d e p a r t m e n t o f Art Archaeology & Newsletter

s p r i n g   1 0 Dear Friends and Colleagues: The past year has had its moments faculty. Next year we will welcome two young Inside scholars, specialists in 19th-century European of tension, mainly about the depart- and Byzantine/medieval art.  ment’s financial situation in a period Danny Ćurčić’s magnificent exhibition Faculty News “Architecture as Icon” at the Princeton Univer- of an economic baisse. sity Art Museum has become a major magnet Some painful decisions had to be made— 0 for visitors. Drawing on objects from eight Graduate Student News from staff reduction to cuts in research funds countries, the show offers fascinating examples for faculty—with the goal of preserving fund- of symbolic representations of architecture in ing in vital areas of undergraduate teaching and the context of Byzantine ritual and pilgrimage. 15 graduate student support. Thanks to the careful This successful exhibition is just one result of Undergraduate News planning of my predecessor Hal Foster and our the close alliance between the department and department manager Susan Lehre, we emerged the museum. Since the arrival of James Steward from the crisis relatively unscathed. as the museum’s new director last fall, the 20 The transformation of the department department and museum have intensified their Seminar Study Trips over the last few years continues with the collaboration in both teaching and exhibi- retirement of three of our esteemed tions, and James will teach a course on 22 colleagues—Pat Brown, Willy Childs, 18th-century British painting next year. and Danny —who will leave a Lectures, Conferences, Ćurčić­ Scholarly discourse and interchange Symposiums gap not only as eminent scholars of continued this year with a dense Renaissance studies, Greek archaeol- schedule of lectures and confer- ogy, and Byzantine studies, but also as ences. In October, former students 24 friends who will be missed. of our retiring Classicists Willy Tang Center But there is good news as well. Next Childs, Hugo Meyer, and T. Les- fall we will welcome Nathan Arrington lie Shear organized a conference in 26 as our new expert in Greek art history their honor. Bridget Alsdorf and the Marquand Library and archaeology. After studying at Institute for Advanced Study’s Yve- Oxford, Nathan received his Ph.D. Alain Bois co-organized the lecture from Berkeley with a stunning thesis series “Art and Its Audiences” that 28 on the public cemetery and collective brought to campus John Baines, Visual Resources Collection memory at Athens after the Persian Okwui Enwezor, and Kaja Silver- Wars. An experienced excavator, he man, among others. This year’s will continue the department’s long Weitzmann Lecture by Elizabeth 30 tradition of Classical field archaeology Bolman revealed the painted wonders Index of Christian Art at a new site. of the early Byzantine Red Monastery in Upper Beginning in September, archaeology in the Egypt. Our graduate students organized a high- department will also extend to the Americas: 32 caliber conference on the theme “Horizons and Excavations Christina Halperin, a brilliant young Meso- Horizontality.” A symposium honoring Danny american archaeologist with her own site in Ćurčić and the conference “The Egyptian Guatemala, will join us for three years, teaching Image in Context,” organized by postdoctoral 34 courses on Mesoamerican material culture and fellow Debbie Vischak, closed out this lively News from Alumni Mayan archaeology. The department will also academic year. continue to offer two postdoctoral fellowships in fields that are underrepresented by regular Thomas Leisten, chair Faculty News

Bridget Alsdorf presented papers at various ven- the Program in Hellenic Studies and the Depart- ues in Princeton and beyond, including a major ment of Art and Archaeology, to Athens and symposium on 19th-century French painting at Rhodes during the fall recess (see page 20). the Clark Art Institute; a symposium on Chinese Brown continues to explore the coastline documentary photography at the Tang Center and islands of the Mediterranean for her book for East Asian Art; a conference “On Accident” on the artistic and cultural geography of the at the Princeton School of Architecture; and a Venetian empire. Last summer she traveled to panel on “The Renaissance of the Baroque” at Cyprus and Croatia, with a side trip to Prague, the 2010 annual meeting of the Renaissance with Tracy Cooper *90. In June she will fly to Society of America in Venice, Italy. She chaired Istanbul for a week, meeting up with Princeton a panel on “Modernism and Collectivism” at the alumni Blake de Maria *02, Alessandra Ricci Bridget Alsdorf et al., Andrea 2010 annual meeting of the College Art Asso- *09, Deborah Walberg *04, and Omer Ziyal ’08, Hornick, Recent Work: 1460–1865 ciation in Chicago, and, with Yve-Alain Bois of before a month of research in Venice. the Institute for Advanced Study, co-organized a Brown presented a paper at the symposium year-long lecture series on the theme “Art and Its “Sound, Space, and Object: The Aural, the Visual, Audiences” (see page 22). and the Tactile in Early Modern French and Ital- Alsdorf was invited to join the editorial ian Music Rooms,” in the Centre for Research in board of 48/14: La Revue du Musée d’Orsay, the Arts, Social Sciences, and Humanities at the where her article “La fraternité des individus: les University of Cambridge in July 2009, and she portraits de groupe de Degas” will appear in the delivered the Denys Hay Memorial Lecture at the spring/summer 2010 issue. “Femininity and National Gallery of Scotland, sponsored by the Animality: Portraits of a Lady Exposed,” an essay University of Edinburgh’s Centre for Medieval on the work of contemporary artist Andrea and Renaissance Studies, in April 2010. Hornick, appeared in an exhibition catalogue Her most recent publication is “Là où published by David Krut Projects, New York, in l’argent coule à flots: Le mécénat dans la Venise September 2009. She also completed two other du XVIe siècle,” in Titien, Tintoret, Véronèse... articles: one on Paul Cézanne’s late still lifes Rivalités à Venise, edited by Vincent Delieuvin slated to appear in Word & Image this fall, and and Jean Habert (Musée du Louvre, 2009), the Patricia Fortini Brown et al., one on Henri Fantin-Latour’s destroyed Homage catalogue for the Paris venue of the fine exhibi- Titien, Tintoret, Véronèse . . . to Truth (1865), forthcoming in the Getty tion curated by Frederick Ilchman ’90 at the Rivalités à Venise Research Journal. She is currently finishing an Boston Museum of Fine Arts. article on Félix Vallotton’s crowd scenes and their William Childs will retire at the conclusion relationship to his novels, which was invited for of the spring semester after 36 years of teach- a special issue of Word & Image on artists’ writ- ing at Princeton. He will continue as director ings in the modern period. of the department’s excavations at Polis Chryso- This spring she greatly enjoyed teaching a chous, Cyprus, site of the ancient city of Marion/ new freshman seminar, “The Artist as Idea, from Arsinoe, working on the final publication of the Leonardo to Warhol,” for which she co-curated excavations, as well as on an international loan the exhibition “The Artist as Image” at the exhibition on Marion/Arsinoe tentatively sched- Princeton University Art Museum, with Calvin uled to open at the Princeton University Art Brown, associate curator of prints and drawings. Museum in the fall of 2012. She will spend her upcoming sabbatical year in New York, with a Chester Dale Fellowship from Slobodan Ćurčić gave the keynote lecture at the the Metropolitan Museum of Art. international colloquium “Serbien und Byzanz” at the Universität zu Köln in December 2008, Slobodan Ćurčić, Architecture Patricia Fortini Brown taught her two last where he spoke on “Architecture in Byzantium, in the Balkans from Diocletian to classes—one old and one new—last fall, before Serbia, and the Balkans through the Lenses of Süleyman the Magnificent, retirement at the end of this academic year. Modern Historiography.” In February 2009, he ca. 300–ca. 1550 Along with the venerable Art 210, “Italian gave a paper titled “Some Further Thoughts on Renaissance Painting and Sculpture,” that she the Architecture and Art of the Cappella Pala- has taught almost yearly for more than 20 years, tina in Palermo” at the conference “Overlay of she co-taught a one-time-only seminar with John Plans: The Palace Chapel of the Norman Kings Pinto: “Rhodes and Malta: Art, Faith, Warfare.” in Sicily” in Tübingen. The proceedings of both The course, with nine undergraduates and three conferences are currently in press. graduate students, featured a trip, sponsored by

