerce Roberto Pesenti: “Artistic Inter- Architecture in Eastern England, history (awarded to senior Eclecticism in Jewish and Arab for 2015–2016 the Past: The History of Art and Configured: Sculpture, Slavery, action between France and Venice c.1330–c.1550” (Stephen Murray) thesis writers) Homes in Mandatory Palestine” Zachary Small: “Sojourning Natural History in Germany, and Commodity in the Nine- in the Gothic Era” Sarah Bell: “The History of (Sponsor: Jonathan Reynolds) Senescence: John Baldessari and atsumi international 1750–1800” teenth-Century Atlantic World” Lorenzo Vigotti: “The Origin Chun-Yi Tsai: “Imagining the Preservation as a History Worth his Late Works” scholarship foundation of the Renaissance Palace: Private Supernatural Grotesque: Paintings Preserving: William Sumner Julia Jarrett: “Reflections on the (Sponsor: Branden W. Joseph) fellowship gladys krieble delmas kress foundation, kress Architecture during the Floren- of Zhong Kui and Demons in the Appleton and His Work at Jackson Polish Avant-Garde: Wladyslaw Frank Feltens: “The Art and Life fellowship institutional fellowship tine Oligarchy, 1382–1444” Late Southern Song (1127–1279) House” (Sponsor: Barry Bergdoll) Strzeminski and the Theory of Ione Wang: “Intimate Matters: of Ogata Kōrin (1658–1716)” Sophia D’Addio: “Painted Organ at the courtauld institute and Yuan (1271–1368) Dynasties” Unism” (Sponsor: Noam M. Elcott) Giorgio Morandi’s Still Lifes, Yu Yang: “At the Crossroads of Shutters in Renaissance Italy” of art curatorial (Robert E. Harrist Jr.) Martha Scott Burton: “ To The Museum of Innocence, Japanese Regional Modernism Bridgid von Preussen: “The training Suffer a Sea-Change: The Afro- Angel Jiang: “Storied Cycles: and Waste Not” and Colonialism: Architectural gsas-cu international Antique Made New: Commercial fellowship Susan Wager: “Boucher’s Bijoux: Future Female and the Aquatic in Reading the Boss Sculpture of (Sponsor: John Rajchman) Interaction between Manchuria travel fellowship Classicism in Late Georgian Luxury Reproduction in the Ellen Gallagher’s Watery Ecstatic” Norwich Cathedral” (Sponsor: and Western Japan, 1905–1945” Sonia Coman: “Japanese and Britain” Metropolitan Museum of Art, Age of Enlightenment” (Anne (Sponsor: Kellie Jones) Stephen Murray) senior thesis prize Japoniste Ceramics in France: Hagop Kevorkian Curatorial Higonnet) Martha Scott Burton, ‘15 CC center for advanced New Art Values, 1855–1889” kress foundation, kress Training Fellowship awarded to Andrew Demas: “Born Out of Elizabeth Lightfoot: “Form study in the visual arts, Emily Cook: “‘Clay-Modelling is institutional fellowship at David Schneller undergraduate Autocracy, Forged in Democracy: Follows Family: The Impact of summer thesis travel grants david e. f inley predoctoral the Mother’: Material Relations kunsthistorisches institut awards and prizes the Metamorphosis of the World Edith Elmer Wood on Modern- Eleanor Goerss, ‘16 CC fellowship and Sculptural Replication in the in f lorenz dr. lee maccormick Trade Center and the Mediation ism, Feminism, and New Deal for research on religious identity Robert Fucci: “Jan van de Velde Rachel Boyd: Roman World” “Specialization and edwards doctoral judith lee stronach of Economic and Public Priori- Housing Reform” in the sixteenth and seventeenth II (c. 1593–1641): The Printmaker Lindsay Cook: “Paris Match? Experimentation: The Technology summer fellowships memorial prize for ties” (Sponsor: Barry Bergdoll) (Sponsor: Mary McLeod) centuries in the Netherlands. as Creative Artist in the Early Architectural Citation in the of the Della Robbia Workshop, outstanding contributions Dutch Republic” Parish Churches of the Chapter c. 1430–1550” in art history or Alexandra Eynon: “Curious Daniel Merritt: “Build the Aidan Mehigan, ‘16 CC for of Notre-Dame of Paris” Susannah Blair archaeology by a general Cases: The Cabinet and the Bridge: Felix Gonzalez-Torres and research on Pietro Belluschi at c.v. starr f inishing grant Clare Kobasa: “Printmaking kunsthistorisches institut Alexandra Helprin studies student Contemporary” (Sponsor: Keith the Development of Memory, Rec the Oregon Historical Society