COLUMBIA UNIVERSITY

DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER

FALL 2007 826schermerhorn Zoë Strother returns to from the chairman’s office Columbia University

My term as chairman began in January, but a long-standing commit- Zoë Strother returns to ment to deliver the Slade Lectures at Cambridge University found me in Columbia this fall as the first England for the first half of spring term. During that time, my esteemed Riggio Professor of African colleague, and our former department chairman, Professor David Rosand, Art, after serving on the faculty led the department with a sure hand. I am deeply grateful to David for of the University of California, taking on this duty and to Emily Gabor, our Department Administrator, Los Angeles. She will be happily welcomed by faculty and our excellent office staff for helping him so ably. members in the Department Traditionally, the messages from department chairmen that are regular who worked with her when features of our newsletter combine reflection on the past academic year she taught at Columbia and a preview of the year that lies ahead. It is a great pleasure to begin with between 1995 and 2000. She some truly wonderful news. As the 2006–07 academic year was drawing is well known as a teacher and to a close, word arrived of a magnificent gift to the department from scholar of African art and the Mr. and Mrs. Leonard Riggio. The Riggio gift (described on page 3) will art of the African Diaspora, provide funds for two professorships, fellowships for graduate students, with a specialization in art of Central Africa. Her return reaffirms travel grants for undergraduates, and other initiatives. Columbia’s strength in these areas as she joins Professors Kellie The past academic year also brought a sad loss. Professor James H. Beck Jones and Susan Vogel, who teach in these and related fields. passed away in New York on May 26. A short tribute in the newsletter Professor Strother has conducted extensive research in the (see pp. 4–5) describes some aspects of his career, but a much longer Democratic Republic of the Congo, Nigeria, Senegal, and Ethiopia. acknowledgement of gratitude would be required for an adequate account She is best known for her work on masquerade. Her book, Inventing of Jim’s impact on the field of art history and on the lives of his students Masks: Agency and History in the Art of the Central Pende received and colleagues. His lively, inimitable presence in the department will be the Arnold Rubin Outstanding Publication Award. She also has deeply missed. interests in analyzing pivotal moments in the depiction of “Africa,” such as the representation of Sara Baartman (aka “The Hottentot In his chairman’s message last year Barry Bergdoll wrote about gen- Venus”) or Leni Riefenstahl’s erational transitions and renewal in the department. These depend upon influential depictions of Nuba attracting and retaining the best scholars and teachers in a wide range wrestlers. Professor Strother of fields who enable the department to offer a truly global curriculum. has a new volume appear- A key part of this curriculum is the art of Asia, and the arrival of the new ing in the fall, Pende, for Atsumi Associate Professor of Japanese Art, Matthew McKelway, and the 5 Continents Editions Professor Jonathan Reynolds, a leading scholar of Japanese architecture, (Milan), Visions of Africa will add enormously to our strength in this field. Among other new fac- Series on the art of individual ulty who will begin teaching this fall will be Zoë Strother, the first Riggio African ethnic groups. These Professor of African Art. The very welcome return of Professor Holger scholarly yet accessible, well- Klein after a three-year term as curator at the Cleveland Museum of Art illustrated books will be widely will energize our program in Byzantine and Medieval art. used for teaching. In the midst of the changes, arrivals, and departures that are part In recent years, Professor of the experience of any academic department, it is fitting to reflect on Strother has received numer- an enduring feature of our shared enterprise that enters its sixtieth year ous grants and fellowships, this fall: “Art Humanities: Masterpieces of Western Art.” Although the most notably two distin- guished residential fellowships: content and emphasis of the course have changed over the decades, the Frederick Burkhardt “Art Hum” remains an essential part of Columbia’s Core Curriculum Residential Fellowship for and serves as a “front door” to the department, frequently luring under- Recently Tenured Scholars graduate students into a major in art history. For our Ph.D. students, (American Council of teaching the course is the capstone of their pedagogical training at Learned Societies), and an Columbia and an invaluable experience as they launch their academic Ailsa Mellon Bruce Senior careers. For the faculty who teach the course themselves and provide Fellowship, Center for guidance for the graduate instructors, Art Hum is one of the most Advanced Study in the Visual important things we do. Arts, at the National Gallery. Art Hum is also a source of renewal and strength in the department, as we go back to basics, year after year, constantly reconsidering the ways to Courtesy of the Herbert Weiss collection achieve our fundamental goal of teaching students to see and to think.

Robert E. Harrist, Jr. Cover: detail from Raphael’s Parnassus, Stanza della Segnatura, Vatican, Rome, fresco, c 1509–11

2 Jonathan Reynolds

This fall Jonathan Reynolds, a leading scholar of modern Japanese architecture and visual culture, joins the Columbia-Barnard department as an associate professor. Professor Reynolds is a gradu- ate of Harvard College and holds a Ph.D. from Stanford University. Before coming to New York, Professor Reynolds taught at the University of Michigan and at the University of Southern California, where he served as chairman of the Department of Art History. Professor Reynolds is the author of Maekawa Kunio and the Emergence of Japanese Modernist Architecture (2001) and numerous articles on architectural history. More recently, his research has also encompassed the history of photography in Japan. The courses that Professor Reynolds will offer will complement our curriculum in Asian art and in architectural history and photography, which have long been areas of special strength in our department. “Nihonbashi, Tokyo”

Matthew McKelway

When he joins the faculty this fall, as the Atsumi Associate Professor of Japanese Art History, Matthew McKelway will experience a homecom- ing. No stranger to Schermerhorn Hall, Professor McKelway earned his Ph.D. in the department in 1999. He is an expert on pre-modern Japanese painting and the author of Capitalscapes: Folding Screens and Political Imagination in Late Medieval Kyoto (2006) and Traditions Unbound: Groundbreaking Painters from Eighteenth-Century Kyoto (2005), the catalogue for an exhibition at the Asian Art Museum, San Francisco, which he curated. He has also published many articles in English and Japanese. Professor McKelway has taught at New York University and was a visiting professor at Gakushuin University and Kano Eitoku (1543-1590). Kyoto screens, ca. 1565. Detail, fan shops. Yonezawa City Waseda University in Tokyo. At Columbia, he will offer courses in a Uesugi Museum wide range of subjects in the area of ancient to early modern Japanese art and also will teach Art Humanities: Masterpieces of Western Art.

Major Gift from the Riggio Foundation The Department of Art History and Archaeology is pleased to announce In addition, Mr. and Mrs. Riggio’s gift will support graduate fellow- a gift of $5 million from the Riggio Foundation, established by Leonard ships, which will enable us to attract the very best Ph.D. students to and Louise Riggio. Mr. Riggio is the chairman of Barnes & Noble, Inc., the department. Their gift also will support summer internships for the world’s largest bookseller. The Riggio’s daughter, Stephanie, graduated undergraduate art history students, research fellowships for students from the College in 2006 with a degree in art history. writing senior theses, an undergraduate travel seminar, and other events This gift, one of the largest in the department’s history, will fund benefiting students. two new professorships, one in the field of African Art and another in The Riggio family has made many contributions in the art world, espe- a field of art history to be designated by the department. The establish- cially including funding Dia:Beacon, the world’s largest contemporary ment of the professorship in African art comes at an especially happy art museum built in 2003 on the Hudson River in Beacon, New York. time, as Professor Zoë Strother will be returning to Columbia in the They have also been a generous patron of the Children’s Defense Fund’s fall and will be the first holder of the new chair. The professorship in Haley Farm Freedom School in Clinton, Tennessee, where they built the African art takes its place among a constellation of other professorships Langston Hughes Library and the Riggio-Lynch Chapel. Both buildings in non-Western art and will ensure Columbia’s continuing preeminence were designed by the renowned artist and architectural designer, Maya Lin. in these fields. The gifts for both professorships will be matched by the The department has been greatly strengthened by the Riggio’s gener- Lenfest Professorship Challenge Fund. osity and foresight.  Professor James H. Beck (1930–2007) The Department of Art History and of art, most notably, Michelangelo’s frescoes in the Sistine Chapel. In Archaeology lost one of its most 1992 he co-founded ArtWatch International and was the director of this beloved members when Professor organization for the rest of his life. Although these public aspects of his James H. Beck passed away on May career were widely noted in obituaries published at the time of his death, 26, 2007, in New York. For over in Schermerhorn Hall we will remember Jim above all as a teacher and forty years, Jim inspired students at mentor, whose office was a wonderful and welcoming destination, con- Columbia in his brilliant classes and stantly filled with students seeking his advice, colleagues popping in to devoted himself in ways large and chat, and friends from all over the world visiting Columbia to see him. small to the good of the department, Adding to our sorrow over Jim’s passing was the death of his wife of 51 serving as chairman from 1984–1990. years, Darma, just five days later. We extend our sympathy to their son, Jim was one of the world’s foremost Larry, their daughter Nora, and their three grandchildren. In memory of scholars of Italian Renaissance art, Jim the department has established the James H. Beck Memorial Fund, the author of over a dozen books and which will be used to assist students studying Italian Renaissance Art. countless articles. He also became famous for his outspoken opposition Information about a memorial service planned for September 19th will to what he saw as the unnecessary and damaging restoration of works be posted on the department’s webpage.