2 s p r i n g   1 0 Ćurčić spent the spring 2009 semester, the last segment of his phased retirement plan, in Thessaloniki, Greece, working on the major international loan exhibition “Architecture as John Blazejewski Icon: Perception and Representation of Architec- ture in Byzantine Art,” a joint project of the European Center for Byzantine and Post- Byzantine Monuments in Thessaloniki and the Princeton University Art Museum, with gener- ous support from the department and the Program in Hellenic Studies. The exhibition, which brings together 79 objects from lenders in 10 countries, was shown in Thessaloniki from November 2009–January 2010 and opened at the Princeton University Art Museum on March 6; it will remain on view until June 7, 2010. The richly illustrated 350-page catalogue, published in both Greek and English editions, demon- strates that representations of architecture are Department faculty. Front row, left to right: Esther meaningful, active components of Byzantine art. da Costa Meyer, Chika Okeke-Agulu, Nino Ćurčić was the guest curator of the Princeton Zchomelidse, Anne McCauley, Andrew Watsky; back exhibition and, with Evangelia Hadjitryphonos, row, left to right: Thomas Leisten, Rachael DeLue, co-editor of the catalogues. Michael Koortbojian, Hal Foster, Thomas DaCosta His new book, Architecture in the Balkans Kaufmann (not pictured: Bridget Alsdorf, Robert from Diocletian to Süleyman the Magnificent, ca. Bagley, Patricia Fortini Brown, William Childs, 300–ca. 1550, will be published by Yale Uni- Slobodan Ćurčić, Brigid Doherty, Christopher Heuer, versity Press in May. This volume, the first Hugo Meyer, John Pinto, Jerome Silbergeld) of its kind on this subject, traces the devel- opment of architecture in the Balkans from methodology course for junior art and archae- late antiquity to the height of the Ottoman ology majors. During the spring, she taught a Empire. With 950 illustrations, the 900-page graduate seminar, “Natural Histories, New World book presents rich documentation of a gener- to Now,” which examined intersections between ally unknown body of material and brings it the science of natural history and American art into the mainstream of Western scholarship. and visual culture from the 16th century to the Last fall Ćurčić taught his lecture course present. Her most recent publication, an essay on Byzantine art and architecture for the last titled “Art and Science in America,” appeared in time. With Nino Luraghi of the Department the journal American Art in summer 2009. She of Classics, he co-taught the seminar “Island is currently preparing a book on the American of Cultures: Sicily from the Greeks to the Nor- abstract painter Arthur Dove, and she presented mans,” which included both undergraduates and material from this project at the College Art graduate students and featured a field trip to Association’s annual meeting in Chicago, deliv- Sicily during the fall break (see pages 20–21). ering a paper titled “Arthur Dove and Sonic Architecture as Icon: Perception In the spring semester he taught two seminars— Translation.” DeLue also presented portions of and Representation of Architecture one undergraduate and one graduate—whose her Dove research at invited lectures at the Colby in Byzantine Art, co-edited by topics took full advantage of the “Architecture as College Museum of Art, Harvard’s Graduate Slobodan Ćurčić Icon” exhibition. School of Design, the University of Delaware, During the past year Ćurčić also published and the Pennsylvania Academy of Fine Arts in “The ‘Absence of Byzantium’: The Role of the Philadelphia. She traveled to St. Petersburg, Name” (in Greek translation), in Nea Estia 82, Russia, in March to deliver a lecture on Paul v. 164, no. 1814 (Sept. 2008); and “Representa- Cézanne’s influence within American modern- tions of Towers in Byzantine Art: The Question ism, and she will participate in a colloquium on of Meaning,” in Byzantine Art: Recent Studies. Alfred Stieglitz in Cerisy-la-Salle, France, in July. Essays in Honor of Lois Drewer, edited by Colum Also in July, she will be a featured presenter in a Hourihane (ACMRS and Brepols, 2009). He professional development workshop for New Jer- currently has four additional articles in press. sey schoolteachers, sponsored by the New Jersey Rachael Z. DeLue spent the fall semester Council for the Humanities, on the topic of race teaching an undergraduate survey of 19th- in American history. Her other works in progress century American art as well as the department’s include an essay on beauty and racial stereotype Junior Seminar, the required historiography and in contemporary art and a review essay for the s p r i n g   1 0 3 Art Bulletin that considers recent publications on at the Court of Rudolf II” at a conference in Charles Darwin and the visual arts. Jerusalem devoted to the Maharal of Prague. At Hal Foster is the editor of Richard Hamilton the Technical University, Dresden, he spoke on (MIT Press, 2010), a collection of essays on the “Arcimboldo’s Invertible Paintings.” British Pop artist who was an original member In 2009 Kaufmann published “The Idea of of the legendary Independent Group in London World Art History: Introduction 1,” in Cross- in the 1950s and is often called the intellectual ing Cultures: Conflict, Migration and Convergence, father of Pop. Foster’s book on Pop art, Homo Proceedings of the 32nd Congress in the History Imago: Painting and Subjectivity in the First Pop of Art (Melbourne University Press, 2009); Age, will be published next year by MIT Press. “Taking Stock: A Brief Commentary on Munich Next spring, he will be a fellow at the Ameri- and Prague c. 1600,” in München-Prag um can Academy in Berlin, where he will work on 1600, edited by Beket Bukovinská and Lubomír a book titled The Bathetic, the Brutal, and the Konečný (Prague, 2009); “Flanders in the Amer- Banal, or How Modernism Teaches Us to Survive icas: Problems of Interpretation,” in Orbis Modernism. Artium: Festschrift for Lubomír Slavíček, edited by Zora Worgötter et al. (Brno, Masaryk University, spent the fall 2009 semes- Richard Hamilton, edited by Christopher P. Heuer 2009); “Maulbertsch the ‘Eccentric’ and Other Hal Foster ter in Berlin as the Gerda Henkel Stiftung Fellow Characterizations: Reflections on the Artist and at the Institut für Kunst- und Bildgeschichte, His Reception,” in Franz Anton Maulbertsch: Humboldt Universität. During the summer of A Man of Genius, edited by Agnes Husslein- 2009 he was a Fellow at the Clark Art Institute Arco (Österreichische Gallerie, 2009); and the in Williamstown, Massachusetts, where he, along introductory editorial, “Malaise dans la pério- with two colleagues, continued writing a book disation,” in Perspective no. 4, 2008 (published on art history and performance. Heuer also took 2009). His major historiographical article con- part in the Max Planck Research Seminars in cerning, among other things, the history of the Rome and Cortona, Italy, and published articles Department of Art and Archaeology, “American on Netherlandish antiquarianism, Dutch group Voices: Remarks on the Earlier History of Art portraits, and perpetual motion machines: History in the United States and the Reception “Hieronymus Cock’s Aesthetic of Collapse,” of Germanic Art Historians,” appeared in the in Oxford Art Journal 32 (2009); “Difference, journal Ars 42 (2009). He also contributed to the Repetition, and Utopia: European Print’s New catalogues of exhibitions on Hans Rottenham- Worlds,” in Crossing Cultures: Conflict, Migration mer (Lemgo and Prague) and Hans von Aachen and Convergence, Proceedings of the 32nd Interna- (forthcoming in Aachen, Vienna, and Prague). tional Congress in the History of Art (Melbourne During the fall 2009 term Kaufmann was University Press, 2009); and “The Perpetual on leave at the Institute for Advanced Study in Christopher P. Heuer et al., Mécanicien: Isaac de Caus as Author,” in Studies Wassenaar, Netherlands, where he was a member Crossing Cultures: Conflict, in the History of Gardens and Designed Land- of an international team conducting research on Migration and Convergence scapes 29 (2009). the impact of the Dutch East India Company on Thomas DaCosta Kaufmann published Arcim- the material culture of the Indian Ocean area boldo: Visual Jokes, Natural History, and Still-Life and East Asia in the Early Modern era. At the Painting (University of Chicago Press, 2010), the College Art Association’s 2010 annual meeting, first major study of Arcimboldo in a generation. he was a respondent at the Colonial Latin Amer- His book demonstrates the overlooked impor- ica session. tance of Arcimboldo’s works for both natural Hugo Meyer published the article “Is It Prome- history and still-life painting and restores them thëus?” on the Belvedere Torso and its previously to their rightful place in the history of both sci- overlooked ancient replicas, in the journal Boreas ence and art. He is currently working on a film (Münster) 30–31 (2007–08). In April 2009, to accompany the Arcimboldo show which will Meyer spoke to an audience in Hellenic studies open this fall at the National Gallery of Art in on his now completed work “Towards a Kunstge- Washington, D.C. schichte of Photography in Athens between 1839 Kaufmann lectured on “Génie du Lieu” at a and 1875.” He also gave a talk on “Intricacies of symposium at the Institut National de l’Histoire Iconographical Hermeneutics in Ancient Art” at de l’Art in Paris, which he repeated as a keynote Munich University in June. In November he par- Thomas DaCosta Kaufmann, address at the symposium “Cartografies Visu- Arcimboldo: Visual Jokes, Natural ticipated in the founding conference, in Vienna, als i Arquitectòniques de la Modernitat: Segles History, and Still-Life Painting of the “Athens Dialogues,” sponsored by the XV–XVIII” at the Universitat de Barcelona, and Alexander S. Onassis Foundation, and was subse- in German at the Otto-Friedrich Universität quently invited to serve as an adviser for an in Bamberg. He also gave the keynote lecture international conference, which will take place in “World in Transition: Art, Science, and Magic Athens in November 2010. Volume 2 of his 4 s p r i n g   1 0 multi-volume work A History of Roman Art in on African American Art and Art of the African Case Studies is now with the publisher, and vol- Diaspora at Howard University. ume 3 has been enlarged and finished. Meyer He was recently awarded a Woodrow continues to gather material—including graffiti, Wilson Career Enhancement Fellowship for cemeteries, and Fascist monuments—for a proj- 2010–11 and was appointed area editor for ect on the Upper Adriatic, with an emphasis on the Grove Encyclopedia of African Art. Most the 19th and 20th centuries. His work on Ein- important, Okeke-Agulu and his wife Marcia stein is nearing completion. He devoted a great celebrated the birth of their daughter, Ngozi- deal of time in 2009 to the 200th anniversary of chukwu Ladi, on July 9, 2009. F. X. von Schönwerth, the equivalent of the John Pinto, together with Professor Patricia brothers Grimm in Bavaria’s Upper Palatinate. Fortini Brown, taught a seminar on the artis- The project team, led by Erika Eichenseer tic patronage of the Knights Hospitaller. With (Regensburg), is launching various publications generous support from the department and with commentaries and exhibitions, and Meyer’s the Program in Hellenic Studies, the semi- contribution has just appeared in the journal nar group spent the fall break on the island Märchenspiegel 20 (2010). of Rhodes, where the Knights were based Chika Okeke-Agulu co-authored, with Okwui from 1309 until 1522 (see page 20). Dur- Fascist monument in Trieste Enwezor, Contemporary African Art Since 1980 ing the spring term Pinto is a visiting scholar commemorating the annexation (Damiani, 2009). This is the first major sur- at the American Academy in Rome, where he of the city by Italy in 1918, part of vey of the work of more than 200 contemporary is researching a book on 18th-century archi- Hugo Meyer’s research project African artists from diverse situations, loca- tecture and urbanism in the Eternal City. tions, and generations who work either in or Jerome Silbergeld has tried to be less busy than outside of Africa, but whose practices engage in usual this year, but not too successfully. He the social and cultural complexities of the conti- curated an exhibition of documentary photogra- nent. He also published a review article, “Lagos: phy from China, “Humanism in China,” at the The Good News According to Rem Koolhaas,” China Institute in New York last fall. Selecting in the Journal of the Society of Architectural Histo- 100 photos from the first museum collection of rians (September 2009). Last fall, he and Holly its kind in China, he also organized the exhibi- Ross co-organized the exhibition “Life Objects: tion catalogue and contributed an essay, “China Art and the Lifecycle in Africa” at the Princeton Seen by the Chinese: Documentary Photogra- University Art Museum, and he taught a com- phy, 1951–2003.” In October he organized a panion freshman seminar, “Art and the Lifecycle related symposium at Princeton. On a topic in Africa.” In spring, he taught a new seminar, much earlier in history, he published an article “Postblack: Contemporary African American in the journal Ars Orientalis (2009) re-evaluating Art.” This June, “Who Knows Tomorrow,” a the transition from Song to Yuan, usually major art project involving five African artists, regarded as the turning point from “early” to Chika Okeke-Agulu and Okwui co-organized by Okeke-Agulu, Udo Kittelmann, “late” (13th–14th centuries) in Chinese paint- Enwezor, Contemporary African Art and Britta Schmitz, will open at four museums ing: “The Yuan ‘Revolutionary’ Picnic: Feasting Since 1980 of the Nationalgalerie, Berlin. He is also editing a on the Fruits of Song (an Historiographic companion book, Who Knows Tomorrow: Art and Menu).” He also published two book chapters: Politics of the Euro-African Encounter. “Modernization, Periodization, Canonization in Okeke-Agulu gave lectures this year at the Twentieth-Century Chinese Painting,” the intro- New York Public Library, the Museum of Con- ductory essay in Writing Modern Chinese Art: temporary African Diaspora Arts in New York, Historiographic Explorations, edited by Josh Yiu and the Africana Studies and Research Center (Seattle Art Museum, 2009), and “Facades: The at Cornell University, where he was the Becker New Beijing and the Unsettled Ecology of Jia House author-in-residence. He presented the Zhangke’s The World,” in Chinese Ecocinema: paper “Globalization, Art History, and the Spec- Nature, Humanity, Modernity, edited by Sheldon ter of Difference” at the “Principles and Terms Lu and Jiayan Mi (University of Washington of a Global Art History” conference at the Press, 2010), as well as entries on “Chinese Art,” Ludwig-Maximillians University in Munich. In “Chinese Painting,” and “Chinese Architecture” February he gave a presentation, “Artists and in the online Encyclopaedia Britannica. Among Albie Sach’s Vision of Post-Apartheid South his other book chapters written this year are African Art,” at the panel discussion “The Role “The Political Animal: Metaphoric Rebellion in and Impact of the Arts in Inspiring, Sustain- Humanism in China: Zhao Yong’s Fourteenth-Century Painting of A Contemporary Record of ing, and Propelling Change [in South Africa]” at Heavenly Horses”; “First Lines, Final Scenes, in Photography, exhibition curated by Princeton’s Fields Center. In April, he presented Text, Handscroll, and Chinese Film”; and “Cin- Jerome Silbergeld a paper titled “Ghada Amer’s Art and Politics” ema and the Visual Arts of China.” at the 21st Annual James A. Porter Colloquium s p r i n g   1 0 5 Silbergeld lectured this year at the China James Marrow was elected a corresponding Institute in New York, the University of Brit- member (philosophisch-historischen Klasse) of ish Columbia, and the Walters Art Gallery in the Österreichische Akademie der Wissenschaften Baltimore, and he delivered the Wellesley Col- in 2009. He contributed an introductory essay lege Art Department’s annual Bakwin Lecture. and the codicological description of the Hours Nino Zchomelidse taught a new seminar in of Catherine of Cleves to the new facsimile Das medieval art, “Medieval Images of Vision- Stundenbuch der Katharina von Kleve/The Hours of ary Experiences,” and a new freshman seminar, Catherine of Cleves, with commentary in German “Transformations of an Empire: Power, Reli- and English editions (Gütersloh and Munich, gion, and the Arts of Medieval Rome,” which Faksimile Verlag, and New York, The Pierpont included an eight-day field trip to Rome during Morgan Library, 2009), as well as an introduc- spring break (see page 21). Her article “Deus— tory essay to the catalogue of an exhibition of Homo—Imago: Representing the Divine in the the same manuscript held at the Museum Het Twelfth Century,” appeared in Looking Beyond: Valkhof in Nijmegen and the Morgan Library Nino Zchomelidse et al., Looking & Museum in New York: “Multitudo et Varietas: Beyond: Visions, Dreams, and Visions, Dreams, and Insights in Medieval Art The Hours of Catherine of Cleves,” in Insights in Medieval Art and History and History, edited by Colum Hourihane (Penn The Hours State University Press, 2010). She currently has of Catherine of Cleves: Devotion, Demons and two articles in press: “The Aura of the Numi- Daily Life in the Fifteenth Century, edited by Rod nous and Its Reproduction: Medieval Paintings Dückers and Ruud Priem (Ludion, 2009). For of the Savior in Rome and Latium,” in Mem- a special issue of the Dutch journal Quaerendo oirs of the American Academy in Rome 55 (2010), (39 [2009]) in honor of Anne S. Korteweg on and “Der Lateransalvator und seine mittelalterli- the occasion of her retirement as curator of man- chen Repliken: Überlegungen zur Aneignung uscripts at the Koninklijke Bibliotheek in The eines byzantinischen Bildtyps im Westen,” in Hague, he contributed an article titled “The Bout Byzanz in Europa, edited by Michael Altripp Psalter-Hours, Dated 1453.” Marrow also pub- (Brepols, forthcoming 2010). Her forthcoming lished an entry in the exhibition catalogue Rogier co-edited book (with Giovanni Freni), Meaning van der Weyden 1400/1464: Master of Passions, in Motion: Semantics of Movement in Medieval edited by Lorne Campbell and Jan Van der Stock Art and Architecture, papers given at the 42nd (Waanders Publishers and Davidsfonds, 2009), International Congress on Medieval Studies and one of the tributes in the festschrift for Mar- in Kalamazoo in 2007, will include her arti- ilyn Aronberg Lavin, “Marilyn Then and Now: cle “Descending Word and Resurrecting Christ: Four Tributes,” in Medieval Renaissance Baroque: Moving Images in Illuminated Liturgical Scrolls A Cat’s Cradle for Marilyn Aronberg Lavin, edited of Southern Italy.” Zchomelidse lectured this by David A. Levine and Jack Freiberg (Italica New edition of Peter Bunnell, year at Harvard University and on campus for Press, 2010). He also taught a four-part course, Inside the Photograph: Writings on the Program in Hellenic Studies, and she gave an “Word-Diagram-Picture: The Shape of Meaning Twentieth-Century Photography informal talk at the Institute for Advanced Study. in Medieval Books,” in the Princeton University She has been named the George H. and Mildred Community Auditing Program and lectured at F. Whitfield Preceptor in the Humanities for a the Radboud University Nijmegen. term of three years. John Wilmerding, like a certain well-known quarterback, un-retired for the third straight Emeritus Faculty year. He taught his American studies seminar, Peter Bunnell’s 2006 anthology of essays on “Defining Moments in American Culture,” again photographers, Inside the Photograph: Writ- this spring. He also gave several public lectures ings on Twentieth-Century Photography (Aperture around the country during the past year: for the Foundation), has sold out, and the publisher Art Seminar Group, Baltimore; College of the has released a paperback edition. Most of the Atlantic, Bar Harbor, Maine; Farnsworth Art book’s 34 essays are devoted to individual, pre- Museum, Rockland, Maine; and Acadia National dominantly American, photographers, with the Park staff. He also interviewed artist James Rosen- balance written about three key galleries that quist on his recent memoir Painting from Zero at played a crucial early role in the recognition and the Cosmopolitan Club in New York this spring. Wilmerding’s publications included co- James Marrow et al., The Hours marketing of modern photography. Bunnell con- authoring the exhibition catalogue Robert of Catherine of Cleves: Devotion, tinues on a consulting basis in the Princeton Demons, and Daily Life in the University Art Museum and is also supervising Indiana and the Star of Hope, which accompa- Fifteenth Century the dissertation of one graduate student. nied a survey of the artist’s later career at the Farnsworth Art Museum during summer 2009. He wrote the foreword to the forthcoming book