Michael Fowler: “Human in Sicily: 1587–1714” in f lorenz, max planck Changduk Kang Sarah Bell, ‘15 GS Moxey) in Portland. Sacrifice in Greek Antiquity: Álvaro Luís Lima: “Revolutionary predoctoral fellowship Nicholas Morgan Between Myth, Image, and Reality” (Dis)associations: Modern Francesca Marzullo: “Overdoors Siddhartha Shah Andrea Vazquez de Arthur: Art in Mozambique” in Medieval and Renaissance Italy” “Portraits, Pots or Power Objects? Julia Vazquez: “The Artist 2014–2015 On the Imagery and Ontology as Curator: Diego Velázquez, metropolitan museum of dissertations of Wari Faceneck Jars” 1623–1660” art, andrew w. mellon defended alumni news fellowship deutscher akademischer gsas research excellence Nicholas Fitch: “Technocratic Amanda Gannaway: “Visualizing austauschdienst (daad) Modernism: The Instituto Divine Authority: An Iconography dissertation fellowship Currently living and teaching in Disillusioned: Victorian Photogra- In fall 2014 Caroline Busta ’08 Patrick R. Crowley ’11 PhD fellowship Lucas Cohen: Torcuato Di Tella and the Avante- of Rulership on the Late Middle “Port of Flanders” Austria, Julia Assante ’00 PhD phy and the Discerning Viewer, was MA took a job in Berlin as the received a postdoctoral fellow- Sofia Gans: “Between Tradi- Catherine Damman: garde in Argentina, 1945–1973” Horizon and Late Intermediate “Unreli- is awaiting publication of two published by Pennsylvania State editor-in-chief of Texte zur Kunst. ship supported by the National tion and Innovation: Rethink- Period North Coast of Peru” able Narrators: Laurie Anderson, articles: “Men Looking at Men: University Press in early 2015. Endowment for the Humanities ing the Tomb of St. Sebald in museum of modern art, (Esther Pasztory) Julia Heyward, and Jill Kroesen The Homoerotics of Power in the After beginning 2015 as a visiting and the Getty Research Institute Nuremberg” Perform the 1970s” museum research State Arts of Assyria” (Routledge) Herbert R. Broderick ’67 BA senior fellow at CASVA, Lynn for the 2015–2016 academic year. Changduk Kang: “Visualized consortium fellowship Megan McCarthy: “The Empire and “Text and Iconography: A ’78 PhD marked his 37th year Catterson ’02 PhD spent several He is presently Assistant Professor donald keene center of Nomaduma R. Masilela: “Set on Display: Exhibitions of Production: Illustrations in the Study in Object Agency,” pre- teaching at Lehman College/ months in Florence thanks to the of Art History and the College at japanese culture, shinchoō Setal’s Imaginaire: Intervention in Germanic Art and Design in Encyclopédie and the Description pared for Walter de Gruyter Press. CUNY. In February 2015 he support of the American Philo- the University of Chicago. graduate fellowship for Public Space, Historiography, and America, 1890–1914” (Elizabeth des arts et métiers” presented a paper at the Colum- sophical Society. She continues study in japan Clare Kobasa: Conceptualism” W. Hutchinson) “Printmaking in Based at the University of Vienna bia University Medieval Studies her project working in the state ’91 PhD recently Jens Bartel: “Style, Space, and John Davis Sicily: 1587–1714” since October 2014, Noit Banai Seminar based on his forthcoming archive of the Florentine dealer moved to Paris, to become Meaning in the Large-Scale Francesca Marzullo: pierre and maria-gaetana Elizabeth Perkins: “Antonello “Overdoors ‘07 PhD is currently at work book, Moses the Egyptian in the Stefano Bardini (1834–1922) and executive director of the Terra Landscape Paintings of matisse f inishing grant da Messina and the Independent in Medieval and Renaissance Italy” on her second book, tentatively illustrated Old English Hexateuch, is working on a book to be pub- Foundation for American Art’s Maruyama Okyo (1733–1795)” Arathi Menon: Elizabeth Gollnick: “Diffusion: Portrait in Fifteenth-Century “Kerala Hipped titled “From Nation State to to be published by University of lished by Brill. European office and director of Postwar Light Art in California” Italy” (David Freedberg) and Gabled: An Atypical Sacred Border State: Imagining Europe, Notre Dame Press. the Foundation’s Global Academic fulbright fellowship (japan) Stephanie O’Rourke: “Bodies Style” 1938–1972.” Her book on Yves After four years working at the Programs. His co-edited volume, Carrie Cushman: “Temporary Maggie Mustard: “Atlas Novus: of Knowledge: Fuseli and Julia Siemon: “Bronzino, Politics Klein appeared in the Critical Martha Scott Burton ’15 BA Smithsonian, Milan (Rodriguez) the Blackwell Companion to Amer- Ruins: Miyamoto Ryûji’s Kawada Kikuji, The Map, and Girodet at the Turn of the and Portraiture in 1530s Florence” Lives series published by Reaktion is working as a research assistant Cox ’10 BA left for graduate ican Art, was recently published, Architectural Photography in Nineteenth-Century” (Michael Cole, David Freedberg) Postwar Japanese Photography” in London. at the Whitney Museum of Art, school at Georgetown University and he has written an essay, Postmodern Japan” Leah Pires: “Finesse: Louise Lawler where she is writing an essay for a where she is completing a master’s “William Merritt Chase’s Interna- quai branly museum (paris) Therese Sjovoll: “Queen in Collaboration, 1978–1993” Jordan Bear ’09 PhD was pro- forthcoming exhibition catalogue, degree in public relations and tional Style,” for the catalogue of georg-august university Gillian Young: fellowship Christina of Sweden’s Musaeum: “Electric Theater: moted to Associate Professor of and as the artist book collections corporate communications. the forthcoming Chase retro- in göttingen, cultures of Sandrine Colard: “Photography Collecting and Display in the Joan Jonas and the Emergence of History of Art, with tenure, at the assistant for private collectors. spective organized by the Phillips expertise from the 12th to in the Colonial Congo” Palazzo Riario” (David Freedberg) Performance Art in the 1970s” University of Toronto. His book, Collection and the MFA Boston.

26 826 schermerhorn 27 alumni news

Sonja Drimmer ’11 PhD London.’” The paper dealt with Body Collision (Carnegie Museum Since completing her PhD, of Earth and Sky at the Metro- Museum, Christine Sciacca, and apps in conjunction with the Hilda Werschkul ’06 PhD received an NEH Summer Sti- the cover story on “Swinging of Art, 2015) as well as co-curated Megan K. McCarthy ’04 BA politan Museum of Art. She also ’08 PhD, has recently organized movie releases. continues to teach at the School pend to support research for her London” that she wrote for Time the CMOA exhibition Antoine ’11 PhD has taken the position of contributed an essay to Native Art two exhibitions: Give and Ye Shall of Visual Arts and is working on a current book project, as well as an magazine in 1966. Catala: Distant Feel. major gifts officer at The Museum of the Northwest Coast: A History Receive: Gift Giving in the Middle Tatiana Suridis ’15 BA is work- book about art and artists in New Andrew W. Mellon Fellowship for of Modern Art. She also serves of Changing Ideas. The book was Ages and Eat, Drink, and Be ing as a gallery assistant at the York City for Museyon Guides. Scholars in Critical Bibliography, Michael A. Jacobsen ’76 Risha Lee ’12 PhD has been ap- on the GSAS Alumni Association awarded the Canada Prize in 2015. Merry: Food in the Middle Ages David Zwirner Gallery in Chelsea. In addition, she is launching a 2015–2017. Her article, “Beyond PhD, in retirement, continues to pointed curator of exhibitions at Student Outreach Committee and and Renaissance, which will be business training and consulting Private Matter” (Gesta 2014) was publish on automotive history, the Rubin Museum of Art in New the CAA Volunteer Development Irene C. Papanestor ’99 MA on view at the Getty Center from Erin Thompson ’10 PhD will practice using art as a communi- awarded the History Prize from especially sports car racing. His York. Her first exhibition series Committee. founded Irene C. Papanestor October 13, 2015 to January 3, publish her first book, Possession: cation tool. the Yorkist History Trust, and she articles have recently appeared will focus on the senses, starting Art Advisory LLC in 2012. Based 2016. The Curious History of Private gave a number of invited lectures in Vintage Racecar Journal and with sound, and is scheduled to Anne