Excerpts from the Writings of Professor Beck Veritatem dies aperit. (Time unveils the truth.) Seneca

over the past decade, my energies have behind the extensive restoration project on Bologna’s main civic square. been galvanized by issues concerning the It never occurred to me, even for a single moment, to challenge the stewardship of cultural treasures and, in ability or the integrity of those who had conducted the operation. With particular, the restoration and conservation Twainian naïvety I thought that everyone contentedly fulfilled their roles of prominent sculptures and paintings in like noble medieval craftsmen. Indeed, I perceived restoration as a near the Western tradition. This turn of interests magical craft which could bring the dead back to life. was totally unplanned and, in retrospect, Nevertheless, scratching only a few millimeters beneath the surface, I is something of a surprise. I had been a soon came to realize that there were a variety of approaches, techniques student and professor of Italian Renaissance and methodologies that vied with one another for acceptance, and that art and a constant observer of contempo­ considerable sums of money were involved in the business of art restora- rary art for nearly thirty years before any tion. And as well as material gain, reputations were at risk, not just those concern about restoration entered my head. of the restorers but also those of the directors of works, often prestigious I now consider my previous neglect as a flaw, superintendents, as well as their art historian advisers. but it does, for the most part, characterize the state of affairs among art —From Art Restoration, selected by Larry Beck scholars. Under the instruction of the German refugee generation which had migrated to the United States immediately before the Second World War, I became an art historian of a fairly traditional bent. With this artists, often isolated and alone, insistently orientation, I was engaged in understanding the historical context out of have been producing, looking, exchanging, for which emerged the Renaissance artists and their works of art. Hundreds the most part without meaningful monetary if not thousands of hours in the archives and in the manuscript rooms reward, crying their cries in the wilderness of libraries puzzling over fifteenth- and sixteenth-century documents and singing their songs to the wind for all constituted a substantial portion of my annual routine. Furthermore, I of us. In this sense at least, I find that both have long been devoted to a formal reading of paintings and sculptures, the so-called “good” along with the so-called my interest growing from a truncated stint as an aspiring painter. “bad” artist, whatever measuring yardsticks In about 1983, having seen the restoration and cleaning of the we might choose to apply, are essential for façade of the Basilica of San Petronio in Bologna, and especially the Porta the health of social structure. Furthermore, Magna, I became alarmed. The transformation of the reliefs and the at least on this level, the artists as a commu- in-the-round sculptures of the portal by Jacopo della Quercia (which nity or a subclass are all more or less of equal incidentally had been the subject of my Ph.D. dissertation) was be- consequence. Both the good priest and the wildering. I felt a moral obligation to put my reactions on paper. The not-so-good one say Mass and hear confession. Thus, I find it offensive article on their restoration, which was published by an Italian scholarly that in the cold, absolutist conditions in which artists find themselves, art journal, represented my first entry into the arena of restoration. I they are savagely assessed without a second chance or mode for appeal. had noticed most of all that, following the intervention, the sculpture Somehow and somewhere conclusions are reached about who is accept- had lost something of its monumentality, and that the reliefs, with able and who is not. They must acquiesce for the greater good, and their massive forms, appeared flatter, more akin to graphic renderings the vast majority end up being discarded in the official labyrinths. The than three-dimensional carving. Out of innocence or ignorance rather status quo requires revision. than caution, I failed to question the technical assumptions that rested ­—From The Tyranny of the Detail, selected by Nora Beck

 On Jim Beck’s Teaching In our opinion, Professor Beck should be remembered first and foremost aware of the exquisite attention he pays to the details of their conversa- as a great teacher. We do not, however, mean to equate great teaching tions, from which he deduces their strengths and their weaknesses, with spellbinding lecturing alone or, for that matter, with any other enabling him to tailor his mentoring to individual needs. His enthusi- activities that take place exclusively in the classroom. In Beck’s case, his asm is infectious; his sincerity is unmistakable; and his modesty is office on the ninth floor of Schermerhorn Hall is the hub of a different endearing, as when he good-naturedly allows himself to be disagreed sort of instruction. He is there every day, usually in the company of two with, to notice something for the first time, or to admit that he or three students discussing their projects and, it seems, almost threat- hasn’t quite gotten around to reading such-and-such a recent article. ening to crowd him out of his own workspace. At times they are there Noteworthy, too, is Professor Beck’s generosity. Time and again he by appointment, but as often as not they drop by unannounced, a con- lends books to students from his personal collection, offers them leads tainer of coffee in hand. These gatherings may seem casual or accidental, to unpublished documents, shares and solicits their opinions on new but in fact they represent one of Beck’s secret teaching methods: daily ideas or discoveries. Above all, he inspires by example, through a life opportunities for the open exchange of ideas and information, not only of achievement marked by honesty, academic integrity, and rigorous with the professore but with each other. In the midst of all the bustle— scholarly standards. the constant comings and goings, the frequent interruptions by phone —From Watching Art: Writings in Honor of James Beck, Introduction by calls or by colleagues popping in and out—students may not even be Lynn Catterson (PhD ’02) and Mark Zucker (CC ’64, PhD ’73)

jacopo has formulated a fascinating pat- it is common knowledge that public as tern of repetition and divergence in the well as private collections all over the world pose of Adam and Eve, more complicated are full of problematic objects, mistaken still than was the case with the Temptation. attributions alongside outright forgeries. The action and silhouette of Adam’s right Should we, then, thin out entire galleries leg is echoed by Eve’s left leg and converse- and conduct a vast bonfire of the vanities? ly, Adam’s left leg has the same pose as Turning the question on its side: what is Eve’s right one. The bodies of both figures the harm of being seduced by mediocre are placed obliquely in the shallow space, look-a-likes…? Some, even many, indi- the arm movements give them variety, as viduals may be inspired by them to lofty does the distinctive conception of the male thoughts while contemplating them; after and female bodies. Jacopo has rendered all false gods produce miracles. the Gate of Paradise as a rectangular However, such is not my view because structure with a well-articulated lintel, not unlike the actual portal upon these objects are demeaning to the dignity of art. Residing in prestigious which the relief is applied, although the Gate is without narratives. Since museums where they are admired innocently by millions of viewers, the angel is larger than the opening of the gate from which he has exited reinforced by dulcet audio descriptions prepared by directors and curators and is conceived in the same proportion as Adam and Eve, the effect singing their praise, truth, accuracy, and fairness to the memory of artists is to give the corporeality of all three figures a dominating presence. seem to be as irrelevant as is the quality…. The evidence points to a crisis Adam’s intense expression is much the same as that found in the previ- in connoisseurship. The present book seeks to isolate characteristic issues ous scene, and once again may be understood in the context of terribilità surrounding the crisis and begin the process of establishing standards which usually applied to Michelangelo: this time he confronts the angel, who will help to mitigate it, to protect buyers, whether public or private, and has a similar fiery determination. Adam to the historical memory of artists whose integrity has been endangered. and Eve on the right half of the relief are —From Duccio to Raphael: Connoisseurship in Crisis, selected by Denise isolated by the barely delineated moun- Budd (PhD ’02) and Lynn Catterson (PhD ’02) tain behind them, implying the hard life that will come. The power of the relief rests in part, beyond the effective psycho- logical interpretation, in the juxtaposition of the completely nude actors with the partially clothed angel, whose garment has an undulating surface that is set against his own smooth flesh and that of Adam and Eve. —From Jacopo della Quercia, Jacopo della Quercia, The Expulsion, Vol. I, selected by Robert Harrist San Petronio, Bologna

 curator’s corner at the wallach

Frederick Ilchman (’96 M. Phil.) curates Treasures Rediscovered: Chinese “Venice in the Renaissance: Titian, Tintoretto, Stone Sculptures from the Sackler Veronese,” at the Museum of Fine Arts, Boston Collections at Columbia University 19 March–31 May 2008 I moved from Venice to Boston in the summer of 2001 Opening reception 18 March, 5:00–7:00 p.m. to begin work as assistant curator of European paint- ings at the Museum of Fine Arts, Boston. Although a museum position is fundamentally an office job— rt Treasures Rediscovered one spends hours in meetings or facing a computer A highlights twenty-three of screen—my work encompasses diverse pleasures; in the most important stone sculp- a typical day I might field an inquiry about a paint- tures from Columbia University’s ing owned by a member of the public (the “Antiques Sackler Collections. Many have Roadshow” aspect), give a pep talk to our docents, and consider period frames never been extensively studied or publicly exhibited. The sculp­ that could improve the appearance of our pictures. tures—steles, free-standing figures, and heads of divinities, Studying at Columbia and in New York City confirmed my preference for as well as architectural elements, “object-oriented” art history. During seminar visits to the Metropolitan, from the Han (206 BCE–220 the Frick, or the Morgan Library I realized I got a bigger thrill—and indeed CE) through the Tang Dynasty found more compelling questions—when examining a painting, sculpture, (618–907 CE)—provide a synop- or etching in person, rather than confronting a (perhaps more famous) work tic overview of how art manifests through a slide. Happily for me, a program renowned for theoretical approaches ritual practice and reveals the also teaches the fundamentals of the study of objects: medium, technique, transmission and transformation condition, conservation, connoisseurship, chronology, provenance, and so on. of culture. Emphasizing works A seminar with Professor David Rosand on Tintoretto and one on fifteenth- from the sixth century CE, a time century north Italian painting with Keith Christiansen (held at the Met) were of great intellectual ferment, the not strictly museum classes, but they provided solid training in understand- exhibition will include sculptures ing paintings as objects and the subtleties of style. ascribed to specific Buddhist sites, such as Xiangtangshan and I am now deeply involved in the first big exhibition I can call my own: “Venice Longmen. Complementing the in the Renaissance: Titian, Tintoretto, Veronese,” scheduled for Boston in the sculptures will be rubbings, maps, spring of 2009. Although Titian was born forty years before Paolo Veronese, photographs, and multimedia the careers of Titian, Tintoretto and Veronese overlapped for almost four presentations. decades. And while the “Big Three” are often discussed together in academic The Sackler Collections at lectures (and are invoked in the subtitle of a classic study by Professor Rosand), Columbia University constitute a the three painters—and their rivalry—have never been the exclusive subject valuable resource for object-based of a major museum exhibition. My show will call attention to the characteristics study and teaching. Conservation that would be associated with Venetian painting for generations thereafter: treatment of the sculptures, loose, expressive brushwork (colorito alla Veneziana), new subject matter undertaken in preparation for the (including female nudes), and the triumph of a new format (the oil-on- exhibition, will contribute not Standing Buddha, Chinese, canvas easel picture). only to their preservation but to Northern Qi Dynasty (550–577 CE), marble. a better understanding of their The checklist of the exhibition is composed of precise juxtapositions of two, Sackler Collections at origin and subsequent history. three, and sometimes four paintings that demonstrate how much these three Columbia University A fully illustrated catalogue with (S3516); photograph by artists influenced each other and how they used their paintings to critique contributions by several scholars Maggie Nimkin one another. When I began the project, I identified three major challenges: of Buddhist art will be published borrowing enough paintings by Titian, finding Tintorettos that stand up to by the gallery. Plans are under way for the exhibition to travel the works by Veronese and Titian (many of Tintoretto’s best paintings are too to three or four other venues. large for transport), and obtaining enough large-scale works to give a sense of The curators are Leopold Swergold (Columbia College, the great painted cycles at the Scuola Grande di San Rocco and San Sebastiano, 1962), a collector of Buddhist art, and Eileen H. Hsu (PhD, for example. With nearly two years before the show opens, the checklist of Columbia University, 1999), an independent scholar who some sixty paintings seems sufficient to overcome those challenges. specializes in Chinese Buddhist Art.