6 s p r i n g   1 0 by David A. Cleveland, A History of American He is currently a member of the executive Tonalism: 1880–1920 (Hudson Hills Press, committee of Princeton’s Program in Hellenic 2010), and contributed an article on Charles Studies, as well as a member of the advisory Willson Peale’s Staircase Group for the Master- board of the Center for Advanced Study in the piece series in the weekend edition of the Wall Visual Arts at the National Gallery in Washing- Street Journal last November. He is also the ton, D.C. In the past he has served as a member principal author of the catalogue for a major of the editorial board of the Art Bulletin and as exhibition of Roy Lichtenstein’s still-life paint- a consultant for the John T. and Catherine D. ings and sculpture from the 1970s and early MacArthur Foundation, the Kress Foundation, ’80s, opening at Gagosian Gallery in Chelsea in and the Social Science Research Council May 2010. Research is currently under way for of Canada. an exhibition of Frederic Church’s sketches of Last fall Koortbojian lectured on “The John Wilmerding et al., Robert Maine at Olana and a retrospective of Robert Mythology of Everyday Life” at the University of Indiana and the Star of Hope Indiana’s prints at the Indianapolis Museum California–Berkeley symposium “Flesh Eaters,” of Art. devoted to recent research on Roman sarcophagi. This spring he gave the keynote address at New Faculty the University of Iowa symposium “Art & Text,” and next fall he will speak Michael Koortbojian joined the department at the colloquium “Iconographie last fall as professor of Roman art. He comes Funéraire Romain et Société: Corpus to Princeton from the Johns Hopkins Univer- Antique, Approches Nouvelles” at sity, where he was the Nancy H. and Robert E. the Université de Perpignan. Hall Professor in the Humanities. Prior to this, Koortbojian was on the faculty of the Depart- ment of Fine Art at the University of Toronto Deborah Howard, for 11 years and had also been a fellow of the 2009 Janson-La Palme Warburg Institute, Kings’ College, Cambridge, Visiting Professor and the American Academy in Rome. He has The Janson-La Palme Visiting Professor in the been awarded research grants by the British Michael Koortbojian fall 2009 semester was Deborah Howard, pro- Academy and the Social Sciences and Humani- fessor of architectural history in the Faculty of ties Research Council of Canada. Architecture and History of Art, and a fellow of Koortbojian’s scholarship has focused not St. John’s College in the University of Cambridge only on various aspects of Roman art, but on (U.K.). A graduate of Cambridge University and its study by Renaissance antiquarians. His the Courtauld Institute of Art, she taught at Uni- publications on Roman art have included inves- versity College London, Edinburgh University, tigations of the relationships between texts and the Courtauld Institute of Art before return- and images, and the role of historical imagery ing to Cambridge in 1992. She was chair of the as an aspect of ideology. In the field of anti- Department of History of Art in Cambridge quarianism, he has written about the rise of from 2002 until 2009. the systematic study of the Classical past, and, During her career Howard has published on in particular, the early collecting of ancient a wide range of topics, extending geographically inscriptions as an aspect of a new conception from Scotland to Damascus and chronologi- of historical method. His book Myth, Meaning, cally from the Middle Ages to the 19th century. and Memory on Roman Sarcophagi appeared in Her principal research areas at present are the art 1995 from the University of California Press; and architecture of Venice and the Veneto, the another book, tentatively titled Making Men relationship between Italy and the eastern Med- Gods, devoted to problems surrounding the Michael Koortbojian, Myth, iterranean, and music and architecture in the institution of the divinization of the Roman Meaning, and Memory on Roman Renaissance. Her books include Jacopo Sanso- emperor, will be published next year by Cam- Sarcophagi vino: Architectural Patronage in Renaissance Venice bridge University Press. Two articles are also (1975); Scottish Architecture from the Reforma- scheduled to appear next year—one on Roman tion to the Restoration (1995); The Architectural antiquity, concerning the changing status of the History of Venice (new edition 2002); and Ven- emperor and his new right to wield his mili- ice & the East: The Influence of the Islamic World tary powers in the Roman capital, and one on on Venetian Architecture (2000). Her latest book, Renaissance antiquarianism, regarding attitudes co-authored with Laura Moretti, is Sound and to ancient monuments in one small Roman Space in Renaissance Venice: Architecture, Music, neighborhood. Acoustics (Yale University Press, 2009). s p r i n g   1 0 7 Howard’s graduate seminar at Princeton was 2009 and 2012. The conference drew a large titled “Polarities in Venetian Architecture.” Each number of their former graduate and under- week the group explored binary themes in graduate students, as well as archaeologists and Renaissance Venice, such as “church and historians of ancient art from around the globe. state,” “east and west,” “republic and Three generations of department alumni pre- empire,” “military and civil,” or “town sented lectures that celebrated their advisers’ and country.” One student was chosen contributions by evoking the variety and breadth as the advocate for each concept and of their research and teaching. The speakers were presented her/his position in debate Carla Antonaccio *87, Milette Gaifman *05, with the opposing speaker. Thanks to a Zehavi Husser *08, Kyriaki Karoglou *05, cohort of a dozen committed, articulate, Laetitia La Follette *86, Margaret Laird *94, Liz and imaginative students, this experimen- Langridge-Noti *93, Tina Najbjerg *97, Jenifer tal format proved immensely stimulating. Neils *80, Nassos Papalexandrou *98, Nancy The semester culminated in the Janson-La Serwint *87, Mary Steiber *92, Glenda Swan Deborah Howard Palme colloquium on architecture in the Veneto *01, Lori-Ann Touchette *85 (M.A.), and Bar- in the later 16th century, titled “Exploding the bara Tsakirgis *84. The topics of their papers Can(n)on” (see page 22). ranged from the critical analysis of archaeological The Janson-La Palme Visiting Professorship, finds to the exploration of Greco-Roman visual established in 2001 by Robert Janson-La Palme and material culture, religion, and society. *76, brings distinguished scholars to campus The occasion also paid tribute to Princeton’s to teach a seminar in the field of European art integration of art-historical study and excavation between 1200 and 1800, give a public lecture, with textual analysis and historical context, and organize a colloquium. which has uniquely positioned both the program and its graduates in the field of Classical art and Symposiums Honor archaeology. While the weekend provided ample Retiring Faculty Members time for fond reminiscences, it was also an oppor- tunity to look to the future and to meet the “The Eye and the Trowel” Honors Childs, department’s new professor of Roman art, Meyer, and Shear Michael Koortbojian. On October 16–17, 2009, the department “Celebrating Venezianità” Honors Brown sponsored a conference honoring Professors Wil- Deborah Howard and Laura As a leading scholar of the Italian Renaissance, liam Childs, Hugo Meyer, and T. Leslie Shear Moretti, Sound & Space in Professor Patricia Fortini Brown has provided Jr., who have developed and led the program in Renaissance Venice: Architecture, substantial contributions to Venetian and Renais- Music, Acoustics Classical art and archaeology over four decades sance studies, including four books on Venetian through their exemplary scholarship, excava- visual culture. In honor of her considerable pro- tion, and teaching. All three are retiring between fessional achievements, Tracy Cooper *90 and

“The Eye and the Trowel.” Left to right: Carol Benson *96, Margaret Laird *94, Mary Stieber *92, Tina Najbjerg *97, Joanne Spurza *99, Diane Harris-Cline *91, Laetitia La Follette *86, unidentified, Milette Gaifman *05, Liz Langridge-Noti *93, Shelley Stone *81, William Childs, Thomas Groves *81 (M.A.), T. Leslie Shear Jr., Hugo Meyer, Lori-Ann Touchette *85 (M.A.), Barbara Tsakirgis *84, Carla Antonaccio *87, Kirsten Evans *96, Jenifer Neils *80, Nancy Serwint *87, Emma Ljung, Nassos Papalexandrou *98, Glenda Swan *01, Kyriaki Karoglou *05, Joanna Papayiannis, Elizabeth Kessler-Dimin

8 s p r i n g   1 0 “Celebrating Venezianità.” Front row, left to right: Sheryl Reiss *92, Becky Edwards *90, Giada Damen, Patricia Fortini Brown, Deborah Walberg *04, Heather Hyde Minor *02, Nadja Aksamija *04. Back row, left to right: Anna Swartwood House, Susannah Rutherglen, Johanna Heinrichs, Omer Ziyal ’08, Bob Glass, Mary Engel Frank *06, Tracy Cooper *90, Blake de Maria *03, Carolyn Guile *05

