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Artifacts Ifacts ARTifacts Art History Newsletter Summer 2009 Issue No. 17 Letter from Kathe Hicks Albrecht, Co-editor, ARTifacts Dear Fellow Alums, In May I attended the American Association of Museums (AAM) Annual Meeting in Philadelphia, Pennsylvania, where the College of Arts and Sciences (CAS) hosted an American University (AU) alumni reception. Liz Raymond (MA ‗96), assistant director of Development for CAS, and Noelle Bannister, associate director, organized the reception. I collaborated with them to publicize the re- ception and serve as co-host. While at the conference, we attended a presentation by fellow alum Julie Charles (MA ‗96), from the San Francisco Museum of Modern Art (SFMOMA). The session was called ―Drawing Visitors In: Research-based Mediation Strategies to Engage Visitors with Objects in Science, Art and Children‘s Museums.‖ At SFMOMA, Julie uses new, collaborative strategies to en- gage audiences in the museum, and the results are fascinating. Julie‘s session and Liz‘s develop- ment efforts on behalf of the university got me thinking about the impact that our alums have on the world and how partnerships often give rise to success. As AU art history alumni make contribu- tions in the world, it is often through professional collaborations, friendships, and networking oppor- tunities with other alums. This concept was reinforced when, at the reception, Jack Rasmussen (MFA ‘75, MA ‘83, PhD ‗94), director of the American University Museum, talked with Julie about pos- sible future collaborations between the American University Museum and SFMOMA. Such an active alumni network can also benefit current students. Brooke Rosenblatt (BA ‘99) men- tors current AU students interning at The Phillips Collection. Our alums regularly send position list- ings to post to the graduate program e-mail list, so AU students frequently learn about internships and professional positions through their contacts with our alumni network. And information on mu- seum talks, symposia, and other opportunities sent in by alums helps enhance the graduate school experience. So, thank you for keeping in touch with the department, attending AU events at profes- sional conferences, networking with fellow alums, and forwarding professional information to our current students! In this issue of ARTifacts, we‘ve highlighted two alums who are ―making a difference‖ in the world, one through exemplary teaching, and another who has developed a program that provides multi- sensory art appreciation experiences for people with cognitive disorders such as Alzheimer‘s and de- mentia. In these pages you will also learn about our current students and catch up on departmental news as we explore emerging technologies for instruction, encourage the next generation of art his- tory scholars, and discover new approaches to scholarship. I hope you enjoy reading about the art history program. Please keep in touch…and stop by ―The Katzen‖ to catch up in person! Kathe Albrecht Stephanie Thornton-Grant Co-editor, ARTifacts Co-editor, ARTifacts Visual Resources Center, Katzen Arts Center Hillwood Estate, Museum & Gardens American University Washington, DC Washington, DC [email protected] [email protected] Art History Program News The 2008–2009 academic year was tremendously successful. We scrambled before the fall semester to add sections of our undergraduate classes due to a record number of students admitted to the university. The university continues to attract bright and engaged students, but there are more and more of them! In the fall we offered three sections of Art: The Historical Experience, three sections of Modern Art, and two sections of our entry-level Renaissance Art course. Phew! We tapped one of our own art history alums, Lynn Clement-Bremer, to teach one of the courses in the fall. Lynn has taught in the Maryland state college system for several years and was eager to return to AU on the faculty side of the classroom. She is teaching for us this summer, too, and will be back in the fall. Lynn has been a great addition to the program and it is delightful to have her back at AU. In the Visual Resources Center (VRC), we welcomed four new gradu- ate assistants, so Kathe Albrecht oversaw the work of seven capable assistants. Training this year was done on the ―big screen‖ 42‖ moni- tor, our go-to image-management tutorial station. New students picked up quickly on the tasks at hand: image scanning using the flat- bed and slide scanners, records cataloguing, troubleshooting the Madison Digital Image Database (MDID), setting up the digital carts for the classroom, and otherwise assisting faculty and staff with all aspects of visual resources curatorship. On some days, the art collo- quium series allowed staff a noontime break and provided insight into artists‘ visions and work. A highlight of the series was a talk by artist Jefferson Pinder who discussed his recent video work. His talk Grad students at work in the was presented in the VRC to a standing-room-only crowd. VRC. On October 11, 2008, the 6th Annual American University-George Washington University (AU/GW) Graduate Student Symposium in the History of Art was held in the Katzen Arts Center. Four AU graduate students presented their research. Gwen Van Ostern spoke on ―Kendall Geers: Politics, Ide- ology, and the Use of Violence;‖ Ellie Pinzarrone presented ―The Re-Creation of Memory as Practice of Resistance: Faith Ringgold, Betye Saar, and Carrie Mae Weems;‖ Helen MacDiarmid discussed ―May Stevens‘ Big Daddy Series: Feminist Art and American Social Realism;‖ and Gretchen Martin pre- sented ―Isabel Bishop‘s Women: Public Versus Private Personas.