Frederick Ilchman

 Visual Media Center for Art History and Archaeology

We alternately portray technology as society’s great savior and as Revolutions: A Century of Makonde the source of our demise. This comes as no surprise—after all, the Masquerade in Mozambique virtual worlds on our computer screens, for example, are as likely 19 SEPTEMBER–8 DECEMBER 2007 to frustrate us as they are to bring out our intellectual creativity. But OPENING RECEPTION 18 SEPTEMBER, 5:00–7:00 P.M. in reducing the conversation to either fanfare or hand-wringing over the computer itself, we miss the simple fact that a host of fascinating real-world experiences have grown along with these technologies. evolutions, an exhibition of masks and other performance objects Now more than a decade into exploring the teaching possibilities of from East Africa, will feature more than 60 examples of Makonde R new media, the Visual Media Center has become keenly aware of the art. Among the objects on loan from public and private collections, value of these experiences. will be antelope-horn trumpets, fanciful drums, figural dance sticks, As the department ornate metal bracelets, and a comprehensive selection of helmet masks. familiarizes itself with Playing a key role in the unique cultural performance genre known digital imaging, inter­ as mapiko, these works present a broad overview of the evolution of action between our mapiko during the past 60 years and contextualize its practice within educational technologists, the shifting political and economical landscape of the Makonde peoples faculty and students has of northern Mozambique. The exhibition not only represents the first increased significantly. major research contribution to Makonde studies in three decades but This greater level of offers a rare opportunity to view Makonde art, which is seldom on view contact has produced a in the New York area. deeper understanding of Alexander Bortolot, a doctoral candidate in art history and archaeology the pedagogical process at Columbia University, is the curator of the exhibition. He has done Notre-Dame-du-Haut, Ronchamp, for our staff while under- extensive archival research and fieldwork, living among Makonde com- Andrew Tallon ’07 Ph.D. scoring the potential of munities in northern Mozambique for a year and conducting interviews new media to faculty. Beyond imaging, the VMC designs animated with mask sculptors and masquerade performers. In addition to Bortolot’s maps, three-dimensional models, high-resolution viewers, and other curatorial essay, the publication will include more than 40 color images resources requiring intensive field documentation. Thinking through that provide a vivid record of Makonde visual culture. the documentation and design process has proved to be a powerful teaching exercise in itself, so we have opened our projects to student participation. The websites of the Bourbonnais field school or the Masterpieces of South Asian Art are powerful teaching tools, but they are each a single element of far-reaching educational experiences. You may visit the VMC’s History of Architecture website at http://www.learn.columbia.edu/ha/html/modern.html to experience the three-dimensional nodes of Le Courbusier’s Church of Notre Dame du Haut. The technology behind the site is in itself excep- tional. A talented graduate student photographed the church after discussion with a faculty member. Later he worked with a VMC designer and undergraduate work-study assistant to build his nodes. The collaborators went on to think through an animated plan of the site to give their work context. It is the full scope of collaboration behind such projects that may have as lasting an effect on students and educators alike as on the technology itself.

James Conlon, Director, Visual Media Center

2007 Undergraduate Prize Winners

In May, the Department awarded its senior thesis prize to Amanda Anderson for her paper “A Villanovan Hut Urn, Miniaturization and Change.” Alexander Gartenfeld was awarded a travel fellowship to research his proposed thesis, which will focus on the work of Mask (lipiko) of Makonde man with incised tattoos, ca. 1935–40; wood, human hair, and black pigment. Collection Laura and James J. Ross; photograph by John Wallace Berman. Bigelow Taylor

 David Freedberg is appointed the Pierre Matisse Professor of Art History

Columbia University is pleased to announce the appointment of David the Ralph Waldo Emerson Prize of Phi Beta Kappa “for significantly Freedberg as the Pierre Matisse Professor of Art History. The Pierre contributing to our understanding of the cultural and intellectual condition Matisse Professorship was established through a generous gift of the of humanity.” His current research expands the boundaries of human- Pierre and Maria Gaetana Matisse Foundation in memory of the late istic studies by applying new knowledge from the field of neurosciences Pierre Matisse, the distinguished art dealer and supporter of artists, who to the understanding of art—an interest that is reflected in the title of played a major role in introducing European modernism to America. his current book project, Modes of Seeing: Mind, Body, and Emotion in Born in South Africa, and educated at Yale University and Balliol the History of Art. College, Oxford, Professor Freedberg joined the Columbia faculty in Since 2000 Professor Freedberg has been the director of the Italian 1984. Initially trained in classics, he has written about a vast array of Academy for Advanced Studies in America at Columbia, which he has topics, ranging from the art of the Renaissance to modern art and criti- developed into a major international center for interdisciplinary schol- cism. Among his books, The Power of Images: Studies in the History arship. Professor Freedberg has also served as Slade Professor of Fine Art and Theory of Response (1989)—which has been translated into many at Oxford University and as Andrew W. Mellon Professor at the National languages—has had a transformative influence in the field of art histori- Gallery of Art in Washington. He has been honored with membership cal studies. His most recent book, The Eye of the Lynx: Art, Science, and in the American Academy of Arts and Sciences, the American Philosophical Nature in the Age of Galileo (2002), has received many awards, including Society, and the Accademia Nazionale di Agricoltura.

faculty highlights

Zainab Bahrani was invited to His graduate seminar “History Francesco de Angelis edited (Columbia University Press lecture at University College, London of Architecture Exhibitions and the book Lo sguardo archeologico. with Mapin India, 2008) The and at Johns Hopkins University this Installations at MoMA” culmi- I normalisti a Paul Zanker (Pisa Unfinished: Indian Stone Carvers academic year. She is currently serving nated in a symposium in May and 2007), contributed to the exhibi- at Work is an ongoing collabora- as Director of Graduate Studies. papers towards a future collec- tion Etruschi. La collezione Bonci tive project with Peter Rockwell. tion of essays. The exhibition “75 Casuccini (Siena–Chiusi 2007), During Spring Break 2007 she Robert Moses and the Modern City, Years of Architecture at MoMA” and co-organized the conference led her undergraduate seminar the three-part exhibition curated opened in April. Bergdoll gave the Arte dal basso? Stile e società nel on a trip to India. by Hilary Ballon, drew record- annual address to the Society of mondo antico, dall’«arte plebea» breaking crowds at the Museum of Architectural Historians of Great ad oggi (Rome, June 8–9, 2007). This year Vittoria Di Palma the City of New York, the Queens Britain; he also delivered papers at He also published an article on completed two edited projects: Museum of Art, and Columbia’s Yale, University of Minnesota, Rice Pausanias, and gave talks on Roman Intimate Metropolis: Constructing Wallach Art Gallery during its spring- University, and at a conference on and Etruscan topics in New York, Public and Private in the Modern semester (2007) run and stirred a the Dutch architect Rietveld in San Diego, and Baltimore. City (Routledge); and “Architecture public debate about current develop- Utrecht. In April he was visiting and the Organic Metaphor,” a ment in the city. As editor of JSAH, Professor at the École Pratique des In Spring 2007, Jonathan Crary special issue of the Journal of she is working to develop JSAH Hautes Études in Paris. was a visiting Whitney J. Oates Architecture. She also wrote an Online, with funding from the Fellow at Princeton. In November article on Google Earth, and Andrew W. Mellon Foundation. Francesco Benelli published 2006, he lectured at the Barcelona presented papers at University “Seeing and Reading: Metodi Museum of Contemporary Art. College London and Oslo Analitici di Rudolf Wittkower per Earlier last fall he spoke at a “Film, University of Architecture. l’Articolo su Leon Battista Alberti vision and technology” confer- del 1940” in Leon Battista Alberti ence at NYU’s Deutsches Haus, David Freedberg, Pierre Matisse e l’Architettura, M. Bulgarelli co-organized by Columbia PhD Professor of the History of Art, 2006, based on primary sources candidate Susanna Cole. He continued his research on the from the Wittkower paper archive, gave other lectures at Yale School neural substrate of embodied the first result of a broader project of Architecture, the Whitney and emotional responses to art. on the German art historian. Other Independent Study Program and With Professor Vittorio Gallese of articles due for publication in the Hammer Museum in Los Parma, one of the discoverers of 2007 include “Il cortile d’onore del Angeles. On campus recently, mirror neurons, he wrote about the Castello Brancaleoni di Piobbico. he was a respondent to Svetlana importance of embodied simula- Storia, Stile ed un Tentativo di Alpers following her lecture at tion for the understanding of art. ttribuzione” in Bollettino d’Arte’s the Heyman Center. With Professor Fortunato Battaglia Barry Bergdoll stepped down as special anniversary edition. He lec- he developed a series of experi- chair at the end of 2006 and took tured in Italy, England and South Vidya Dehejia, Director, Southern ments using Transcranial Magnetic over the reins of the Department of Korea, and taught in Columbia’s Asian Institute, recently completed Stimulation as a means of examin- Architecture and Design at MoMA Venice Summer Program. The Body Adorned: Dissolving ing the cortical motor networks in January in time to begin planning Boundaries between the Sacred activated during observation of that Department’s 75th anniversary. and the Profane in India’s art. paintings. He continues to direct