Blake de Maria *03 organized seven scholarly University of Illinois at Urbana-Champaign, sessions for the 2010 meeting of the Renaissance where he taught for 11 years before coming to Society of America in Venice. In the sessions Princeton, clearly reflected his many contribu- The Scuola di San Fantin in honoring Brown, 26 speakers focused on themes tions to the field and evoked the wide range Venice, one of the venues of the conference sessions honoring inspired by her own research interests, including and the many areas of interest—spanning late Patricia Fortini Brown confraternities and civic ritual, Venice and antiq- antique and Byzantine art and architecture— uity, private life and art, Venice’s Mediterranean that have characterized his scholarship and possessions, and conserving Venice’s heritage. teaching. The sessions, which took place on April Kim Bowes *02 (Cornell University) pre- 8–9, featured a wide variety of scholars and sented a paper on the miniature as icon; Haim topics, with many Princetonians—all of them Goldfus *97 (Ben-Gurion Uni- Brown’s former or current students—figuring versity of the Negev) spoke on prominently in every aspect of the event, from privileged burials in churches presenting papers to chairing sessions. The and monasteries of early Byzan- participants included Nadja Aksamija *04, Blake tine Palestine; Alessandra Ricci de Maria *03, Mary Engel Frank *06, Carolyn *08 (Koç University, Istanbul) Guile *05, Heather Hyde Minor *02, and elucidated the “reverse geom- Deborah Walberg *04; current graduate students etry” of Ernst Mamboury and Giada Damen, Leslie Geddes, Bob Glass, Constantinople’s Rhegion; Ann Johanna Heinrichs, Anna Swartwood House, Terry (St. John’s Preparatory and Susannah Rutherglen; and undergraduate School, Massachusetts) spoke alumni Frederick Ilchmann ’90, Christopher on artistry in wall mosaics; and Pastore ’88, and Omer Ziyal ’08. Robert Ousterhout (Univer- The settings for the sessions were two his- sity of Pennsylvania) examined toric structures in Venice: the Centro Culturale aspects of death in Cappado- Don Orione Artigianelli, built as a Domini- cia. The keynote lecture, “The Virgin’s House Slobodan Ćurčić can monastic complex, and the Scuola di San and the Gate to Heaven,” was given by Henry Fantin, originally a confraternity built in 1592– Maguire of Johns Hopkins University, who 1600. It was particularly fitting that this tribute was previously Ćurčić’s colleague at Illinois. to Brown took place in the city that has been the The department’s Nino Zchomelidse served as focus of her insightful research and publications. moderator for the afternoon’s proceedings. The symposium coincided with the major “Architecture and Icon” Honors Ćurčić international loan exhibition “Architecture as Students, colleagues, and friends of Professor Icon: Perception and Representation of Archi- Slobodan Ćurčić met in Princeton on April 24 tecture in Byzantine Art” at the Princeton at a symposium honoring him as he retires from University Art Museum, guest curated by the department after 28 years of teaching. The Ćurčić. The day’s events concluded with a gala papers presented in his honor by his former dinner at Prospect House. graduate students, both at Princeton and the s p r i n g   1 0 9 Graduate Student News

Patricia Blessing is a fourth-year graduate stu- this summer she will travel to the island of Malta, dent in Islamic art and archaeology who also has where she will carry out archival research on a strong interest in Byzantine and medieval West- Rhodes and the Knights of the Order of St. John ern art and architecture. After presenting her at the National Library of Malta in Valletta. dissertation proposal last spring, she has been [[email protected]] working on her dissertation, tentatively titled Allan Doyle, courtesy of a Hyde fellowship, is “Redefining the Lands of ūR m? Architecture, spending the year in Paris, where he is conduct- History, and Style in Eastern Anatolia, 1250– ing dissertation research at the Bibliothèque 1350.” Under the auspices of the Exchange Double-headed eagle in the Nationale de France and is enrolled at the École portal of the Great Mosque of Scholar Program, Blessing is spending the spring Normale Supérieure. In the fall he completed a Divriği, Turkey, 1228–29 c.e., one term at Harvard University, where she is enjoying paper, titled “Groping the Antique,” which will of the monuments being studied classes on “Ornament and Abstraction in Islamic appear in Reconsidering Gérôme (Getty Research by Patricia Blessing Art” and on Ottoman history, while researching Institute, forthcoming, 2010). His essay focuses early photographs and publications on medieval on an early painting by Jean-Léon Gérôme, architecture in Turkey. This summer and next Michelangelo Being Shown the Belvedere Torso academic year she will continue her dissertation (dated 1849, now in the Dahesh Museum), argu- research in Turkey and at the Museum für ing that Gérôme uses the figure of Michelangelo Islamische Kunst in Berlin, where she has been in his studio as a negative model of painting peda- working on the Anatolian travel diaries of the gogy, in contradistinction to his later atelier self German scholar Kurt Erdmann (1901–64). portraits, which show his own atelier practice as She was recently awarded a Samuel H. Kress exemplary. Doyle is currently doing research for Foundation Travel Fellowship for 2010–11. his dissertation on pedagogy in French roman- [[email protected]] tic painting, haunting the Louvre, and learning Charles Butcosk is writing his dissertation on to appreciate cheese in an entirely new way. In Wassily Kandinsky’s painting before the First December, he and fellow graduate student Maika World War, with the support of a Fulbright Pollack went to Versailles to see the exhibition Travel Grant in conjunction with a Quadrille “Louis XIV: l’homme et le roi” and visit the state Ball Fellowship from the Germanistic Society of rooms and gardens. Doyle and Pollack precepted America. The department’s Spears Fund spon- “19th-century European Art” together three sored his visits to collections of Kandinsky’s years ago and particularly enjoyed seeing some of paintings and the work of the painter Franz Marc the objects and monuments they had co-taught. in Paris, Cologne, and Munich. Last fall, he pre- [[email protected]] A Greek bronze that arrived in sented a paper titled “The Bear King’s Bride: Nika Elder is a fifth-year graduate student who Venice from Rhodes in 1503, part From the Animal to the Human and Back Again specializes in American art. She is currently the of Giada Damen’s thesis on the in Franz Marc’s Two Pictures” at a University of Wyeth Foundation Predoctoral Fellow at the antiquities trade in the 15th Pennsylvania symposium on depictions of ani- Smithsonian American Art Museum in Washing- and 16th centuries mals in art. [[email protected]] ton, D.C., where she is completing her research Giada Damen, a fifth-year graduate student in on the late-19th-century still-life painter William Renaissance art, is currently working on her dis- M. Harnett. She was also the recipient of a sertation on the trade in antiquities between Italy Wellesley College Graduate Fellowship this year. and the eastern Mediterranean during the 15th This spring, Elder delivered two talks based on and 16th centuries. Supported by a grant from her research: “Art into Artifact: William M. the Gladys Krieble Delmas Foundation, Damen Harnett’s The Faithful Colt and the Aesthetics traveled to Venice to conduct research on pri- of Display,” at the University of California– mary sources in local archives. Part of her recent Berkeley’s art history graduate student conference, findings were included in the paper “Shopping “The Many Lives of an Object”; and “An for Antiquities in 16th-Century Venice,” which Oblique Perspective: Landscape in William M. she presented in Venice this spring at the annual Harnett’s The Social Club” at the Department meeting of the Renaissance Society of America, of Art and Archaeology graduate student Maika Pollack and Allan Doyle in a session honoring her adviser, Patricia For- conference “Horizons + Horizontality.” Her at Versailles tini Brown. During the spring semester, Damen encyclopedia entry on Harnett will appear in the continued to investigate Venetian sources, and revised Grove Encyclopedia of American Art

10 s p r i n g   1 0 (Oxford University Press, forthcoming). She has graduate students representing institutions from also continued to develop her article on the role four continents participated, providing a wide of materiality in the early work of contemporary range of experience and new ideas. This January, artist Lorna Simpson and plans to submit it for Hatch participated in a graduate workshop on publication later this year. Ming and Qing dynasty archival research [[email protected]] methodologies hosted by the University of Caroline O. Fowler presented her dissertation California–Berkeley and Academia Sinica in proposal, “Drawing without a Master: Abra- Taipei. This summer he will take an intensive ham Bloemaert and the Dutch Golden Age,” course in literary Chinese at the University of last fall. Her study will focus on the prolific but California–Berkeley. [[email protected]] little-studied artist Abraham Bloemaert, propos- Marius Bratsberg Hauknes recently proposed ing a definition of artistic “mastery” centered on his dissertation, “Visual Allegory and Pictorial concepts of the ephemeral and rooted in 17th- Knowledge in Thirteenth-Century Rome.” His century debates about matter and metaphysics. project examines monumental painted allegories William M. Harnett’s The Faithful Fowler gave a paper titled “Hair, Air, and Cloth: at three different sites in Rome and Anagni in Colt, in the Wadsworth Atheneum The Matter of Drawing” at the 2010 annual relation to medieval theories of the image as well Museum of Art in Hartford, Connecticut, was the subject of meeting of the College Art Association, and as the relationship between historicity and alle- Nika Elder’s talk at Berkeley in April she represented the department at the gory (pastness and presence). This year Hauknes 15th Annual Graduate Student Symposium on presented a paper on Panofsky and the “principle the History of Art at the Philadelphia Museum of disjunction” at the Depart- of Art, where she spoke on “The Grammar of ment of Art and Archaeology’s Drapery: Lambert Lombard and Antiquity.” In graduate student conference “Hori-