McClanan ’89 BA, in New York City, she sources Collectors (Yale University Press), Barbara Ehrlich White ‘60 and conference papers at Yale, Classic MG Magazine. He also open in 2017. professor of Byzantine art at artwork across all media by Jeffrey Chipps Smith ’79 PhD in January 2016. Currently, she is MA, 65 PhD completed her 4th Oxford, and UMass. races his 1934 MG NA special. Portland State University, received established and emerging artists spent the spring on research leave researching the ways in which ter- book, Renoir Revealed, and is Alexandra Lotero ’12 BA is the the Artstor Digital Humanities and provides guidance to both at the Zentralinstitut für Kunst- rorist groups both sell and destroy looking for a publisher. For her Mary D. Edwards ‘86 PhD This year Evelyn Karet ‘90 PhD data manager at Student Success Award for her Medieval Portland beginning and experienced geschichte in Munich as a fellow art in order to support their geno- writings on Renoir and impres- published “Cross-dressing in the published The Antonio II Badile Network, a networked improve- project, which is connected with collectors interested in modern of the Alexander von Humboldt- cidal campaigns. She has recently sionism, she received the honor Arena Chapel: Giotto’s Virtue Album of Drawings: The Origins ment community of education her ongoing work in the area of and contemporary art. Stiftung. He continues to serve discussed art crime topics in The of Chevalier des Arts et des Lettres Fortitude Re-examined,” in Recep- of Collecting in Early Modern and youth development non- online pedagogy. Her research on as counselor and member of the New York Times and on CNN, from the French Minister of Cul- tions of Antiquity, Constructions of Northern Italy with Ashgate profits that have come together the early Byzantine palace mosaics Juliette Premmereur ‘14 MA executive board of the Renais- NPR, Al Jazeera America, and the ture. She also became a member Gender in European Art, 1300–1600 Publishing Limited. She con- organically to ensure more New continues and received support is using her expertise in the art sance Society of America. Freakonomics podcast. of the steering committee of the (Brill, 2015) as well as “Masaccio’s tinues to research on the topic York City students are empowered from Dumbarton Oaks for sum- market to get involved with Renoir House in Essoyes, France. Shivering Neophyte” in Source: of drawings and the origins of with the social-emotional learning mer research. technology and successfully guide Janet Snyder ’96 PhD has been Chun-Yi Tsai ’15 PhD just started Notes in the History of Art, XXX- collecting which she began in her (SEL) competencies to succeed in companies into the new digital named the J.Bernard Schultz her new job as assistant professor In 2015 Susan Wood ’79 PhD IV, No. 3 (Spring 2015). She also last book The Drawings of Stefano college and in life. Elizabeth Merrill ’07 BA re- space for art. She started her own Endowed Professor in Art at the of East Asian arts and culture at contributed a chapter on Roman organized and chaired two panels da Verona and His Circle and the ceived her PhD in from the consulting firm where she works School of Art and Design, College her alma mater, National Taiwan portraiture to the Oxford Hand- at the 2015 CAA. Origins of Collecting in Italy: A Rome Measured and Imagined: University of Virginia in May, as an advisor to fine art and of Creative Arts, West Virginia University. She gave a talk on her book of Roman Sculpture. Her Catalogue Raisonne published Early Modern Maps of the Eternal with a dissertation entitled “Fran- technology startups. University. In 2015 she contribut- dissertation at Academia Sinica, article, “Women in Action: A Kimberli Gant ’09 MA is by the American Philosophical City, by Jessica Maier ’06 PhD, cesco di Giorgio and the Forma- ed essays to the volumnes Medie- one of the world’s top research in- Statue of Matidia Minor and its currently the Mellon Predoctoral Society, Philadelphia. was published in May by the tion of the Renaissance Architect.” Kathleen Reckling ’09 MA val Coins and Seals: Constructing stitutes for Sinology, and