 Robert E. Harrist, Jr. Honored David Rosand is awarded the Paul Oskar

Robert E. Harrist, Jr. (MA ’80), Jane and Leopold Swergold Kristeller Lifetime Achievement Award Professor of Chinese Art History and Department Chairman, was At its annual meeting in March 2007 the Renaissance Society of a recipient of a Distinguished Columbia Faculty Award. Funded America presented the Paul Oskar Kristeller Lifetime Achievement through the generosity of Columbia trustee Gerry Lenfest (LAW Award to David Rosand (CC ’59, PhD ’65), Meyer Schapiro ’58), the award recognizes faculty who demonstrate unusual merit Professor of Art History at Columbia and a long-time member of as teachers of undergraduate and graduate students as well as out- the board of the Renaissance Society of America. An authority on standing scholarship and service to the university. This is the second the art of the Italian Renaissance, his books include Titian and the year in a row that a member of the Department of Art History and Venetian Woodcut (1976), Titian (1978), Painting in Cinquecento Archaeology received the award: Meyer Schapiro Professor of Modern Venice: Titian, Veronese, Tintoretto (1982, rev. ed. 1997), Myths of Art, Jonathan Crary (CC ’75, PhD ’87) was honored last year. Venice: The Figuration of a State (2001), and Drawing Acts: Studies Also during the 2006–2007 academic year, Harrist held the Slade in Graphic Expression and Representation (2002). He is a member Professorship of Fine Art at Cambridge University, one of the most of the American Academy of Arts and Sciences, the Istituto Veneto venerable and most prestigious appointments in the field of art his- di Scienze, Lettere ed Arti, and the Ateneo Veneto, and serves tory. His new book, The Landscape of Words: Stone Inscriptions from as project director for Save Venice, Inc. Early and Medieval China, will appear in early 2008.

Columbia’s Italian Academy for Elizabeth Hutchinson consulted and is currently at work on a new Leading a group of archaeologists Advanced Studies in America. on and contributed a catalog essay project concerning art produced and computer scientists, Stephen for Louis Comfort Tiffany at Laurelton for members of the Roman army. Murray has completed an interac- Cordula Grewe was the 2006–07 Hall, at the Metropolitan Museum tive database of Romanesque Hans Kohn Member at the Institute of Art, published an essay in Seeing Holger A. Klein will return to the Architecture in the Bourbonnais for Advanced Study, Princeton. She High and Low: Representing Social Department of Art History this fall (central France) under the auspices published an article “Historicism Conflict in American Visual Culture, after three years at the Cleveland of the Andrew Mellon Foundation. and the Symbolic Imagination in and delivered several scholarly papers. Museum of Art. His exhibition In June he led a group of students Nazarene Painting” in the 2007 Sacred Gifts and Worldly Treasures. in the fourth Columbia Medieval March issue of the Art Bulletin Kellie Jones participated in Toni Medieval Masterworks from the Architecture Field School in the and gave several talks, including Morrison’s “Foreigner’s Home” proj- Cleveland Museum is currently on Bourbonnais. He is contributor to engagements at the Getty Museum ect at the Musée d’Louvre, Paris, view at the Bayerisches National the recently published Artful Mind: and the National Museum in and on the selection committee museum in Munich and will travel Cognitive Science and the Riddle of Krakow, Poland. for the African Pavilion for the to the J. Paul Getty Museum in Human Creativity, Oxford, 2006. 52nd Venice Biennale. Her essay, Los Angeles in October. He also Robert E. Harrist, Jr., Jane and “‘It’s Not Enough to Say ‘Black served as guest-curator for the While on leave during the fall of Leopold Swergold Professor of is Beautiful’”: Abstraction at the exhibition Kariye. From Theodore 2006 Esther Pasztory worked Chinese Art History, became chair- Whitney 1969–1974” appeared Metochites to Thomas Whittemore on her current book, Inca Cubism: man of the department in March, in Discrepant Abstractions, pub- at the Pera Museum in Istanbul. Reflections on Andean Art. Also in after delivering the Slade Lectures lished by MIT Press. press is “Thoughts on Teotihuacan at Cambridge University. Over Rosalind Krauss gave a lecture Ceramics” in Artes de Mexico. Her the past year he also lectured at Branden Joseph published on at the Portland Art Museum: “Art personal /professional memoir, Yale, Princeton, the Isabella Stewart Angela Bulloch, Barnard colleague in the Age of the Post-Medium Remove Trouble from your Heart Gardner Museum in Boston, John Miller, and several artists Condition” for a series called appears in two parts in the June China Institute in New York, the named Robert (Whitman, Morris, “Critical Voices.” Her new book, and September issues of the East University of Maryland, Hong and Rauschenberg); spoke in Under Blue Cup will be published European Quarterly, 2007. She has Kong University, and the School Stockholm, London, and Murcia; by MIT Press in fall of 2007. a new website, www.columbia. of Oriental and African Studies and participated in the documenta edu/~ep9. in London. 12 magazine project in New York Keith Moxey published “Art After and Kassel, Germany. the Global Turn,” in Is Art History John Rajchman published ‘Serra’s Anne Higonnet gave talks at Global?, “Aesthetics, Contempora- Abstract Thinking’ a catalogue essay the Clark Art Institute and at Natalie Kampen, Barbara Novak neity and the Museum,” in Grenzen for the Richard Serra exhibition at the Metropolitan Museum of ’50 Professor of Art History and uberwindend, and Festschrift fur MoMA. He introduced and edited Art, published an essay on Sally Professor of Women’s Studies, Adam Labuda. His lectures included The Foucault-Chomsky Debate Mann in Women Artists at the Barnard College, published two “Do We Still Need a Renaissance?” at (the New Press), and delivered the Millennium, and was the recipient articles on Roman sculpture and the “Reframing the Danish Renais- Annual Lecture on Contemporary of a Social Science Research sent off her book manuscript to sance: Problems and Prospects in a Art for the ForArt Foundation for Council Dissertation Proposal Cambridge University Press. She European Perspective” conference Research in Contemporary Art, Oslo, Directorship. She also received gave talks in Leeds at the Henry held in the National Museum of Norway. a Kress Foundation grant to Moore Institute, at the Swedish Denmark in September 2006 and subsidize the illustrations of Institute in Rome and at the Institute at The Renaissance Society meet- The Renaissance Society of America her forthcoming book. for Advanced Studies in Princeton, ings in Miami in March 2007. honored David Rosand with the  Simon Schama Simon Schama, University Professor of Art History and History, pub- Humanities at Harvard University. His courses have covered the British lished Rough Crossings. Britain, the Slaves and the American Revolution Empire, English and French art, politics, the Gothic Revival in England, which won the National Book Critics’ Circle Award for Non-Fiction in Ruskin and Victorian culture courses. He has also taught at the École 2006. He also wrote and presented a television film of the same name des Hautes Études en Sciences Social in Paris and his work has been broadcast for the 200th anniversary of the abolition of the slave trade translated into ten languages. on BBC 2. In the fall of 2006 he published The Power of Art, the tie-in Previous publications include A History of Britain, Volume I (2000), book for the eight part television series to be broadcast weekly on PBS Volume II (2001) and Volume III (2002), Patriots and Liberators (1977), stations nationally starting June 18th. The program on Van Gogh won winner of the Wolfson Prize for History; The Embarrassment of Riches the BAFTA (British Academy of Film and Television Arts) prize for (1987); Citizens (1989) which won the 1989 Yorkshire Post Book of documentary photography and the series as a whole is nominated for the Year Award and the 1990 NCR Book Award for Non-fiction;Dead a best documentary award. Certainties: Unwarranted Speculations (1991); Landscape and Memory Professor Schama was educated at Christ’s College, Cambridge where (1995) which won the W.H. Smith Literary Award in 1995; and he was Fellow from l966 to 1976, and then Fellow and Tutor in Modern Rembrandt’s Eyes (1999). His award-winning 15-part television series, History at Brasenose College, Oxford. From 1980 to 1993 he was Mellon A History of Britain, was broadcast on the BBC and the History Channel Professor of Social Sciences and William R Kenan Professor in the from 2000–2002.