May, she will give a gallery talk at the Princeton zons + Horizontality.” In April, White M. Bruce University Art Museum on the museum’s famous he gave a paper on “intervisuality” The Four Evangelists painting by Abraham Bloe- in medieval art at the Association maert. She also precepted for Bridget Alsdorf’s of Art Historians’ annual confer- “Neoclassicism to Impressionism” course in ence in Glasgow, Scotland. He will the fall and for Christopher Heuer’s “Northern present a third paper, titled “Trans- Renaissance” course this spring. gressive Narratives in the Sancta [[email protected]] Sanctorum,” at the International Leslie Geddes, with the support of a Donald Congress on Medieval Studies in and Mary Hyde Academic Year Research Fellow- Kalamazoo in May. This sum- mer he will conduct dissertation ship, is studying Leonardo da Vinci’s drawings Abraham Bloemaert’s The Four research in Rome, Lucca, Perugia, and Padova. and manuscripts in collections in England and Evangelists, the subject of a gallery Italy this year. In England, she regularly took the [[email protected]] talk by Caroline Fowler (Princeton train from London to Windsor Castle, where she Johanna Heinrichs is a fourth-year graduate University Art Museum y1991-41) studied the more than 500 da Vinci drawings in student in Italian Renaissance and Baroque archi- the Royal Library. In the spring, she returned to tecture. Her dissertation explores the emergence Florence to study archival evidence for da Vinci’s of the suburb as a social and design concept in proposed Arno River projects, then traveled to 16th-century northern Italy. With the support of Milan in May to study da Vinci’s Codex Atlan- a Donald and Mary Hyde Acadmic Year Research ticus in the Biblioteca Ambrosiana. Geddes also Fellowship, she conducted dissertation research delivered a paper on da Vinci’s approaches to this year in archives and libraries in Venice and drawing at the Renaissance Society of America’s the Veneto. This spring she presented material annual meeting in Venice this April. from a chapter on Palladio’s Villa Pisani, Montag- [[email protected]] nana, at the annual conference of the Renaissance Michael Hatch, a second-year student advised Society of America in Venice and at the European by Professor Jerome Silbergeld, is immersed in Architectural History Network in Guimarães, seminars and plans to take his general exams in Portugal. [[email protected]] the spring of 2011. He has already taken advan- Lisa Lee, a fifth-year modernist, is writing a 13th-century fresco of the tage of several opportunities to engage with dissertation on “Sculpture’s Condition/Condi- Roman god Mithras in SS. scholarly groups abroad. In October, he traveled tions of Publicness: Isa Genzken and Thomas Quattro Coronati in Rome, one to Berlin to attend the conference “Negotiat- Hirschhorn.” She spent the past year writing as of the works being studied by Marius Hauknes ing Difference: Contemporary Chinese Art in well as conducting research in London, Madrid, the Global Context,” hosted by the Freie Uni- Cologne, Kassel, and Berlin. Last May, Lee trav- versität Berlin. Three generations of scholars and eled to the Bijlmer area of Amsterdam to visit s p r i n g   1 0 11 The Bijlmer Spinoza- New York in late May of this year. The exhibition Festival, a sculptural will explore the idea of ethical cohabitation— installation by Thomas how do we live together in a shared environment Hirschhorn. In October, and negotiate relations that may appear harmo- she delivered a paper nious but are inherently antagonistic? Works by titled “Imminent Fail- 13 artists and collaborative groups will be shown, ures, Possible Utopias: with installations, performances, and other events Thomas Hirschhorn’s taking place at multiple sites across the west side Principles of Collage” at of Manhattan, including the Kitchen gallery, the the UCLA Art History High Line Park, and the Little Red Lighthouse Graduate Student Asso- beneath the George Washington Bridge. ciation Symposium. Her [[email protected]] Lisa Lee traveled to essay “Genzken’s Gambit,” an adapted version Emma Ljung, a doctoral candidate in Classical Amsterdam to view Thomas of an article that she previously published in the archaeology, precepted for ART 290, “Art and Hirschhorn’s installation The journal October, appeared in the exhibition cata- Archaeology of Ancient Egypt,” taking her stu- Bijlmer Spinoza-Festival, 2009 logue Die Moderne als Ruine: Eine Archäologie der dents on an archaeological armchair journey from (courtesy of the artist) Gegenwart/Modernism As a Ruin: An Archaeology the rock paintings in Egypt’s Western Desert to of the Present, published by the Generali Foun- the pylons of Ramses II at Karnak. She also dation in Vienna (2009). Lee is the 2009–11 earned her teaching transcript from Princeton’s Chester Dale Fellow at the Center for Advanced McGraw Center for Teaching and Learning, a Study in the Visual Arts in Washington, D.C. process she found very inspiring. Ljung has been [[email protected]] involved with the Danish-Greek archaeological Leigh Lieberman, a third-year graduate student excavations at Kalydon, Greece, since their incep- in Classical archaeology, is finishing her course- tion, and her publication of a recently excavated work and preparing for final exams. This January pottery kiln will appear in volume 1 of Kalydon in she participated in the interdisciplinary Princeton- Aitolia: Danish/Greek Field Work 2001–2005, Leigh Lieberman draws a newly Oxford colloquium “Center and Region in the edited by Soren Dietz and Maria Stavropoulou- excavated area in Pompeii Ancient Mediterranean,” hosted this year by Gatsi (Danish Institute at Athens). Her article on Princeton’s Program in the Ancient World. Her C. S. Lewis’s use of teleology, showing that it colloquium paper, “From Naxos to Taormina: more closely reflects that of Classical authors— Apollo’s Trip up Memory Lane,” examined Sicil- chiefly Ovid and Hesiod—than the Book of ian numismatic iconography during the 5th and Revelation, has been accepted for publication by 4th centuries b.c.e. In April, she gave a gallery the journal Mythlore. Ljung is currently complet- talk, “Imitating Imperial Portraits in the Early ing her dissertation, “From Indemnity to Roman Empire,” at the Princeton University Art Integration: An Economic Study of Aitolia in the Museum. This summer, she will spend a third 2nd and 1st Centuries b.c.” This summer, she season as a team member of the Pompeii Archae- will be engaged in deciphering inscriptions in ological Research Project, where she will serve as Portugal. [[email protected]] excavator and as the project’s registrar. The exca- Kate Nesin is a fifth-year modernist who is vation aims to better understand the area of the writing a dissertation on the sculptures of Cy ancient city near the Porta Stabia, a working-class Twombly. In 2009, her research included trav- district that shows significant change from its ini- eling to Rome and Vienna to view Twombly tial settlement until the city’s final destruction in retrospectives. In September, Nesin published the 79 c.e. [[email protected]] Emma Ljung et al., Kalydon catalogue essay in Cy Twombly: Eight Sculptures, in Aitolia I: Field Work and Michelle Lim carried out research on her dis- a catalogue of an exhibition of recent Twombly Studies, Danish/Greek Field sertation, “Curatorial Strategies in Chinese sculptures at the Gagosian Gallery in New York. Work 2001–2005 Contemporary Art, 1979–2009,” at the Venice She also delivered a lecture at the Art Institute of Biennale’s Historical Archives of Contempo- Chicago, where an exhibition of Twombly’s work rary Arts (ASAC) this year. She also interned at of the last decade, “Cy Twombly: The Natu- the Princeton University Art Museum, where ral World, Selected Works, 2000–2007,” opened she assisted curator of contemporary art Kelly the museum’s new modern wing. Nesin has been Baum with preparations for the upcoming exhi- named the 2010–11 Chester Dale Fellow by the bition “Land, Space, Territory.” Lim is currently Center for Advanced Study in the Visual Arts in a curatorial fellow in the Whitney Museum of Washington, D.C. This spring she is completing American Art’s Independent Study Program and her tenure as a Joan Tisch Teaching Fellow at the is co-curating “Undercurrents: Experimental Whitney Museum of American Art. Ecosystems in Recent Art,” which will open in [[email protected]]

12 s p r i n g   1 0 Jessica Paga spent this year as the Bert Hodge Hill Fellow at the American School of Classical Studies in Athens, participating in the regu- lar year program at the school, which involved extensive travel throughout mainland Greece, as well as the islands of Thasos, Crete, and Sic- ily. Paga also continued work on her dissertation, “Architectural Agency and the Construction of Athenian Democracy,” and completed an arti- cle, “Deme Theaters in Attica and the Trittys System,” which is forthcoming in Hesperia, the Mike Bruce journal of the American School. Her excavation Detail of a landscape painted by Fan Qi in 1673, plans for the summer include a session at ancient one of the works being studied by Gregory Seiffert Corinth, as well as a third season of digging at (Metropolitan Museum of Art, Bequest of John M. the site of Argilos, the earliest Greek colony on Crawford Jr., 1988, 1989.363.131f) the Thracian coast. Paga will spend the next aca- demic year as the Gorham P. Stevens Fellow at the American School, where she will continue during the later 17th century. Against the back- work on her dissertation, which explores the ground of Nanjing’s evolving political and intersections between the built environment of cultural status in the early Qing period, his dis- Athens and Attica and the political changes dur- sertation will examine how Nanjing-based artists Cy Twombly, Untitled (The ing the late 6th and early 5th centuries b.c.e. re-envisioned local topography and shaped Mathematical Dream of [[email protected]] emerging conceptions of regional painting style. Ashurbanipal), bronze, cast 2009, was included in the recent Maika Pollack is spending the year in Paris on [[email protected]] exhibition catalogue by Kate a departmental grant to conduct dissertation Nebojša Stanković traveled to Georgia, Tur- Nesin (courtesy Gagosian Gallery) research on color in Symbolist painting of the key, and Serbia last summer, studying medieval 1890s. Her research takes her primarily to the monastic churches to set his dissertation on Bibliothèque nationale, the Bibliothèque Jacques the Byzantine narthexes on Mount Athos in Doucet, the Musée Départemental Maurice the broader context of Byzantine monastic and Denis, and the archives of the Musée d’Orsay. In architectural traditions. He visited the ancient February, she presented the paper “New York and Georgian churches of Tbilisi, Gareja, Alaverdi, Chicago Alternative and Artist-Run Art Spaces, Mtskheta, Samtavisi, Bagrati, Ghelati, and 2000–10: What Next?” at the College Art Asso- Nikortsminda. In Turkey, he studied churches ciation conference in Chicago, where she enjoyed in Trebizond, the monastery of Soumela, and catching up with colleagues from Princeton. the Byzantine monastic complexes of Myrelaion, She was glad, however, to return to Paris for the Lips, Pantepoptes, Pantokrator, and Pammakaris- springtime. [[email protected]] tos in Istanbul. In Serbia, he studied monasteries Susannah Rutherglen is currently a predoctoral in the region of Raška, which was the center curatorial fellow at the Frick Collection in New of the Serbian state in the 12th and 13th cen- York, where she is participating in a new study of turies. His travels were funded by a Stanley J. Giovanni Bellini’s St. Francis in the Desert. In the Seeger Summer Fellowship, the Princeton Insti- spring, she delivered a paper on Titian’s Christ tute for International and Regional Studies, and the department’s Spears Fund. In November, and the Pharisee (Dresden, Gemäldegalerie) at Ananuri Castle overlooking the the annual conference of the Renaissance Soci- Stanković presented a paper at the 41st national Aragvi River in Georgia was one of ety of America. Her presentation was part of a convention of the American Association for the the sites Nebojša Stanković visited series of talks organized by Tracy Cooper *90 and Advancement of Slavic Studies, held in Boston. last summer Blake de Maria *03 in honor of Professor Patri- His paper, “Milutin Borisavljević and His Sci- cia Fortini Brown. Rutherglen also continues to entific Aesthetics of Architecture in the Age of work on her dissertation research on Venetian Modernism,” addressed the theoretical work of ornamental paintings, circa 1465–1570. the Serbian architect and aesthetician Milutin [[email protected]] Borisavljević (1889–1969). [[email protected]] Gregory Seiffert precepted for ART 100 and ART 101 during the 2009–10 academic year. Adedoyin Teriba is a second-year graduate stu- He recently presented the proposal for his dis- dent specializing in modern architecture. In the sertation, which focuses on three lesser-known fall of 2009, under the auspices of Princeton’s painters—Hu Yukun, Fan Qi, and Ye Xin— Program in African Studies, he gave a presentation who were active in and around Nanjing, China, titled “Sobrados, Screens, and Shrines,” which s p r i n g   1 0 13 highlighted the formalistic Gregory Seiffert, “Region and Margin in influence that 19th- and 20th- Seventeenth-Century Nanjing Painting” (Jerome century architecture built by Silbergeld) Afro-Brazilian artisans in the D. Alexander Walthall, “A Measured Harvest: Grain, Bight of Benin had on the reli- Tithes, and Territories in Hellenistic and Roman gious architecture and clothing Sicily (275–31 b.c.)” (William Childs and Nino Luraghi of Yoruba priests. Teriba was a [Classics]) curatorial assistant for the exhi- bition “Life Objects: Rites of Dissertations Recently Passage in African Art,” which Completed was on view at at the Princeton University Art Museum last Eva Diaz, “Chance and Design: Experimentation in Art at Black Mountain College” (Hal Foster) fall. This spring, he is precept- ing for Professor Esther da Sonja Kelley, “Printmaking in Post-War Sichuan: Costa Meyer’s course “The Regional Art Development in the People’s Republic of China, 1949–1966” (Jerome Silbergeld) Experience of Modernity.” He also delivered a paper, titled Noriko Kotani, “Studies in Jesuit Art in Japan” “An Evolving Ontological Pro- (Thomas DaCosta Kaufmann) cess in Southwest Nigeria,” at Katherine Marsengill, “Portraits and Icons: the 63rd Annual Meeting of Between Reality and Holiness in Byzantium” Three fifth-year graduate students the Society of Architectural Historians, and will (Slobodan Ćurčić) traveled from their respective Daniel McReynolds, “Refiguring the Palladian research centers to spend give a presentation titled “Returned Africans? Space, Ornament, and Craftsmanship as Identity Legacy: Architectural Reform in Eighteenth-Century Thanksgiving with Jessica Paga Venice” (John Pinto) in Athens, who hosted them at in the Bight of Benin” for Princeton’s Program in the American School of Classical African Studies. [[email protected]] Robert Wolterstorff, “Robert Adam & Essential Studies. Left to right: Leslie Architecture: Minimal, Geometric, and Primitive D. Alexander Walthall is currently finishing his Modes of Architectural Expression” (John Pinto) Geddes (London), Allan Doyle fourth year in the Classical archaeology program. (Paris), Jessica Paga (Athens), This summer he will supervise the excavation of Charles Butcosk (Berlin) a Hellenistic bath complex at the ancient Greek Fellowships for 2009–10 city of Morgantina in central Sicily. Thanks to Charles Butcosk, Fulbright Travel Grant and the generous support of an Olivia James Travel Quadrille Ball Fellowship, Germanistic Society of