contin- Contexts,” appeared in the 2015 Fellow in the Arts of Global University of Chicago Press. won a grant from the National Identity, Signifying Power (Brepols) ues to develop her research project American Journal of Archaeology. Africa Department at the Newark Timothy King ’11 MA had an Kent Minturn ’07 PhD is a Endowment for the Arts to curate and A Matter of Faith / Treasures of on the expression of humor in the Museum in New Jersey and a article accepted by Ancient Meso- Maxine Maisels ’62 MA visiting assistant professor at the the exhibition SHE: Deconstruct- Heaven (The British Museum). visual arts of China. In Memoriam PhD Candidate at the University america for publication in spring continues work for a course on Institute of Fine Arts, New York ing Female Identity, opening at Laurie Schneider Adams ’67 of Texas-Austin. Her dissertation 2016. His essay, “The Goldsmith 20th–21st century art for the University. His article, “Damisch ArtsWestchester in 2016. She was In 2015 Francesco Spampinato Yasuko Tsuchikane ’09 PhD PhD died on June 19, 2015 at examines photographic and filmic Emerges,” will be published in Open University in Israel (in avec Dubuffet,” will appear in the named a “2015 Wunderkind” by ’06 MA published his first two was awarded a Robert and Lisa the age of 73. Adams joined the depictions of Lagos, Nigeria from Ancient Latin American Art: Con- Hebrew), and has written a fall issue of October magazine. the magazine 914INC as part of books: Come Together: The Rise of Sainsbury Fellowship at the faculty of the newly-established 1980–2001 through the themes of temporary Perspectives, edited by number of articles on various feature on business professionals Cooperative Art and Design (Princ- Sainsbury Institute for the Study John Jay College, City University roads and pathways. Andrew Finegold ’12 PhD and modern art subjects which are Lucy Oakley ‘95 PhD has been under 30 changing Westchester. eton Architectural Press) and Can of Japanese Arts and Cultures, of New York, in 1966. She taught Ellen Hoobler ’11 PhD, which due to be published next year. head of education and programs You Hear Me? Music Labels By UK, 2015–16. there and at the CUNY Graduate As president of the Historians will be published by the Univer- at NYU’s Grey Art Gallery since Donald Rosenthal ‘78 PhD Visual Artists (Onomatopee). Center until 2011. She specialized of Netherlandish Art, Amy sity of Oklahoma Press in 2017. Sanjana Malhotra ’15 BA 1997. In spring 2015, she co-led, has been working on a series of As the program chair of the 2014 in the Italian Renaissance and in Golahny ’84 PhD invites you has taken her interest in art and for the New-York Historical So- articles on nineteenth-century Della Clason Sperling ’93 PhD Triennial of the Arts Council of the application of psychoanalytic to look at their newsletter and Alex Klein ’01 BA, the Dorothy culture and merged it with her ciety, a walking tour in SoHo to artists who depicted aspects is contributing to Letters to Jill the African Studies Association, theory to art history. She was the journal at www.hnanews.org. and Stephen R. Weber (CHE'60) commitment to making the sites associated with Abraham and of the operas of Richard Wag- [Kornblee], an exhibition of early Gary Van Wyk ’95 PhD con- author of many books, including HNA hosts a reception at the Curator at the Institute of world a better place. She is now Mary Lincoln, as well as Jewish ner. The most recent, “Aubrey work by Pati Hill (1921–2014), vened a panel on African-Asian A History of Western Art, Art across annual College Art Association, Contemporary Art, University of the director of development congregations. This fall, she will Beardsley’s Drawings of Tristan which opens in February 2016 at links, and as the executive director Time, The Methodologies of Art, and welcomes all interested in Pennsylvania, recently organized and strategy at Khushi Baby, an deliver the paper “Dreaming Epic und Isolde,” appeared in Wagne- Arcadia University. of Alma On Dobbin foundation, Art and Psychoanalysis, and Italian Dutch, Flemish, and northern the first major survey of artist organization that has