faculty highlights Research Columbia University Fellowships Fellowship Awards Richard Anderson “After Paul Oskar Kristeller Lifetime University Press and articles for for 2007–08 Constructivism: History, Achievement Award at its annual Near Eastern Archaeology and Dakshina Chitra Theory, and Modernity meeting in March 2007. As Project Beyond the Homeland: Markers Anna Seastrand: to research and in Soviet Architecture” Director of Save Venice, Inc., he has in Phoenician Chronology. She participate in a conference on Ellen Hoobler “The Ancient been leading its next major restora- will be a Fellow at the Institute mural painting, ca 1300–1900, Zapotec ‘Museum’: tion effort, Paolo Veronese’s church of Advanced Studies (IAS), Tamil Nadu, South India Archaism, Heirloom Use, and of San Sebastiano—as he continues Hebrew University of Jerusalem Recontextualization of Funeral to work on his monograph on in 2008–09. Effigy Vessels in Oaxaca’s Classic Period (200–800 AD)” Veronese. He is active in develop- Dissertation ing Casa Muraro as Columbia’s Susan Vogel received the Triennial Dipti Khera “Spectacle’s Nostalgia: center for the study of the history Leadership Award from the Arts Fellowship Awards Mapping Udaipur between Space of art and architecture in Venice. Council of the African Studies for 2007–08 and History, 1707–1832” Association; spoke in the opening Risha Lee “Tamil Merchant ACLS Luce Fellowship Temples in India and Abroad” In the past year in addition to Roundtable at Musée Quai Branly, Heidi Applegate “Staging Jessica Marshall “Architecture publishing his books and produc- wrote a critique of MQB for Le Modernism at the 1915 San and Popular Religion: French ing television programs (see above), Débat. With the Musée National du Francisco Panama-Pacific Pilgrimage Churches of the Simon Schama was the 55th Mali, she completed a feature film on International Exposition” A.W. Mellon Lecturer in the Visual mud architecture of Djenne, which Nineteenth and Twentieth Arts at the National Gallery in was invited to the RAI Festival of Centuries” American Academy in Rome Shaparak Rahimi “Exhibiting Washington, and delivered lectures Ethnographic Film, and will be ana- Christina Ferando “Staging Reconstruction: The Milan on “Really Old Masters: reinvention lyzed by the panel Écriture filmique Neoclassicism” in late style from Titian to Matisse.” dans la démarche anthropologique Triennale, 1947–1954” at Université Laval. Students in her Yuthika Sharma “At the Margins of The Samuel H. Kress Joanna S. Smith, Director Collecting and Curating African Art Empire: Imagining Territoriality Foundation Fellowships in the Arts of Expanded Delhi, of the Center for Archaeology, seminar jointly curated an exhibi- Meredith Fluke “Building 1780–1857” recently completed her manuscript, tion at the Sean Kelly Gallery in Across the Sacred Landscape: Laura Weinstein “Between Iran Kition Revisited, for Cambridge Chelsea last winter. The Romanesque Churches and India: Golconda Painting of Verona and their Urban of the Late 16th Century” Context” Christina Ferando “Staging Neoclassicism” The Gladys Krieble Delmas Foundation Christina Ferando “Staging CASVA Paul Mellon Fellowship Neoclassicism” Albert Narath “Rediscovering the Baroque: Architecture, History, and Politics in Austria and Germany”

At work in the Visual Media Center computer lab. 10 And then it happens. The colour shapes that seem to push out at us or fade away behind the picture panels stack up on top of each other, plane; the way forms unveil themselves or cover themselves up; layering and hanging with exquisite and the interior glimmer all make looking at them an inexhaust- subtlety and complexity. Where Pollock ible process.… darted back and forth across the flat He was nudging 50, but he had got there. For ten years he surface of the canvas with whizz-bang would paint nothing else—but, then, why should he? He had force, Rothko switches axis to a notional become the maker of paintings as powerful, complicated and space both in front of and within the breathtaking as anything by Rembrandt or Turner, his two gods. picture, teasing the eye into a lit core The ‘classic’ Rothkos of the early and mid-1950s do seem to me of indeterminate depth. Rothko is fully the equal of those old masterpieces: as if they emitted an painting with intuition controlled by uncanny force field so magnetic that, when one turns one’s back countless fastidious calibrations of space and chromatic intensity. on them (and Rothko wanted one to turn around only to see The canvases were sized, then the layers were progressively set another of his pictures), it’s still impossible to escape their pulsing down—or, as he liked to say, seemingly ‘breathed’ on to the sur- emission of light. It burns on the neck. face, the colours thinned or thickened to make them engage with each other and with us. The ambiguity with which we read those —Excerpt from Simon Schama’s The Power of Art, “Rothko,” p. 418

German Academic Exchange Dissertations Service Fellowship Teresa Harris “Transforming Completed the German City: The May 2006–May 2007 Kampffmeyer Family and the German Garden City Noit Banai Association” “Public (Dis)order: Yves Klein 1945–1962” Theodore Rousseau Fellowship at the Metropolitan Museum Sabina de Cavi “Spain in Naples: Building, of Art Victoria Sancho “Rubens, Sculpting and Painting for Imitation, and the Construction the Viceroys (1585–1621)” of Individual Style” Laura Weinstein “Between Iran Meredith Hale and India: Golconda Painting “Romeyn de Hooghe and of the Late 16th Century” the Birth of Political Satire”

Chester Dale Fellowship at the Kristine Juncker Dipte Sudhir Khera ’06 M. Phil photographing for the Visual Media Center at “Honey at the Crossroads: Metropolitan Museum of Art Sanchi Stupa, India. Photo credit: Yuthika Sharma ’06 M. Phil Jordan Bear “Matters of Conviction: Women and the Arts of Afro- Early Photography and the Cuban Santería, 1899–1969” Lucy M. Maulsby Stephanie Schwartz Contest of Credulity in Britain” “Politics and Persuasion: “‘The Crime of Cuba’: Urbanism, Christian Kleinbub The Architectural and Urban Photography, and the Geopolitics “Vision and the Visionary Whitney Fellowship from the Transformation of Milan Under of Americanization” in Raphael” Metropolitan Museum of Art Fascism, 1922 to 1943” Therese Sjøvoll “The Roman Andrew Tallon Palace and Art Collection of Jillian Taylor Lerner Seth McCormick “Experiments in Early Gothic Queen Christina of Sweden” “Panoramic Literature: Marketing “Jasper Johns, 1954–1958: Structure: The Flying Buttress” Illustrated Journalism in July Persecution and the Art Monarchy Paris” Office of Minority Affairs of Painting” Robin Thomas, II Dissertation Fellowship “Charles of Bourbon’s Naples: Marla Redcorn-Miller Vered Maimon Kent Minturn Architecture and Urbanism” “Talbot and Herschel: Photography “Contre-Histoire: The Postwar Art as a Site of Knowledge in Early Terra Foundation Fellowship and Writings of Jean Dubuffet” Hilda Werschkul Marie-Stephanie Delamaire Nineteenth-Century England” “Modernism into Memory: “Paris in Civil War New York: Tomoko Sakomura The Drawings of Eva Hesse” Transatlantic Exchanges in Jaleh Mansoor “Pictured Words and Codified the 19th Century” “Marshall-Plan Modernism: Seasons: Visualizations of Waka The Monochrome as Matrix Poetry in Late Sixteenth- and of Fifties Abstraction” Early Seventeenth-Century Japan”