Bruce M. White Fellowship from the Archaeological Institute of America America, Walthall will spend next year in Sic- Giada Damen, Gladys Krieble Delmas Grant ily carrying out research for his dissertation, “A Allan Doyle, Donald and Mary Hyde Academic Year Measured Harvest: Grain, Tithes, and Territo- Research Fellowship ries in Hellenistic and Roman Sicily (275–31 Nika Elder, Wyeth Foundation Predoctoral b.c.),” which considers the political and eco- Fellowship, Smithsonian American Art Museum, nomic consolidation of southeastern Sicily under and Wellesley College Graduate Fellowship the Hellenistic monarch Hieron II (275–215 Leslie Geddes, Donald and Mary Hyde Academic b.c.e.) and the administrative transformation Year Research Fellowship that occurred after the island became a Roman Johanna Heinrichs, Donald and Mary Hyde province. [[email protected]] Academic Year Research Fellowship Alex Kitnick, Harold W. Dodds Honorific Fellowship New Dissertation Topics Lisa Lee, Chester Dale Fellowship, Center for Adedoyin Teriba was a curatorial Patricia Blessing, “Redefining the Lands of ūR m? Advanced Study in the Visual Arts assistant for the exhibition “Life Architecture, History, and Style in Eastern Anatolia, Emma Ljung, Birgit and Gad Rausing Foundation Objects,” which included this Lega 1250–1350” (Thomas Leisten) Fellowship and Fredrika-Bremer-Förbundets maskette (Princeton University Art Emmelyn Butterfield-Rosen, “Posture and Stipendiestiftelse Fellowship Museum L.1980.15.100) Figuration, 1886–1912” (Brigid Doherty) Jessica Paga, Bert Hodge Hill Fellowship, American Caroline O. Fowler, “Drawing without a Master: School of Classical Studies in Athens Abraham Bloemaert and the Dutch Golden Age” Susannah Rutherglen, Andrew W. Mellon (Christopher Heuer) Predoctoral Curatorial Fellowship, Frick Collection Marius Bratsberg Hauknes, “Visual Allegory and Pictorial Knowledge in Thirteenth-Century Rome” (Nino Zchomelidse)

14 s p r i n g   1 0 Undergraduate News

Alexander Adler ’10 interned at Sotheby’s New examined how Banksy uses the illegality of his York last summer in the Old Master paint- street art and museum interventions to work ings department, where he served as a research against the hegemonic control of city officials and assistant. Working with Professor Brigid art institutions. On campus, she was the social Doherty, he wrote a senior thesis examining media chair of the student advisory board of the the emergence of a fine art culture in Califor- Princeton University Art Museum and a disc nia during the 1960s and the establishment of jockey for Princeton’s student-run radio station, Los Angeles as a viable alternative to New York. WPRB. After graduation, she plans to pursue a Using a selection of photographs taken by actor, career in the museum world. Julie Dickerson ’10, Exploding producer, and director Dennis Hopper in 1961– [[email protected]] Cups, acrylic on canvas 67, Adler investigated the role of the Ferus Elizabeth “Biz” Forbes ’10 worked under the Gallery as the foremost proponent of the early guidance of Professor Rachael DeLue on both her L.A. arts scene, which included artists such as junior independent work and her senior thesis. Wallace Berman, Ed Ruscha, Bruce Conner, and Forbes wrote her thesis on the life and art of Larry Bell. His thesis focuses on the visual dia- Dwight William Tryon, the late-19th–early 20th- logue and dichotomy between the East and West century American artist who was preoccupied Coasts as exemplified by Hopper’s photographs. with capturing the “essence” of nature through After graduation, Adler plans to pursue a career harmonious color palettes and natural light in publishing or gallery work. effects. Drawing on the local scenery of South [[email protected]] Dartmouth, Massachusetts, Tryon’s intimate and Julie Dickerson ’10 did her junior independent tonal scenes captured the transitory and emo- work on the changing meanings of perspective tional effects of time on nature. Forbes’s thesis in Velazquez’s Las Meninas. For her spring show also attempts to cultivate a greater appreciation she created a series of landscapes through of Tryon and other artists who have fallen by the destruction—drawing landscapes and then wayside in both the scholarly and public realms. removing them, leaving the ghosts of the previ- Her enthusiasm for American art began when ous images behind. The subjects tended to be Professors John Wilmerding and Rachael DeLue war and conflict. Having worked with a wide introduced her to its rich history and the sense Dana Eitches ’10 wrote a senior variety of themes and forms—from coffee cups of national identity seen in the evocative and thesis on the street artist known to war, and machines to urban forms—her final diverse images of the country’s landscapes. as Banksy show, “On the Styx,” reflected her wide range of [[email protected]] interests and included works in a number of Kaitlyn Hay ’10 is a visual arts (Program 2) mediums. Her senior thesis project advisers were major who concentrated in sculpture and instal- Eve Aschheim, Nathan Carter, Brian Jermusyk, lation art and also earned a certificate in Italian and Rachael DeLue. Outside the classroom, she language and culture. Her thesis work focused was a residential college adviser in Forbes, ran a on the reappropriation of texture derived from marathon, trained for a 70-mile canoe race, and assorted found objects such as pine cones, foam was involved with World Vision, a nonprofit packing peanuts, and small toys, as well as Christian humanitarian organization. from raw material such as paper pulp and bur- [[email protected]] lap. While abroad in Italy, she was inspired by Dana Eitches ’10, under the guidance of Profes- Baroque decorative design and architecture to sor Anne McCauley, wrote a thesis on the street create forms of similarly dense texture and ornate artist who goes by the moniker “Banksy.” Her surface quality, but using much simpler materi- thesis contextualizes Banksy within the larger als. Hay has worked with Eve Aschheim, Sowon graffiti art movement that began in New York Kwon, Rachael DeLue, and Molly Warnock. On Elizabeth Forbes ’10 studied the in the late 1960s, as well as other movements, campus, she was the founder and president of the evocative landscapes of American including Pop Art and Postmodernism, that C.I.A. (Cultura Italo-Americana), a photographer Tonalist Dwight William Tryon have influenced Banksy’s work. He first gained for the Daily Princetonian, a tour guide at the an international following through media cover- Princeton University Art Museum, and art editor age of a series of “museum infiltrations” between for the Nassau Literary Review. She plans to travel 2003 and 2005, in which he covertly placed his and apprentice in several workshops next year, art in major museums, including the Tate and then pursue an M.F.A. in sculpture. the Metropolitan Museum of Art. Eitches also [[email protected]] s p r i n g   1 0 15 and for Current Magazine. Last summer, Jasiewicz interned in the culture section of Newsweek, pub- lishing stories about visual art, film, and television for print and the Web. On campus, she was an Orange Key tour guide, a peer adviser in Mathey College, and a member of the Princeton Charter Club. After graduation, Jasiewicz will return to Newsweek for the summer before entering Yale Law School in the fall. She plans to practice art and media law. [[email protected]] Sarah Johnson ’10 worked with Professor Anne McCauley on a senior thesis that examined car- icature in late-18th-century England, when caricature exploded onto the print market on a scale and level of sophistication that reflected the significant changes that were taking place in late Georgian England. Johnson’s research focused particularly on the prints of Thomas Rowlandson A group of departmental majors from the Class of 2010 gathers outside McCormick Hall to celebrate and his satires of the art world, and she worked turning in their senior theses with original Rowlandson prints in Firestone Library’s Graphic Arts Collection. Her thesis, titled “The Painter Disturbed: Understanding Sarah Hogarty ’10, working with Professor the Art World of Late Georgian England through Anne McCauley, wrote a senior thesis on noctur- the Eyes of Thomas Rowlandson,” demonstrates nal images of New York in photography and that the art of that period cannot be fully under- painting of the late 19th and early 20th centu- stood without a full understanding of its satire. ries. During the summer of 2009, she worked in Johnson also received a certificate in French lan- the trusts and estates department of Christie’s guage and literature, and her junior independent auction house. On campus, she led the One-on- work focused on the 18th-century artist Élisa- One Tutoring project, which pairs Princeton beth Vigée-Le Brun. On campus, she enjoyed students with Latina girls in elementary and volunteering for the group Fashion Speaks, which middle schools in Princeton for weekly tutoring supports Autism Speaks, and writing for the sessions. A member of Kappa Alpha Theta and “Street” section of the Daily Princetonian. John- Connoisseurs (1799), one Terrace Club, Hogarty also worked as an editor son has held summer internships at Christie’s and of the original Thomas for the “Street” section of the Daily Princetonian an art gallery, and she hopes to continue working Rowlandson prints studied and for The Review, an arts and entertainment in the art world after graduation. by Sarah Johnson ’10 publication that consists entirely of reviews, and [[email protected]] served as Panhellenic president. Next year she Evangeline Lew ’10 is a Program 2 (visual arts) will teach middle-school math in New Orleans major and Program in East Asian Studies cer- as a Teach for America corps member. tificate candidate whose thesis work in painting [[email protected]] combined her interests in poetry, art, and his- Isia Jasiewicz ’10, under the guidance of Profes- tory. Taking the poems carved by detainees into sor Hal Foster, wrote a senior thesis examining the walls of their exclusion-era Chinese immi- the treatment of language and signification in the grant detention centers as a point of inspiration, artistic practice of the Lettristes, a group of artists her senior work explores the art and process belonging to an interdisciplinary art movement of the written word, while also celebrating the founded in Paris shortly after World War II. Her steely character of her immigrant grandparents thesis focused on how formal operations in Let- and their generation. Her artwork was guided triste poetry, graphic art, and film aimed to forge by visual arts lecturer Louis Cameron, and she new possibilities for linguistic and visual signifi- was also advised by Ann Agee of the Program cation. Outside the classroom, Jasiewicz served in Visual Arts and the department’s Jerome Sil- for two years as an executive editor of “Street,” bergeld. Outside the classroom, she enjoyed Evangeline Lew ’10, Pietà, oil on the Daily Princetonian’s weekly arts and culture tutoring young adults in Trenton in English masonite board section, having previously been a staff writer for and math. After graduation, she will teach Eng- the “Street” and news sections. She was also a lish to underprivileged students in rural Yunnan student columnist for the Princeton Alumni Province as part of Princeton-in-Asia’s China Weekly and wrote for her hometown newspaper Education Initiative, and she also looks forward

16 s p r i n g   1 0 to sharing her passion for art with her students. the late 1970s and by the 1980s grew to dom- [[email protected]] inate the art market. Under the supervision of Talia Nussbaum ’10 is a photographer in Pro- Lecturer Molly Warnock, Siebert examined gram 2 (visual arts) who also earned certificates how Basquiat broke down barriers and ushered in neuroscience and Judaic studies. Her junior in a new era and style, and how his mixed eth- and senior independent work focused on the nic background and Expressionist style made his affects of mandatory military service on Israeli work passionate and distinctive. Siebert is also a youth, framed by her personal perspective as varsity athlete who played on the women’s squash someone who has had a long-term relationship team for four years, winning three national cham- with an Israeli soldier and has witnessed the pionships. She earned All-America and All-Ivy physical and psychological changes caused by honors three times and was elected captain of the army. Through photographs and audio- the team in her senior year. After graduation she recorded interviews, Nussbaum explored this plans to earn a graduate degree in gemology at subject in Israel for her junior project, examin- the Gemological Institute of America in New ing specifically how the military affects romantic York and to pursue a career in the jewelry busi- relationships. Funding from an Alex Adam ’07 ness. [[email protected]] Talia Nussbaum ’10, Alex, Be’er Award from the Lewis Center for the Arts, as Jennie Sirignano ’10 worked with Professor Sheva, January 2010 well as from the Office of the Dean of the Bridget Alsdorf on a senior thesis that examines College and the Program in Judaic Studies, the works of the late-19th- and early-20th- sponsored her senior thesis travel to South century artists Cecilia Beaux and Edmund C. America and Southeast Asia, two of the most Tarbell, focusing on their depictions of women in popular destinations for Israeli soldiers after domestic interiors. Her thesis explores the differ-