designed Cinema: Edwin Austin Abbey riana (Spring-Summer 2015). In he arranged an exhibition in Renaissance Art. She was the European art. Barbara Kasten, and edited the and developed wearable medical wand D.W. Griffith” at the sym- addition, he has joined the board In 2015, Jenny Moussa Spring Hungary of anti-semitic post- editor-in-chief of the journal accompanying exhibition cata- technology that aims to improve posium Film Costume / Rendering of directors of the William A. ’01 BA published Unexpected Art cards to mark the anniversary of SOURCE: Notes in the History Piri Halasz ‘82 PhD delivered logue, Barbara Kasten: Stages (JRP immunization rates in isolated Realities, co-organized by NYU’s Percy Foundation for Social and with Chronicle Books. She has the 1944 Nazi invasion. He also of Art from 1984 until earlier a paper at a conference in New Ringier / ICA, 2015). Also this rural areas. Khushi Baby, which departments of Costume Studies Historical Studies as secretary/ recently begun working at Pixar produced the book and exhibition this year. Haven of the National Coalition year she completed her term as an placed in the top 10 in Unicef’s and Cinema Studies. treasurer. on the publishing team, where she József Jakovitz: Surrealist, Primitiv- of Independent Scholars on agent in the Carnegie Museum Wearables for Good challenge, has will be liaising between the film- ist, Kabalist, at QCC Art Gallery, “Transition from Mystery to of Art's Hillman Photography been awarded a $250,000 grant by Judith Ostrowitz ’96 PhD was As a curator in the Manuscripts makers and the art, editorial, and CUNY. History: How the Internet Initiative where she co-edited the the Gates Foundation to test their coordinating curator for the exhi- Department at the J. Paul Getty digital teams that create books Revived My Faith in ‘Swinging publication Shannon Ebner: Auto design in the field. bition The Plains Indians: Artists

28 826 schermerhorn 29 New Advisory Council Members With Thanks The strength and renown of Columbia’s Department of Art History and Archaeology derive not only from the expertise and dedication of the As 826 Schermerhorn goes Caroline A. Wamsler, ’06 PhD Frederick Ilchman, ’14 PhD Jonathan Rosand faculty, but also from alumni and friends who carry forward the intellectual mission of the department and who provide financial support for to press, we are pleased professorships, fellowships, symposia, and an array of programs and projects that enhance our core offerings. to announce that we have Caroline A. Frederick Jonathan reached our fundrais- Wamsler, an Ilchman was Rosand, MD patrons ing goal to establish an art historian appointed MSc, is a Morton C. Abromson and Joan L. Nissman • Steven Ames and the Ames Family Foundation • Sally and Donald Anderson • Anonymous • endowed professorship in who lives in Chair, Art neurologist Daniel N. Belin and Kate Ganz • Bloomberg Philanthropies • Angelos Chaniotis • Dedalus Foundation, Inc. • Hester Diamond • Estate of Sheila David Rosand’s name, one New York of Europe at and geneticist Edmunds • Lee MacCormick Edwards Charitable Foundation • German Academic Exchange Service • Christian Kraemer Kleinbub • Steven M. City, is a the Museum at Massachu- of the priorities within Kossak • Samuel H. Kress Foundation • Arianna L. Packard Martell • National Philanthropic Trust • Rare Book School • Ellen Rosand • Sarah specialist in of Fine Arts, setts General the David Rosand Tribute and Eric Rosand • Lauren and Steven Schwartz • Robert B. Simon • Leopold Swergold • Anne Tatlock • Mary and James G. Wallach Foundation Italian Renaissance art and focuses Boston (MFA) in 2014. He is Hospital where he is Chief of • John C. Weber • Antonio F. Weiss • Barbara and Hans Wertheimer Campaign initiated by the on Venice, municipal imagery also the Mrs. Russell W. Baker Neurocritical Care and Emergen- Rosand family and the in Renaissance Italy, Venetian Curator of Paintings. A specialist cy Neurology, an investigator in benefactors Department of Art History city gardens, and public/private in the Italian Renaissance, he has the Center for Human Genetic Frances Beatty Adler and Allen