11 alumni news

Monni Adams, ’87 B.A., Research will attend Columbia in 2007 with City: the Transformation of New a Polish sculptor in the U.S.,” Associate, Peabody Museum, an interest in art history, philosophy York, co-edited by Hilary Ballon published in the Polish Review Harvard University, recently and film studies. She completed and Kenneth T. Jackson, for desig­ (New York, 1982), was chosen published “Agency and Control the exhibition “Magritte and nated high-school students in to be included in the anthol- in Masked Festivals among Contemporary Art: The Treachery New England. ogy volume Fifty Years of Polish the Bo People, Southwestern of Images” with an installation Scholarship: The Polish Review Côte d’Ivoire” in Zeitschrift für by artist John Baldessari and is In July, 2007 Elizabeth C. Childs 1956–2006. Ethnologie and “Inherited Rules now working on “Art of the Two ’89 Ph.D. became chair of the and New Procedures in Canton Germanies,” an exhibit of art from Department of Art History and Lillian Davies ’02 B.A. is an Bo, Southwestern Côte d’Ivoire” the Cold War period for LACMA’s Archaeology at Washington Assistant Editor at Tate, guiding in Anthropos. A new article, “‘It 2009 season. University in St Louis, succeeding Mark Wallinger’s State Britain and Opens Your Mouth!’—Forest Spirit two other Columbia alumni: Mark the forthcoming Oiticica in London Identities in Public Display and Frances Beatty ’80 Ph.D. is Weil, and more recently William book to publication this year. She Private Discussion: Masking and working hard as Chairperson of E. Wallace. also contributes to Artforum and Rhetoric in Canton Bo, Southwestern the Board of the Drawing Center. other American and European Côte d’Ivoire,” is in press. David Christman ’66 M.A. retired contemporary art magazines. Adelaide Bennett ’73 Ph.D. as Special Professor Emeritus, Hofstra Zach Alessi-Friedlander ’02 B.A. recently published an article for Jones University. He is a panelist for the Meredith Davis ’05 Ph.D. gave is currently deployed in Iraq with Mourow Festschrift in 2006 and co- New York State Council on the Arts. birth to her second son, Odin C Troop, 1-89 CAV, 2nd BCT, authored an article for the coming Wolfe Fawer, in October 2006 and 10th Mountain Division, manag- Lucy Freedman Sandler Festschrift. Petra ten-Doesschate Chu ’72 began a postdoctoral fellowship at ing all military and intelligence Ph.D. published The Most Arrogant the O’Keeffe Museum’s Research and civil-military operations for his Annette Blaugrund ’87 Ph.D. Man in France: Gustave Courbet and Center for American Modernism troop and serving as a Fire Support oversaw Luminist Horizons: The the Nineteenth-Century Media Culture in Santa Fe in January 2007. At Officer. He writes that, while it has Art and Collection of James Suydam, (Princeton University Press, 2007). the O’Keeffe, she is working on a been an illuminating experience, he and High Times Hard Times: New project on flower painting in the misses lectures in Schermerhorn and York Painting from 1867–1975 as Alessandra Comini ’69 Ph.D. U.S. and a book on trompe l’oeil, visits to the Met and the Cloisters. director of the National Academy’s recently lectured at the Gustav derived from her 2005 dissertation. museum. She lectured about Klimt Atelier and signed copies of Anthony Alofsin ’87 Ph.D. was a American art in Russia, Bermuda, her last book, In Passionate Pursuit: Juliana Driever ’05 M.A. was Fellow at the MacDowell Colony in and museums across the United A Memoir (New York: George appointed Curator of the Queens fall 2006. His recent review essays States and continues to write ex- Braziller, 2004). Rutgers University Borough Public Library in January appear in the Burlington Magazine tended introductions to all the recently held the exhibition In 2006. She also co-curated Concrete and The New Criterion. He will be books published by the Academy. Passionate Pursuit: Capturing the Kingdom: Sculptures by Nek Chand a Bogliasco Fellow at the Liguria American Women’s Movement in at the American Folk Art Museum, Study Center for the Arts and Adrianne Bratis ’05 M.A. was a Art, which featured four decades New York (April 4–September 24, the Humanities in fall 2007. He research assistant at the Philadelphia of her photographs of women 2006). is Roland Roessner Centennial Museum of Art for a special exhibi- artists and women art historians. Professor of Architecture and tion on Cézanne’s influence on The exhibition will travel to the Mary Edwards, ’86 Ph.D. Professor of Art and Art History modern and contemporary art. Meadows Museum of Art in Dallas published “The Symbolic and at the University of Texas at Austin. With Alex Sadvari ’05 MA she cu- in February, 2008. Expressive Use of Gravity and rated “Fresh Produce,” an exhibit of Levity in the Oratory of St. George Lilian Armstrong ’66 Ph.D. photography and book art relating Susan Cooke ’85 M.Phil. is the in Padua: Altichiero’s Debt to retired in June, 2006 from to food and consumption, last fall associate director of the Estate of Giotto” in Il Santo: rivista franc- Wellesley and is now the Mildred at Abington Art Center. David Smith in New York. She is escana di storia dottrina arte. She Lane Kemper Professor of Art currently directing work on a new also delivered papers titled “The Emerita. In September, 2006 Allison Karmel Thomason ’99 catalogue raisonné of David Smith’s Classical and Non-Classical Modes Wellesley held a “Renaissance Ph.D. was promoted to Associate sculpture and compiling and edit- in the Frescoes in the Oratory Afternoon” symposium in her Professor of Ancient History ing his “Complete Writing and of Saint George in Padua” at the honor and Caroline Wamsler, a at Southern Illinois University Statements.” 42nd International Congress on Columbia Ph.D. ’06, was among Edwardsville. She lives in St. Louis, Medieval Studies, “Space and the speakers. MO and recently published Luxury In February 2007, Joan Cummins Architecture in Altichiero’s Cycle and Legitimation: Royal Collecting in ’01 Ph.D. became the Lisa and of St. George in Padua (1379–84)” Laura Auricchio ’00 Ph.D. pub- Ancient Mesopotamia (Ashgate 2005). Bernard Selz Curator of Asian Art at the 31st Conference on Patristic, lished “Self-Promotion in Adélaïde at the Brooklyn Museum. She lives Mediaeval and Renaissance Studies Labille-Guiard’s 1785 Self-Portrait Andrea Cherkerzian ’01 B.A. is in Manhattan with her husband, (Villanova, Pennsylvania), and with Two Students” in The Art training for an Ironman Triathlon. Paul Sternberger (Ph.D. 1997) and “Phallic Metaphors and Meta­ Bulletin (89.1). She is the new Chair of the Book their two-year-old daughter, Grace. phorical Phalloi” at the University Prize Program for the Columbia of Leicester’s International Stephanie Barron ’73 M.A. writes New England Club, which in 2007 Jadwiga Irena Daniec ’65 M.A. Conference on the Penis in that her son Max Rifkind-Barron chose Robert Moses and the Modern Her article “Stanislaus K. Ostrowski, Pre-Modern Western Culture.

12 Jeremiah Evarts ’04 B.A. is a cata­ Renaissance Society of America Southern California, and Columbia artists Tobias Rehberger, Ken Lum, loguer in the Impressionist and conference in March 2007. University’s Branner Forum. Three Heimo Zobernig, Liam Gillick, Modern Art Department at Sotheby’s. new articles have appeared in schol- Matt Mullican, and others; the Katherine W. Hart ’83 M.A. is the arly anthologies, and two more are Gillick book won a prize in Tokyo. Natalie Fielding ’68 M.A., Associate Director of the Hood slated to appear by the end of 2007. In May, she had the cover story of Chairman of the Outdoor Museum of Art at Dartmouth House & Garden. She recently gave Sculpture Committee in Baton College. Recent projects include an Lewis Kachur ’88 Ph.D. recently a lecture at the Peggy Guggenheim Rouge, Louisiana, led in the exhibition celebrating the 150th published “Marcel Duchamp’s Museum, and she is art editor of conservation of twelve outdoor anniversary of the museum’s acqui­ Rose Sélavy mannequin,” in Marcel a philosophy journal at the Luiss statues and held a two-day sition of the Assyrian reliefs and Duchamp and Eroticism (London: University in Rome. conference titled “Conservation “Protest in Paris 1968: Photographs Cambridge Press, (forthcoming) and Maintenance of Outdoor by Serge Hambourg.” 2007), “Paraphrase: on Robert Virginia Pitts Rembert Liles ’70 Sculpture.” Rauschenberg’s transfer drawings Ph.D. has a review of Comini’s au- Jeffrey Hoffeld ’73 M.Phil. moder- of the 1960s” for an exhibit run- tobiography coming out in 2007. Pamela Fletcher ’98 Ph.D. was ated an international symposium ning from February 8 to March recently promoted to Associate at the Hermitage entitled “Museums 17, 2007 at the Jonathan O’Hara Carole Littlefield ’71 M.A. began Professor with tenure at Bowdoin and the Art Market” in September Gallery in New York, and “The volunteering at the Watson Library College. 2006. View from the East: The Reception at the Metropolitan Museum of of Jackson Pollock in Japan,” Art three years ago. She solicits Tatiana Flores ’03 Ph.D. was ap- Christina Hunter ’03 Ph.D. is in Abstract Expressionism: the galleries worldwide for catalogs and pointed Assistant Professor in the on staff at the Museum of Modern International Context. His lectures publications to add to their new Art History Department at Rutgers Art, where she teaches and lectures. include “Corps exquis: Fashioning contemporary art research library. University, with a concentration As an artist, exhibiting as Christina the Surrealist Body,” presented in Latin American Art and a joint Stahr, she has had shows in New York, in May 2007 for Surreal Things: Katherine Manthorne ’86 Ph.D. appointment in the Department of London, and Cologne in the past Surrealism and Design Conference co-authored Luminist Horizons: Latino Hispanic Caribbean Studies. year. In August 2007 she will have a at the Victoria and Albert Museum The Art and Collection of James solo exhibition at the Galerie Andrea in London. A. Suydam (New York: George Christopher B. Fulton ’93 Ph.D. Horstmann Osterloh in Cologne, Braziller, 2006) to accompany published An Earthly Paradise: coinciding with her site-specific Trudy S. Kawami ’83 Ph.D. the exhibition at the National The Medici, Their Collection, and installation in the 11th-century lectured for an archaeological tour Academy and elsewhere. the Foundations of Modern Art Kapitelsaal of the Abtei Brauweiler in Kazakhstan, Uzbekistan and (Florence: Olschki). during the Kunst Tage Rhein Erft. Turkmenistan, and published her Elizabeth Marlowe’s ’04 Ph.D. study, “Iron Age Harness Fittings Art Bulletin article (June 2006) Amy Golahny ’84 Ph.D. held Still retired from teaching, Along the Silk Route,” in Horses on the topographical setting of the Ailsa Mellon Bruce Senior Michael A. Jacobsen ’76 Ph.D. and Humans: The Evolution of the Arch of Constantine won the Fellowship at CASVA in spring has recently published articles on Human-Equine Relationships Arthur Kingsley Porter prize. 2007 and was awarded a summer sports car racing in the 1950s in (Oxford: British Archaeological 2007 fellowship from the NEH, the MMM Newsletter and Classic Reports, 2006). Megan McCarthy ’04 B.A. gradu- for research on Rembrandt. MG Magazine (forthcoming). A ated from the Courtauld Institute memoir on valuing the Renaissance Eloise Quiñones Keber ’84 Ph.D. of Art in July 2006 and returned to Caroline J. Goodson ’04 Ph.D. paintings in the collection of HM is teaching Pre-Columbian and the States to work at the Whitney was appointed to the School of Queen Helen of Rumania should Colonial Latin American Art at Museum. She is eager to return History, Classics and Archaeology, appear soon in a national publica- the Graduate School and Baruch to Columbia to begin work on a Birkbeck College, University of tion, while an article on Pollaiuolo College of the City University of Ph.D. in Art History in fall 2007. London with a permanent posi- has been delayed due to difficulties New York. tion in medieval archaeology and with photographs. In fall 2006 Katherine Jánszky history. In the year 2006–07, she In summer 2006 Jonathan Kuhn Michaelsen ’75 Ph.D. joined presented her work at the Institute Jacqueline Jung ’02 Ph.D. ’83 M.A. curated the exhibition Professors George P. Fletcher and of Historical Research (London), began her new position as assistant Splash!: A 70th Anniversary Celebration Suzanne L. Stone in the seminar on University of Leicester, American professor in the History of Art of New York City’s WPA Pools. In Biblical Jurisprudence at Columbia Academy of Religion Congress, Department at Yale University last March 2007 he presented a talk at Law School. In spring 2007 she and Oxford. In 2007, she pub- January, after three years at the the Robert Moses Symposium enti- was guest lecturer on modern lished a major article: “Material University of California, Berkeley. In tled “Documenting the Moses Era: European art at Istanbul Technical Memory: Rebuilding the Basilica spring 2006 she was a Fellow at the The Filter of the Photographer’s University in Turkey. of S. Cecilia in Trastevere, Rome” American Academy in Berlin, where Lens.” The Citywide Monuments in Early Medieval Europe 15.1. she began work on a book titled Conservation Program, which he Richard A. Pegg ’01 Ph.D. Eloquent Bodies in German Gothic co-founded and directs, celebrated recently published “Xie He’s Max E. Grossman ’06 Ph.D. Art. Since January 2006 she has its 10th year in 2006. ‘Six Laws’ in a Daoist Context” joined the faculty of the School lectured at the Kunstgeschichtliche in Kaikodo Journal and “Passion of Art and Design at San Jose Gesellschaft in Berlin, the University Cornelia Lauf ’92 Ph.D. is teach- for Form: Selections of Southeast State University. He also teaches of Vienna, the Naumburg-Haus ing a course on curatorial studies Asian Art from the MacLean for Stanford Continuing Studies, in Naumburg, the University of in the Department of Visual Arts Collection,” an exhibition catalog and has given papers throughout Michigan, Princeton University, at IUAV, University of Venice, and for the MacLean Collection and the country, including one at the Yale University, the University of collaborating on object-books with Honolulu Academy of Arts.