they complete their service, to explore other ent interpretations of women portrayed in these Lev-er Efraim aspects of their post-military experience. She images by combining her own formal analysis continued her work in Israel, spending the fall with archival information about the two artists 2009 semester at Hebrew University. Nussbaum and their works. On campus, Sirignano served as has been advised by Jocelyn Lee, Andrew the president of diSiac Dance Company and pres- Moore, Emmet Gowin, Gary Schneider, Lois ident of the Princeton Performing Arts Council, Conner, and Anne McCauley. After graduation, and she was also a member of the Ivy Club. Last she plans to pursue a career in photography. summer she was an intern at Christie’s auction [[email protected]] house in New York City and after graduation Will Palley ’10, advised by Professor Hal Foster, hopes to work in the art world before entering wrote his senior thesis on Felix Gonzalez-Torres graduate school in art history. (1957–96), who was known for his subtle and [[email protected]] enigmatic installations and sculptures. As part of “Untitled” (North), 1993, by Felix the project, Palley situated the artist’s work in Departmental Senior Gonzalez-Torres, who was the discourse with some of the precursory moments focus of Will Palley ’10’s senior Thesis Grants thesis. © The Felix Gonzalez- of 20th-century art history. By analyzing the Torres Foundation conceptual recourse with these formative periods, Giovanna E. Campagna ’10, under the guidance he proposed a new, political reading of Gonzalez- of Professor Esther da Costa Meyer, wrote her Torres’s corpus. Palley also earned a certificate in senior thesis on the painter Tarsila do Amaral, a French language and culture. Outside the class- leading figure in Brazilian Modernism. Tarsila, as room, he served as president of the Princeton she is often called, lived and worked in Paris and University Art Museum’s student advisory board, Brazil in the 1920s. She joined the inner circle of a new organization that focuses on increasing the the Parisian avant-garde and studied under some accessibility of the arts on campus. He was also of the most prominent artists of the time, includ- the founder and editor-in-chief of the student- ing Fernand Léger. In her thesis, Campagna run publication The Public Journal, which examines how Tarsila created uniquely Brazilian publishes anonymous cathartic nonfiction, con- works of art through the fusion of European fessions, and illustrations submitted by members influences and the indigenous artistic heritage of of the University community. After graduation, Brazil. Grants from the Class of ’55 Senior Thesis Fund and the department’s Jay Wilson ’69 Senior Amanda Siebert ’10 turns in her Palley plans to enter the field of consumer senior thesis marketing. [[email protected]] Thesis Research Fund financed her travel to Bra- zil, where she studied Tarsila’s paintings in ’10’s senior thesis focused on Amanda Siebert museums and private collections in São Paulo Jean-Michel Basquiat and the return of Expres- and Rio de Janeiro. Last summer, Campagna sionism, analyzing Basquiat’s place in the interned in the Impressionist and Modern Neo-Expressionist movement that emerged in s p r i n g   1 0 17 department of Christie’s auction house in New which enabled her to travel to Udine, Kassler- York, and in August she worked at a nongovern- Taub examined the Udinese renovatio urbis of mental organization in São Paulo, Brazil. After the 16th century. She focused on how the archi- graduating, she intends to return to Brazil, where tectural articulation of the central axis of ascent she will pursue a career involving the arts. to the Castello, as well as the apportionment of [[email protected]] space according to civic and sacred functions Jeffrey Campbell ’10 researched syncretic in its immediate environs, render the site upon Marian imagery in early colonial Latin Amer- which the Castello stands a veritable sacro monte, ica for his senior thesis. Under the guidance of or holy mountain. On campus, Kassler-Taub Professor Thomas DaCosta Kaufmann, he inves- was a departmental representative, a member of tigated the trajectory of cultural hybridization the Behrman Undergraduate Society of Fellows, in the art and rhetoric portraying the Virgin of a Wilson College peer academic adviser, the co- Antropofagia (1929), one of the Guadalupe in New Spain (modern Mexico) and creator and co-manager of the Wilson College works of Tarsila do Amaral studied the Virgin of Copacabana in colonial Peru. With Art Studio, and a set designer for student the- by Giovanna E. Campagna ’10 the support of a departmental Jay Wilson ’69 ater productions. After graduation, she will begin Senior Thesis Research Fund travel grant and a graduate studies in Italian Renaissance art and grant from the Center for the Study of Religion, architectural history at Harvard University. he traveled to Cuzco, Peru, and Copacabana, [[email protected]] Bolivia, to study sites and objects in situ and to Victoria Lewis ’10 worked with Professor observe the festival of the Virgin of Copacabana, Rachael DeLue, writing a senior thesis on which takes place each year at the beginning of contemporary South African documentary February. Campbell also earned a certificate in photography. Focusing on the problem of the materials science and engineering, conducting post-apartheid context, she examined the work of research on marble preservation. On campus, he a number of artists, including Mikhael Subotzky, played French horn in the Princeton University Pieter Hugo, and Zwelethu Mthethwa. Catego- Orchestra and various chamber ensembles. After rizing their photography into the typologies of graduation, he plans to work for a year and then ethnography, portraiture, and environmental rep- enter medical school. [[email protected]] resentation, she reviewed contemporary trends in Mark Guiducci ’10 worked with Professor South African photography, analyzing the rele- Bridget Alsdorf, writing a senior thesis on vance of apartheid as a focus of contemporary Giovanni Boldini, a Belle Époque artist best critical discourse on South African photography. known for his portraiture of Parisian high soci- Lewis received funding from the Department of Priests with Christ of the Art and Archaeology and the Office of the Dean Earthquakes in Cuzco, Peru, ety. Guiducci’s project compared the public and private dimensions of Boldini’s oeuvre, much of of the College to travel to South Africa, where she where Jeffrey Campbell ’10 did interviewed Subotzky and other artists, as well as research for his thesis which was not exhibited until after the artist’s death, identifying confluences with both art critics, magazine editors, and academics. At Impressionism and contemporary photo- Princeton, she was co-chair of the annual fashion graphy. Guiducci received funding from a show to benefit Autism Speaks and a member of departmental Robert S. Macfarlane ’54 the Cottage Club. After graduation, she plans to grant and from the Office of the Dean of pursue a career in marketing or advertising. the College to travel to Ferrara, Boldini’s [[email protected]] hometown, where he was able to view a Jeff Richmond-Moll ’10 wrote his senior thesis major retrospective of the artist’s work. Gui- on the biblical paintings of Henry O. Tanner, the ducci was an active member of diSiac first African American artist to establish an inter- Dance Company and the Ivy Club during national reputation. Working with Professor his time at Princeton, and he plans to pur- Rachael DeLue, he explored the theme of the sue a career in media and publishing. margin in Tanner’s pictures, proposing a new [[email protected]] reading that de-racializes the idea of marginality Elizabeth Kassler-Taub ’10, under the tute- and instead connects Tanner’s “margins” to lage of Professor Patricia Fortini Brown, Christian art, the Gospel narrative, and expatri- wrote a thesis on the implications of the atism in Paris. Supported by a departmental Jay Venetian supplantation of the Patriarch- Wilson ’69 grant, Richmond-Moll traveled to Elizabeth Kassler-Taub ’10 at the ate of Aquileia in the northern Italian city of museums in New York, Philadelphia, and Wash- Chiesa di San Giacomo in Udine Udine as part of the conquest of Friuli in 1420. ington to study more than 35 Tanner paintings. With the support of a departmental grant from The Center for the Study of Religion and the the Jay Wilson ’69 Senior Thesis Research Fund, department’s Teresa and Luther King Family

18 s p r i n g   1 0 Fund for Senior Thesis Research in American China. Funded by grants from the Office of the Painting and Sculpture sponsored his travel to Dean of the College and the department’s Jay Paris, where he conducted research at the Wilson ’69 Senior Thesis Research Fund, Saun- Archives Nationales and the Musée d’Orsay. ders traveled to China to conduct thesis research Richmond-Moll, who also completed a certifi- at the Shanghai Museum and the Yunnan Pro- cate in American studies, worked as a research vincial Museum. Her concentration in Chinese assistant at the Princeton University Art archaeology has earned Saunders a Certificate Museum, and in the summer of 2007 he studied of Language and Culture from the East Asian art history in Rome with Rutgers University. On studies department. In addition to her aca- campus, he was project coordinator for the demic pursuits, Saunders is an active member Princeton-Trenton Student-Tutor Partnership, of the 2 Dickinson Street Vegetarian Coopera- served as a Butler College peer adviser, and led tive, WPRB Princeton Radio, and the CycLAB music for the Princeton Evangelical Fellowship. Bicycle Cooperative. After graduation she hopes Next year he will attend Westminster Theologi- gain practical experience in museum work before cal Seminary to earn a certificate in Christian applying to graduate programs. Jeff Richmond-Moll ’10 in front studies. [[email protected]] [[email protected]] of the Académie Julian in Paris, where Henry O. Tanner studied in Laura Robertson ’10 combined her two main the early 1890s interests—dance and the analysis of visual art— 2009 Senior Thesis Prizes writing a senior thesis on contemporary British artist Tacita Dean’s films of the work of the late Department of Art and Archaeology Senior Thesis Prize choreographer Merce Cunningham. Working with Professor Brigid Doherty, she did research Joanna Wendel ’09, “Max Klinger’s ‘Dramen’: The Ford Valerie in New York, visiting Dean’s gallery, the Marian Theatrics of Modern Life” Goodman Gallery, and screening seven of Dean’s Stella and Rensselaer W. Lee Prize videos at the Museum of Modern Art. With Scott Carlson ’09, “Critical Objects: The Minimalist support from the Jay Wilson ’69 Senior The- Critique of Modernist Art” sis Research Fund, she also traveled to London, Morgan Jacobs ’09, “History of Solitude: Cinema where she visited Frith Street Gallery, Tate Brit- and Photography in Pre- and Post-Wende Berlin” ain, and the Hayward, where she interviewed the director, Ralph Rugoff. Robertson also earned Irma S. Seitz Prize in the Field of Modern Art a certificate in theater and dance, and she pre- Jacqueline Thomas ’09, “Landscape As Spiritual miered her choreography thesis, “Grey Matter,” Practice: Georgia O’Keeffe and Lake George” in the Berlind Theatre in December. Robert- son has appeared as a dancer in many Princeton Frederick Barnard White Prize Laura Robertson ’10 performing productions, including the University’s world in Art and Archaeology Name by Name at the 2009 Jessica Frey ’09, “Internationalism along the Nile: premiere of Vsevolod Meyerhold’s production Spring Dance Festival of Pushkin’s Boris Godunov, and as a choreogra- Egyptian Policy and Foreign Archaeology” pher in annual Spring Dance Festivals. She also Frederick Barnard White Prize served as a departmental representative and as in Architecture treasurer and creative director of the on-campus Jacqueline Temkin ’09, “From New Jersey to New publication The Public Journal. After gradua- Jerusalem: The Architecture of Storefront and Strip tion, Robertson plans to pursue museum work, Mall Churches in the Twentieth Century” education public policy, and/or choreography. [[email protected]] Lucas Award in Visual Arts Zoë Saunders ’10 is a Program 3 (archaeology) Glenn Brown ’09, “People Are Dying in Africa” major whose senior thesis traces the develop- (video) ment of the “human activity” theme in ancient Cynthia Michalak ’09, “From Glitter to Dust” Chinese art between the Eastern Zhou (8th–3rd (painting) centuries b.c.e.) and Eastern Han periods (1st– Francis LeMoyne Page Visual Arts Award 2nd centuries c.e.), when depictions of daily life Natasha Lavdovsky ’09, “In the Elements” rose from obscurity to predominance. Under the Gilt bronze lamp in the form of (photography) guidance of Professor Robert Bagley, Saunders a female attendant, early 2nd explored the origins of this theme in a variety Grace May Tilton Prize in Fine Arts century c.e., one of the Han depictions of daily life studied of media—bronze, earthenware, painting—and Jacqueline Thomas ’09, “Landscape As Spiritual by Zoë Saunders ’10 contrasted its occurrences with the relatively Practice: Georgia O’Keeffe and Lake George” anthropocentric art of the roughly contem- poraneous Dian minority culture in southern s p r i n g   1 0 19 Seminar Study Trips