R. Adler • American Printing History Association Incorporated • Lilian A. Armstrong • The Atlantic Philanthropies and Archaeology in fall spaces in the urban fabric of Research and Professor of Neu- curated numerous exhibitions, (USA) Inc • Armand Bartos, Jr. • Barry G. Bergdoll • Bibliographical Society of America • Michael Botwinick • Joseph Connors • Prudence 2014. The department is Venice. She has held appoint- including Titian, Tintoretto, rology at Harvard. He graduated Crowther • Peggy and Richard M. Danziger • Margaret David • Linda S. Ferber and Joel S. Berson • Yukiko Kaneda • Martin and Wendy Kaplan grateful to the Rosand ments as visiting professor of Veronese: Rivals in Renaissance from Columbia College in 1988 Fund at the Boston Foundation • Alice B. Kramer • Joseph D. LaVecchia • Carol Androccio LeWitt • Vanessa Chase Lilly • Mary Ann Lublin • art history at Vassar College, Venice (2009) and Goya: Order with a BA in Classics, and family, friends, students, Kim-Ly Thi Moynihan • Amy D. Newman • Melinda L. Parry • Doralynn Pines • Renard Family Foundation • Jonathan M. Rosand and Judy Bard College, and Wesleyan and Disorder (2014). His research received his MD in 1994 from and colleagues who made L. Polacheck • Maria Catherine Ruvoldt • Michael I. Sovern • Verizon Foundation • Mark S. Weil generous pledges and University. She is currently an on Tintoretto and love for the College of Physicians and instructor at Columbia Univer- Venetian Renaissance art were Surgeons. He is one of two sons gifts totaling more than sponsors sity. Dr. Wamsler also serves on nurtured by Professor David of Ellen Rosand, a professor $3 million in support of the Lucy A. Adams • Joan D. Baekeland • Annette and Stanley M. Blaugrund • Linda and Robert Burt • Heather D. Colburn • Jack D. Flam • Sharon the Boards of Trustees at The Rosand, his dissertation adviser. emerita of music at Yale, and professorship endowment. Flescher • Michelle Friars • Ellen Berland Gibbs • Michael Koortbojian and Christina Corsiglia • Christian F. and Alfreda Murck • Priscilla H. New York Botanical Garden, Dr. Ilchman has been on the David Rosand (d. 2014), Meyer The professorship helps where she chairs the Education board of directors of Save Venice Schapiro Professor Emeritus of Otani and Michael T. Yochum • Rhoma Phillips • Sheila Schwartz • Weston W. Thorn • Irina Tolstoy and John Gans • Phoebe Weil to ensure that there will Committee, at Millbrook School Inc. since 2005, and now is its Art History. Dr. Rosand is always be a distinguished (Millbrook, NY), and at START: project director, taking the baton married to Judy Polacheck, has sustainers scholar and teacher devoted Treatment and Recovery Centers from Professor Rosand, who held two teenage sons, and lives in Hannah Abrahamson • Eloise M. Angiola • Frederick M. and Catherine B. Asher • Dr. Kevin J. Avery • Daniel Benjamin and Henrike Frowein to the Italian Renaissance at (Brooklyn, NY). the position from 2003 to 2014. Cambridge, Massachusetts. • Merrill C. Berman • Babette Bohn • Nancy Acheson Houghton Brown • Barbara C. Buenger • David J. D. Cast • Bathia Churgin and Naomi Columbia. C. Miller • Evelyn Mae Cohen • Jessamyn Abigail Conrad • Jonathan Crary • Alix A. Finkelstein • Paul Bryan Franklin • Amy Golahny • Steven Mark Greenberg • Maeve C. and Andrew Gyenes • Doris A. Hamburg and Gerald S. Garfinkel • Dimitri and Marlene Hazzikostas • Maria Chamberlin-Hellman and Gerard C. Hellman • James A. Hoekema • Michael Jacoff • Michael A. Jacobsen • Eloise Quiñones Keber • Caroline Anne King • Timothy Brian King • Holger A. Klein • Carla G. Lord • Carol Lorenz • Kenneth W. and Janet M. Maddox • John C. Markowitz • Thomas E. Martin • Sarah Collyer McPhee • Roy K. Meilman • Muffie Meyer • Julia Isabel Miller • Merlin and Janet Nelson • Lucy A. Oakley Columbia Art History and Archaeology Advisory Council • Dr. Barbara A. Porter • Sheila Marie Pozon • Theodore F. Reff • Miranda Emily Robbins • Terry H. Robinson • The Rosand Lab at Massachusetts General Hospital • Donald A. Rosenthal • Nassim Ellie Rossi • Richard L. and Helen Rubin • Ambassador Motoatsu Sakurai and Nobuko Philip