13

Alumni News continued

Since April 2006, Barbara Porter Trash” May and June 2007 at and Prints at the Metropolitan Ira D. Wallach ’01 Ph.D. has been director of RARE Gallery in New York. In Museum of Art for the 2007–08 the American Center of Oriental fall 2006 his watercolor portrait academic year. Research in Amman, Jordan (www. of actress Zooey Deschanel was bu.edu/acor/). In her first year published in Vanity Fair, Interview, Jennifer von Schwerin (née she was one of the organizers and and the New York Times Style Ahlfeldt) ’04 Ph.D. continues as fund-raisers for ICHAJ 10: the Magazine. More information about Assistant Professor of Pre-Columbian 10th International Conference Shapiro is available at www.david- Art History in the Department of on the History and Archaeology shapirostudio.com Art and Art History at the University of Jordan (www.ICHAJ.org of New Mexico. She will be on ma- Washington, D.C., May 2007). Goya’s Caprichos: Aesthetics, Perception, ternity leave in fall 2007 and has and the Body by Andrew Schulz received a Fulbright Fellowship and Mary (Polly) Nooter Roberts ’91 ’96 Ph.D. was awarded the 2007 a fellowship from the Alexander von Ph.D. was decorated as a Knight Eleanor Tufts Prize by the American Humboldt Foundation to spend a in the Order of Arts and Letters Society for Hispanic Art Historical post-doctoral year in 2008 at the (Chevalier dans l’ordre des Arts et des Studies. German Archaeological Institute Lettres) by the Ministry of Culture in Bonn to complete her book on and Communication in France for Bettina Shzu, ’02 B.A. received Mayan Temple Architecture. Ira D. Wallach died on January 6, her arts activism in the French- her Master’s in Art History from 2007, at the age of 97. With his speaking world and especially in La Sorbonne, Paris in October Courtney L. Vowels ’01 B.A. passing art history at Columbia francophone Africa. She is also 2006. completed her M.A. in Museum has lost a great friend and bene- the co-curator and co-author of a Education and received teaching factor. Ira and his wife Miriam, a major exhibition and book entitled ’79 Ph.D., certification for grades 1–6 in Jeffrey Chipps Smith member of the Advisory Council “Inscribing Meaning: Writing now at the University of Texas April, 2006 at Bank Street College and Graphic Systems in African at Austin, recently published of Education. She is now an educa- of the Department, were the Art.” The exhibition opens at the The Art of the Goldsmith in Late tor for the American Museum major supporters of the renova- Smithsonian’s National Museum Fifteenth-Century Germany: The of Natural History’s Moveable tion of Schermerhorn Hall, which of African Art in May 2007 and Kimbell Virgin and Her Bishop Museum Program. included the establishment of in October 2007 travels to the (Yale University Press and the the gallery that bears their name. Fowler Museum at UCLA, where Kimbell Art Museum, 2006). Alan Wallach, ’63 B.A., ’65 Inaugurated in 1986, the Wallach Dr. Roberts is deputy director and Smith was a visiting scholar in M.A., ’73 Ph.D. is the recipient Art Gallery has added significant chief curator. residence at the University of of the College Art Association’s new possibilities to the programs Leipzig in the summer of 2006. Distinguished Teaching of Art of the Department, which have Janice Lynn Robertson ’05 Ph.D. He lectured in Leipzig, Berlin History Award for 2007. delivered papers at the 28th Inter- (Technical University), Bonn, been realized with the continuing national Congress of Americanists and Heidelberg and also at the Virginia-Lee Webb ’96 Ph.D., support of the Wallachs. In Avery in Mérida, México, and at the 95th Bibliotheca Hertziana’s Dürer, Research Curator at The Library, the Miriam and Ira D. Annual Conference of the College l’Italia e l’Europa conference Metropolitan Museum of Art, Wallach Study Center is the new Art Association in New York. She in Rome. curated Coaxing the Spirits to home to the drawings and archives is currently teaching as an adjunct Dance: Art of the Papuan Gulf, collection. at Fordham University in the Bronx Shelley E. Smith ’99 Ph.D. on view at the Museum until and looking for a position that will has been appointed assistant December, 2007. She is also a Beyond his support of the support her research interests in professor of architecture at New co-author with Robert Welsch arts at Columbia and at other Pre-Columbian art and writing. York City College of Technology, and Sebastine Haraha of the ac- cultural institutions in New York, CUNY. companying catalogue published Ira was committed to issues of On April 30, 2007, Alex Ross by the Hood Museum of Art. international law and policy. He ’71 M.A. retired after thirty-two Cassandra Tai-Marcellini was a co-founder in 1980 of the years as head of the Art Library ’96 CC earned a Masters in ’02 B.A. completed Lara Weibgen Institute for East West Security at Stanford University. Communications Design from her second year as a Ph.D. student Pratt Institute in 2005 and with in the History of Art department at Studies, now known as the East Claudia J. Rousseau ’83 Ph.D. her husband, the Italian archi- Yale, where she studies modern and West Institute, and he endowed is a professor of Art History at tect Marco Marcellini opened contemporary art. a professorship of World Order the School of Art and Design at Taimarcellini (www.taimarcel- Studies at Columbia. Montgomery College, specializing lini.com), which offers branding, Barbara Ehrlich White ’65 Ph.D. Ira graduated from Columbia in Italian Renaissance and 20th graphic design and interior design is writing a book on Renoir’s rela- College in 1929 and from the Law Century American art. She has services. She will be teaching tionship to his family and friends School in 1931; he was awarded designed a study abroad program typography in the Graduate and their influence on his art. an honorary LLD from the in Unbria, Italy (Citta’ della Pieve), Department of Packaging and University in 1983. and is working as a freelance critic Communications Design at Mark Zucker ’73 Ph.D. delivered and curator in the Washington Pratt in fall 2007. the Keynote address at the winter D.C. metro area. 2006 graduation ceremony of Mary Vaccaro ’94 Ph.D. was Louisiana State University’s College David Shapiro ’01 B.A. had a solo awarded a senior fellowship in of Art and Design, where he has show “Neo-Neo-Classical Glam the Department of Drawings been teaching for the past 25 years.