‖ In the spring, Angel Reed, Lucretia Young, and Corey Cripe pre- sented their research at the annual Robyn Rafferty Mathias Stu- dent Research Conference held at AU. And Ellie Pinzarrone was chosen to present her work at the Middle Atlantic Symposium in the History of Art, held at the National Gallery of Art. This prestig- ious event is sponsored each year by The Center for Advanced Study in the Visual Arts at the National Gallery of Art and the Uni- versity of Maryland. Ellie‘s paper, entitled ―The Re-creation of Memory as a Practice of Resistance: Faith Ringgold, Betye Saar, and Carrie Mae Weems,‖ was thought-provoking and well- received by the scholarly audience. From left: Dr. Garrard, Ellie Pinzarrone, and Dr. Broude at the Middle Atlantic Also in the spring, we held our annual celebration of scholarship. Symposium in the History of Art. The third annual Distinguished Scholar Lecture in Art History was given by Dr. Carol C. Mattusch, who is the Mathy Professor of Art History at George Mason Univer- sity. As a visiting curator at the National Gallery of Art, she recently developed the remarkable exhi- (Continued on page 4) 2 Faculty & Staff News Dr. Juliet Bellow's first year at AU has been an exciting and enjoyable one. 2009 is the 100-year anniversary of the Ballets Russes' first performances in Paris, which has occasioned several conferences and events in which she has participated. In May, she presented a paper on Gior- gio de Chirico's set and costume designs for the ballet Le Bal (1929) at BR2009, a major conference at Boston Uni- versity to commemorate the Ballets Russes' inaugural sea- son. She also presented papers at the Courtauld Institute of Art and the annual Interdisciplinary Nineteenth- From Left: Dr. Butler, Dr. Garrard, Dr. Broude, and Century Studies Conference this spring. Dr. Bellow. Dr. Bellow‘s upper-level course at AU, "Art and Dance: 1860-1960," allowed her to explore the major issues of her research in the classroom, and she was grateful to her students for their contributions to the course. She plans to spend the summer finishing the manuscript of her book, "Embodying Modernism: The Ballets Russes and the Visual Cultures of Interwar Paris." Professor Norma Broude has contributed to the scholarly community in many ways this year. Her major new essay, ―G.B. Tiepolo at Valmarana: Gender Ideology in a Patrician Villa of the Settecento,‖ appears in the June 2009 issue of the Art Bulletin. She also continues to serve as an appointed mem- ber of The Feminist Art Project Honorary Committee (other members include Mary D. Garrard, Lucy Lippard, Linda Nochlin, Faith Ringgold, Elizabeth Sackler, and Gloria Steinem). Dr. Broude is a mem- ber of the Editorial Board of Woman‘s Art Journal and the Miriam Schapiro Archive for Women Art- ists Endowment Committee, Rutgers University. Here at AU, Professor Broude was nominated by the dean of the College of Arts and Sciences for the University‘s Outstanding Scholarship, Research, Creative Activity, and Other Professional Contribu- tions Award for 2009. In the department, Professor Broude served as chair of the Search Committee for a one-year full time temporary appointment in non-Western art history. She also served as faculty advisor and sponsor for two of the papers presented at the AU/GW Graduate Symposium on Octo- ber 11, 2008: Helen MacDiarmid‘s ―May Stevens‘ Big Daddy Series: Feminist Art and the Tradition of American Social Realism,‖ and Ellie Pinzarrone‘s, ―The Re-creation of Memory as a Practice of Resis- tance in the Art of Faith Ringgold, Betye Saar, and Carrie Mae Weems.‖ Ellie‘s paper was subse- quently chosen to represent the department at the Middle Atlantic Symposium, held at the National Gallery of Art, March 7, 2009. Professor Kim Butler published two peer-reviewed articles and an exhibition catalogue essay in spring/summer 2009: ―The Immaculate Body in Michelangelo‘s Sistine Ceiling,‖ Art History, vol. 32, no. 2, April 2009, 250-289; ―Giovanni Santi, Raphael, and Quattrocento Sculpture,‖ Artibus et His- toriae, no. 59, vol. 30, June 2009, 1-25; and ―La ‗Cronaca Rimata‘ di Giovanni Santi e Raffaello,‖ Raf- faello e Urbino (exhibition catalogue), ed.
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