E. Aarons, esq. Frederick David Hill Jonathan Rosand Support the Department of Art Sakurai • Andrew Phillip Schulz • Nancy P. Sevcenko • Morgan Spangle • Allen Staley • Christina C. Staudt • Lee Stewart • Howard M. Stoner Armand Bartos, Jr. Jeffrey M. Hoffeld Terez Rowley History and Archaeology and • Elizabeth Pendleton Streicher • Barbara E. and Leon S. White Frances Beatty Frederick Ilchman Steven and Lauren Schwartz give online Annette Blaugrund Steve Kossak Bernard T. and Lisa Selz supporters Nelson Blitz, Jr. and Carol F. Lewine Robert B. Simon The department greatly appreci- The American Handel Society, Inc. • Judith E. Bernstock • Jonathan A. Bassett and Anya E. Berstein • Larissa Bonfante • Barbara Breslau • Catherine Woodard Glenn D. Lowry Leopold and Jane Swergold ates the commitment and loyalty Kathryn Josette Chiong • Jacquelyn Clinton • Sarah Travis Cobb and Edward S. Cobb • Christiane C. Collins • Jodi Lynn Cranston • Rebecca Jean Magnano Bollinger Mary A. Lublin Dale C. Turza of its alumni and friends. As Cypess • Georgia Riley de Havenon and Michael H. de Havenon • Elizabeth and Constancio Del Alamo • Jules Leonard Dienstag • Judy Distler Fiona Donovan Philippa Feigen Malkin Caroline A. Wamsler a demonstration of this support, • Maurene S. Donadio • Kim Irene Nedra Dramer • Adam Samuel Eaker • Mary Douglas Edwards • Douglas Ian Falby • Anthony Falvo, Jr. • Theodore Feder Philippe de Montebello Mark S. Weil please consider making a tax Henry and Barbara A. Fields • Raymond Andrew Foery • William Geo Foulks • Fourth Freedom Forum, Inc. • Peregrine A. Gerard-Little • Grace Sharon Flescher Amy D. Newman Adam Weinberg deductible donation at the A. and Monroe M. Gliedman • Stacy C. Goodman • Trudie A. Grace • Joan E. Hartman • IBM International Foundation • Wendy B. Heller • Kate Ganz Doralynn Pines H. Barbara Weinberg department's secure web Anna Ratner Hetherington • Joshua Hirsch • Marilyn Horwitz • Lewis C. Kachur • Eloise Quiñones Keber • Sara Hoagland King • Bob Kirsch Marian Goodman Amy Greenberg Poster Gertrude Wilmers donation portal: Michael and Georgia Louise Riggio • Michael E. Klein • Hannah Kligman • Elizabeth Molly Kobak • Jeff K. Kowalski • Jack Henry Kunin • Jeffrey I. Lee • J. Geoffrey Lehman • de Havenon https://giving.columbia.edu/ Karen Beth Levy • Ephraim A. Lewis • Courtenay C. McGowen • Nancy H. McKee and James E. Haar • Katherine Jánszky Michaelsen • Susan giveonline/?schoolstyle=321 M. Milbrath • Patricia L. Musolino • Michael Ede Newmark and Carolyn W. Newmark • James H. North and Louise V. North • Martha Schrader Page and Robert Alan Page, Jr. • Andrea Herbst Paul and Jacques M. A. Paul • Ronald S. and Ann W. Paul • Larry and Roberta Polacheck • Jerome Elisabeth Rochau-Shalem, Managing editor J. Pollitt • Olivia Shannon Powell • Frances L. Preston • Roger Ivan Rothman and Jacquelyn Rothman • Lindsey Schneider • Ellen L. Schulz • Amanda Young, Copy editor; alumni information Thank you for choosing to Kristin M. Schwab • Lee Schwamm and Lisa Leffert Schwamm • Kim M. Shankman • Lindsay Stamm Shapiro and David Joel Shapiro • Irwin Gabriel Rodriguez, Photo editor give to the Department of Art D. Sollinger • Frances Ann Starn and Randolph Starn • Damie and Diane B. Stillman • Eve Marjorie Stone • Lee Z. and Heidi Ullmann • Mary Chris Newsome, fellowship information History and Archaeology. Vaccaro • Sarah Elliston Weiner • Hilda Theresa Werschkul • Irene L. Wisoff • Thomas William Yanni Faith Batidzirai, Sonia Sorrentini, Production management Emily Ann Gabor, Editorial advisor Contributions provided funding for individual and group study and research; conferences, symposia, and lectures; projects by the Media Center for Art Florio Design, Design History; and various other department initiatives. This list reflects gifts received between July 1, 2014 – June 30, 2015. We regret any errors or omissions.

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FRONT AND BACK COVER: Diyarbekir, Diyarbekir Province, Turkey. View from inside of the turret of Yedi Kardeş tower, built c. thirteenth century C.E., part of Diyarbekir’s city walls. Photograph by Gabriel Rodriguez.