14 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 faculty, but also from alumni and friends who carry forward the intellectual mission of the department and who provide financial support for professorships, fellowships, symposia, and an array of programs and projects that enhance our core offerings. We are deeply grateful to the following individuals, foundations, corporations, as well as those who have wished to remain anonymous, who have given most generously in fiscal year 2006–2007:

Morton C. Abromson • Lucy A. Adams • Marie J. Adams • Advanced Specialty Care, PC • Frances B. Adler • Pauline Albenda • Cynthia B. Altman • Stanford Anderson • Andrew W. Mellon Foundation • Lewis B. Andrews • Rosemary F. Argent • Lilian A. Armstrong • Joan G. Arnold • Artwatch International, Inc. • Kevin J. Avery • Stephanie J. Barron • Armand Bartos Jr. c/o Armand Bartos Jr. Fine Art, Inc. • Frances Beatty c/o Richard L. Feigen & Co., Inc. • Howard and Judy Berkowitz c/o The Judy and Howard Berkowitz Foundation • Annette Blaugrund • Edward and Magda P. Bleier • Charles and Judith Brice • Nancy A. H. Brown • Barbara C. Buenger • Beverly C. Bullock • Norman W. Canedy • Pamela Carbone-Meany • Galit Carthy-Katalan • Lynn Catterson • David C. Christman Columbia Art • Petra T. D. Chu • Jacquelyn C. Clinton • James Cohan c/o James Cohan Gallery • Bradley, Amy and Flora Collins History and c/o New York Community Trust • Maria A. Conelli • Susan J. Cooke • Martha Cooper • Mary M. Cope • Jonathan Archaeology K. Crary • Byron and Lydia Dallis • Jadwiga I. Daniec • Aurele A. Danoff • Gertrude de G. Wilmers • Michael de Havenon • Margot Dennedy • Domtar • Sheila Edmunds • Lee MacCormick Edwards • Jane E. Egan c/o Jane Egan Advisory Council Fine Art • Diana Elghanayan • Armand B. Erpf c/o Armand G. Erpf Fund, Inc. • Giuseppe Eskenazi c/o Eskenazi, Ltd. • Estate of Judith Stronach • Theodore H. Feder c/o Art Resource • Ronald Feldman c/o Ronald Feldman Fine Philip E. Aarons, Chairman Arts, Inc. • Nancy H. Ferguson • Barbara S. Fields • Sharon Flescher • Raymond A. Foery • Emily K. Folpe • Ilene Armand Bartos, Jr. H. Forsyth • William G. Foulks • Suzanne S. Frank • Mordechai Gal-Or • John Gans • Terence M. Garvey • Gina Frances Beatty Gibney • Marc and Lynn Gitlitz • Bruce and Judith Golden • Sara B. Golden • Sigrid E. Goldiner • Barbara Goldner Annette Blaugrund • Graham Foundation for Advanced Studies • John T. Grant • Kai K. Gutschow • Adelaide B. Hagens • Piri Halasz • Catherine Woodard and C. Lowell Harriss • Robert E. Harrist, Jr. • Karen Hartman • Morrison H. Heckscher • Kathy Heinzelman • Reyna Nelson Blitz, Jr. Henaine • Joan Hershey • Shirley G. Hibbard • John and Sarah Hock • Jeffrey Hoffeld c/o Jeffrey Hoffeld Fine Art Jean Magnano Bollinger Inc. • Jeanette Ingberman • Michael A. Jacobsen • Thomas R. Jaske • Karl Katz • Eloise Q. Keber • Caroline A. King Fiona Donovan • Robert C. and Miriam H. Knapp c/o Levy Hermanos Foundation, Inc. • Yumi C. Koh • Alice B. Kramer c/o the Lee MacCormick Edwards Arthur & Alice Kramer Foundation • The Kress Foundation • Jane and Ladis K. D. Kristof • Jonathan L. Kuhn Linda S. Ferber • Jack H. Kunin • Sandra Larriva • Leonard and Evelyn Lauder c/o The Leonard & Evelyn Lauder Foundation • Kate Ganz Cornelia Lauf • Bernice K. Leader • Lindsay Leard c/o Fidelity Charitable Gift Fund • Andrea P. Leers • Steven A. Marian Goodman Leers • Michael and Helen Levy c/o Fidelity Charitable Gift Fund • Carol F. Lewine • Ephraim A. Lewis • Virginia Michael and Georgia R. Liles • Vanessa C. Lilly • Julie M. Lindemann • Carla G. Lord • Carol A. Lorenz • Weizhi Lu • Mary A. Lublin de Havenon c/o Mary Lublin Fine Arts, Inc. • Ann B. Macrae • Nina A. Mallory • John C. Markowitz • James H. Marrow Frederick David Hill c/o the Rose Marrow Fund • Jeff A. and Barbara J. Martin • Katherine E. Manthorne • Charles S. Mayer • Susan Jeffrey M. Hoffeld McDonough • Courtenay C. McGowen • William C. Meany • Helen Meltzer-Krim • J. Ezra and Lauren K. Merkin Steve Kossak • Jeffrey M. Meyer • Mid-America Foundation • Mondriaan Foundation • Kathleen W. Montgomery • Anthony J. Carol F. Lewine Morenzi • J.P. Morgan Chase Bank • M-Real USA Corp. • Voichita Munteanu • Miyeko O. Murase • Hyman B. Glenn D. Lowry Muss • National Envelope • Otto J. Naumann c/o Otto Naumann, Ltd. • Samuel and Victoria Newhouse • Amy D. Mary A. Lublin Newman • Michael E. Newmark • Joan L. Nissman • James and Louise North • Karen I. Norton • Rachel Norton Philippa Feigen Malkin • Lucy A. Oakley • Noelle K. O’Connor • Judith H. Oliver • Melinda L. Parry • Pamela J. Parry • Francesco A. Philippe de Montebello Passanti • Andrea H. Paul • Norman L. Peck • Itzhak Perlman • Doralynn S. Pines • Jerome J. Pollitt • Marvin A. Amy D. Newman Pomerantz • Elisabeth Porter • Esther Regelson • Jessica Regelson • Donald M. Reynolds • Nancy R. Reynolds • Amy Greenberg Poster Louise Rice • Leonard and Louise Riggio c/o The Riggio Foundation • Terry H. Robinson • David and Ellen Rosand Louise Riggio • Donald A. Rosenthal • Claudia J. Rousseau • Lawrence and Carol Saper • Charles C. Savage • Marie L. Schmitz Terez Rowley • John F. Scott • Sean Kelly Gallery • Lisa C. Seguin • Bernard and Lisa Selz c/o the Selz Foundation, Inc. • Jeanne Steven and Lauren Schwartz Siegel • Beth J. Singer • Ingrid Sischy • Jeffrey C. Smith • Shelley E. Smith • Louis I. Sobel • Ann K. Springer • Allen Bernard T. and Lisa Selz Staley • Louisa R. Stark • Damie Stillman • Howard M. Stoner • Deborah A. Stott • Ashley J. Streb • Virginia B. Robert B. Simon Suttman • Leopold Swergold • Joseph and Helena Tauber • Susana D. Tavel • Taxter and Spangemann • The Teagle Leopold and Jane Swergold Foundation, Inc. • Marc and Sharon Teitelbaum • Silvia Tennenbaum • Martin and Lynn E. Tesher • Weston W. Dale C. Turza Thorn • Joni R. Todd • Irina Tolstoy • Deborah B. Waite • Barbara Walters c/o Barbara Walters Charitable Trust Miriam Wallach • George S. C. Wang • Laura E. Warfield • Edmond and Comly Watters • Virginia-Lee Webb • Mark S. Weil c/o Mark S. Weil University Lane Foundation • Barbara E. White • Ann L. Willard c/o Ann L. Willard Trust • Arthur and Catherine Marie-Hélène Weill Williams • Irene J. Winter • Irene L. Wisoff • Johanna L. Wolfe • James and Elaine Wolfensohn c/o Wolfensohn Adam Weinberg Family Foundation • Aida Y. Wong • Susan E. Wood • Mark J. Zucker H. Barbara Weinberg Gertrude Wilmers We regret any errors in or omissions from this list. Contributions from the above individuals helped fund the following initiatives: Wallach Art Gallery exhibitions, Visual Media Center for Art History, Archaeology and Historic Preservation projects and resources, the DATING SHOW exhibition curated by MA Curatorial students, and funding for other student research projects and fellowships.

15 826 FALL 2007

schermerhornwww.columbia.edu/cu/arthistory

Anonymous, Wave-tossed Screen, Muromachi period, mid-16th century. Ink, colors, and gold on paper. Nanzenji, Kyoto. calendar highlights

2007 2008 September 18th September 20th October 29th February 25th March 31st Opening Reception Empires of Ornament and The Bettman Lectures The Bettman Lectures The Bettman Lectures Makonde: Revolutions the Ornament of Empire ‘Working by Words Alone’: Rilke, Cézanne, and the Gerhard Wolf (September 19th to Jessica Rawson French Architects, Scholasticism Origins of Introjection Max-Planck-Institut December 8th) Oxford University and the Professions in the later Brigid Doherty Wallach Art Gallery (see department website 13th Century Princeton University April 28th 5 to 7 p.m. for more information) Paul Binski The Bettman Lectures Cambridge University March 18th Pictures in Transit September 19th September 24th Opening Reception Jennifer Roberts Memorial for Professor The Bettman Lectures November 26th Treasures Rediscovered: Harvard University James Beck The Marriage of The Bettman Lectures Chinese Stone Sculptures Columbia University Venice and Rome Andrea Mantegna circa 1450: from the Sackler Collections Italian Academy for Andrew Robison Imitation and the Force of at Columbia University Advanced Studies The National Gallery of Art Images (March 19th to March 31st) in America Stephen Campbell Wallach Art Gallery 5 p.m. Johns Hopkins University 5 to 7 p.m. (please see department Editor: Emily A. Gabor website for details) Design: Florio Design

For a complete listing of departmental events visit www.columbia.edu/cu/arthistory or call 212.854.4505

columbia university Non-Profit Org. department of art history and archaeology U.S. Postage 826 schermerhorn, MC 5517 PAID New York, NY New York, NY 10027 Permit No. 3593