ART 485 Travels to Athens by the important archaeological site at Kamiros and Rhodes and the Knights’ castle at Kastellos/Kritinia on the west coast and the Italian spa at Termes During fall 2009 semester, Professors Patricia Kalitheas and village of Lindos, with its 4th- Fortini Brown and John Pinto co-taught century acropolis and 17th-century ship “Rhodes and Malta: Art, Faith, Warfare” to a captains’ houses, on the east side of the island. class of nine undergraduates and three graduate One of the more memorable experiences was a students. Focusing on the artistic patronage of trip by catamaran over rough seas to the nearby The Old Hospital of the Knights the military order of the Knights Hospitallers island of Kos, with its ancient Asklepieion and in Rhodes City of the Order of St. John—including urban fortified castle of the Knights. planning, fortifications, architecture, and the Four other Princetonians participated in the art of Caravaggio—the course explored the trip and offered invaluable guidance: Dimitri rich artistic and architectural legacy of the Gondicas, director of the Program in Hellenic Mediterranean islands of Rhodes and Malta Studies; Nikolas Bakirtzis *06, currently a fel- from Classical antiquity through the 20th low at the Cyprus Institute in Nicosia; graduate century. student Matthew Milliner, who was doing dis- The highlight of the seminar was a study sertation research in Cyprus; and Amelia Brown trip to Athens and Rhodes, sponsored by ’89, a Hannah Seeger Davis Post-Doctoral Fel- the department and the Program in Hellenic low in Hellenic Studies who received her Ph.D. Studies. Two days in Athens introduced the at Berkeley in 2008. group to Greece and its Classical heritage, with visits to the Acropolis and the Agora, Seminar Tours Sicily as well as the rich cultural remains of the medieval and modern periods in the Benaki “Island of Cultures: Sicily from the Greeks to The Rhodes seminar at the church the Normans,” a 400-level seminar co-taught by of Agios Nikolaos Foundoukli and Byzantine Museums. Exploring the city on their own, the students were particularly Professors Slobodan Ćurčić and Nino Luraghi impressed by the New Acropolis Museum. of the classics department, included a 10-day Landing in Rhodes, the students found trip to Sicily during fall break. themselves in another, strikingly multicultural, Sicily is an extraordinary destination for world. Austere medieval buildings and fortifica- students of both the ancient and medieval Med- tions of the Knights (1309–1522) in Rhodes iterranean. A crossroads of culture throughout City were interspersed with graceful mosques its history, the island was a meeting place of and fountains from the Ottoman period different peoples, religions, and cultures from (1522–1912), augmented outside the walls by antiquity through the Middle Ages. Successively the architecture of the Italian colonial period inhabited by Greeks, Phoenicians, Romans, (1912–45). The six-day stay on the island Byzantines, Arabs, and Normans, Sicily is an featured ample time to roam through the city, amalgam of cultures whose impressive vestiges whose off-season streets were empty unless still stand side-by-side across the island. The Sicily seminar visiting the cruise ships were in port. Archaeologists from The class’s itinerary ranged from museums, Palatine Chapel in the Norman cathedrals and churches, palaces, and catacombs palace in Palermo the Fourth Ephorate of Byzantine Antiquities generously provided special access to the mas- to fortifications, an amphitheater, ancient towns, sive Palace of the Grand and other archaeological sites. The areas of Masters, virtually rebuilt expertise of Luraghi, a historian of the ancient during the Italian colo- world who works with material evidence, and nial period. Ćurčić, an art and architectural historian special- Two day-long bus izing in the late antique and Byzantine periods, trips revealed the island’s covered the material encompassed by the course. rich Classical and Byzan- The variety of academic disciplines rep- tine heritage. In addition resented by the students—architecture, art to tiny Orthodox and archaeology, classics, and history—also churches and ruins of brought fresh viewpoints to discussions as castles dotting the coun- the group visited key sites and monuments The Princeton group at Temple E across the island. Students were expected at the ancient site of Silenus tryside, the students were especially fascinated

20 s p r i n g   1 0 to actively contribute their insights and Avignon. An eight-day study opinions, which often led to lively and mem- tour of the Eternal City during orable discussions among the entire group. spring break was a vital ele- For architecture majors, the trip opened ment of the course, enabling doors to archaeology and architectural history. the students to grasp funda- Visiting the ancient city of Selinus, founded by mental aspects of siting, scale, Dorian Greeks around 628 b.c.e., they were relationships, and detail. The able to walk among the ruins, envision the trip was generously financed missing stones, and imagine the lives of the by the department and the residents. 250th Anniversary Fund. The The multiple layers of history made a force- freshman seminar will be ful impression during the group’s visit to the taught again in spring 2011 Latomie, an ancient stone quarry in Syracuse, and 2013. The Greek theater at Segesta in where, after the disastrous Sicilian expedition From the center of Imperial Rome, the northwestern Sicily by the Athenians, thousands of imprisoned class moved on to study many sites and mon- soldiers died. Long after that brutal episode, uments throughout the city that reflected the monks in the early Middle Ages created tran- transformation of a politically powerful pagan quil dwellings in the quarry walls. metropolis into a virtually unprotected but The class was also enthralled by the spec- religiously potent Christian center. They also tacular mosaics in the great cathedral/monastic focused on the visual strategies that were churches of Cefalù and Monreale, and above all used to promote the popes and the new by the monuments of Palermo—the Cappella Christian God. Palatina, Martorana, and cathedral, as well as A tour of the catacombs outside the city, the Norman palaces of La Zisa and La Cuba— once filled with countless bodies of Early Chris- Relief panels on the Arch of among the finest works of Norman-Arabic tian martyrs, stimulated discussions of how Constantine in Rome architecture, with their splendid Byzantine Rome’s new status as an important Christian mosaics, among the finest surviving from the pilgrimage site influenced its urban develop- 12th century. ment. Daytrips to the nearby towns of Orvieto Back on campus, the students gave pre- and Viterbo provided revealing glimpses of two sentations that were deeply informed by the papal strongholds outside Rome. experience of the trip. There was also enthu- On-site lectures by Zchomelidse were siastic agreement that there was simply no interspersed with presentations by department substitute for having seen the monuments in graduate student Jaqueline Sturm, who special- the flesh, and for sharing the camaraderie fos- izes in early medieval art, and by the students tered by the combination of travel and learning. themselves. Their diverse interests and back- grounds often enriched their talks. One Freshman Seminar Travels prospective engineering major drew on his to Rome knowledge to explain the structural principles Professor Nino Zchomelidse and used in the building of the Pantheon. The graduate student Jaqueline Sturm On the afternoon of March 12, 12 members of seminar’s long days ended with group dinners test the Bocca della Verità the Class of 2013 gathered at the edge of the in a taverna on the Janiculum that buzzed with Roman forum. Unlike tourists, they were not talk about the day’s events admiring the grandeur of the Roman Empire. and sometimes continued Instead, armed with six weeks of intensive for hours. classwork in Princeton, they were envisioning The class returned to and discussing Rome of the medieval period, campus with many new- when it had become a small town of a few found enthusiasms, thousand inhabitants dwelling among the including Italian gelato, ancient ruins under the leadership of a power- but also the Eternal City less Christian bishop. itself and the experience “Transformations of an Empire: Power, of having witnessed first- Religion, and the Arts of Medieval Rome,” hand how the shifting taught by Professor Nino Zchomelidse, focused tides of politics and reli- on the impact of political, religious, and social gion have left an indelible The freshman seminar students change on the making of art and architecture in and decipherable imprint on a city that is and Professor Nino Zchomelidse the city of Rome from the 4th century c.e. obsessed with its own past. atop the Castel Sant'Angelo, with until 1308, when the papal court moved to St. Peter’s in the backgound s p r i n g   1 0 21 Department Lecture Series Lectures, Conferences, Symposiums Fall 2009 Thursday, October 1 Art and Its Audiences Lecture Series phy by Chinese photographers. The papers Thomas Dale considered historical and cross-cultural per- University of Wisconsin–Madison The 2009–10 academic year marked the third Romanesque Sculpture and Multi- collaboration between the department and the spectives, critical and theoretical approaches sensory Religious Experience Institute for Advanced Study in co-sponsoring a to the subject, and the problem of defin- Thursday, October 8 series of lectures addressing contemporary issues ing “documentary” photography. For the Art and Its Audiences in art history. The eight lectures, organized by speakers and their topics, see page 24. Lecture Series the department’s Bridget Alsdorf and Yve-Alain Kaja Silverman Exploding The Can(n)on: Bois of the institute, brought leading scholars University of California–Berkeley Architecture in the Veneto after the Behold the Invisible from a broad range of art-historical disciplines Death of Palladio to Princeton. The series focused on art’s rela- Wednesday, October 21 Robert J. H. Janson-La Palme *60 Art and Its Audiences tionship to its individual and collective Colloquium Lecture Series audiences, examining the ways in which art has December 12, 2009 John Baines historically addressed, activated, conditioned, or Organized by Deborah Howard, this collo- University of Oxford excluded its viewers. In recent decades, many art Who Were Artists in Ancient Egypt quium explored how artists, patrons, and and What Audiences Did They historians have rejected approaches that focused architects in the Veneto reacted to the supreme Address? on an artwork’s authorial meaning in favor of accomplishments and perceived “correctness” of Wednesday, November 18 interpretations centered around art’s implica- Palladio’s work. The Kurt Weitzmann Lecture tions for an audience. These lectures examined The first session addressed the impact of the Elizabeth Bolman how the burden of meaning has historically Palladian “canon” in his own time and the Temple University shifted between artwork and audience across response to the dominating force of the archi- Discovering Early Byzantine time and cultures, and suggested how we might Monasticism in Upper Egypt: Art, tect’s coherent ideals. David Rosand (Columbia rethink the relationship between the art object Archaeology, and Conservation University) explored Paolo Veronese’s sophisti- and its viewers, both historical and contempo- Tuesday, November 24 cated painted architectural settings, while Tracy rary. The speakers and their topics appear in the Art and Its Audiences Cooper *90 (Temple University) discussed the sidebars on this page and page 23. Lecture Series first extant biography of Palladio, written by Okwui Enwezor Paolo Gualdo in 1616, setting Gualdo in his San Francisco Art Institute The Eye and the Trowel: A Sympo- Photography after the End of sium in Honor of Professors Childs, intellectual context and exploring his remark- Documentary Realism: Zwelethu Meyer, and Shear able circle of friends. Andrew Hopkins Mthethwa’s Color Photographs (University of Aquila, Italy) examined the ways October 16–17, 2009 in which Palladio’s principal immediate follower Wednesday, December 9 To mark the retirement of the department’s Art and Its Audiences in the Veneto, Vicenzo Scamozzi, abandoned three long-time Classical archaeologists in Lecture Series Palladio’s preference for strict bi-axial symmetry. 2009–12, 15 of their former graduate students Stephen Bann In the second session, Guido Beltramini University of Bristol, emeritus returned to Princeton to give papers in the (Centro Internazionale di Studi di Architettura Landscapes and Their Users: From complimentary fields of art history and archae- Andrea Palladio, Vicenza) explored Palladio’s Romantic to Modern in the Repre- ology. Organized by Milette Gaifman *05 sentation of Normandy unpublished illustrations of the writings of Poly- and Margaret Laird *94, the symposium fea- continued on page 23 tured explorations of a broad range of topics bius, which reveal Palladio’s skillful use of the in ancient Greek and Roman art, field archae- graphic medium as well as his sophisticated ology, material culture, and society. For more understanding of the tactics of Roman war- about this symposium honoring the three fac- fare. In the final paper, Howard discussed the ulty members who have guided and inspired unhappy experiences of the elderly Venetian generations of students in the program in senator Marc’Antonio Barbaro in building the Classical archaeology, see page 8. Venetian Republic’s star-shaped fortified town of Palmanova, in Friuli. A lively discussion ses- China Seen by the Chinese: Docu- sion concluded a most stimulating day. mentary Photography, 1951−2003 Hierarchies October 24, 2009 Tang Center Graduate Student Symposium At this symposium, organized by the Tang February 27, 2010 Center in conjunction with the exhibition Speakers at the Tang Center’s graduate student The Red Monastery in Upper “Humanism in China: A Contemporary symposium addressed the multivalent effects Egypt was the subject of Record of Photography” at the China Insti- Elizabeth Bolman’s lecture tute in New York, eight speakers focused on and implications of hierarchical systems and the emergence of documentary photogra- classification practices on the art and artists of 22 s p r i n g   1 0 East Asia. The eight graduate students speakers analysis of the politically charged presented fascinating case studies of how var- “harborspace” in his Watson and ious hierarchies, both artistic and social, have the Shark. conditioned aesthetic standards, subject mat- The conference was organized ters, genres of art, and means of expression. by second-year modernists Frances Professor Marsha Haufler (University of Kan- Jacobus-Parker and Tessa Paneth- sas) gave the keynote lecture, “Views from the Pollak, with other graduate Back of the Book: Monks, Women, and For- students serving as moderators. eigners.” For more about this conference, see Speakers at the “Hierarchies” page 24. The Egyptian Image in Context symposium. Front row, left to April 17–18, 2010 right: Aaron Rio, Professor Marsha Insular and Anglo-Saxon: Art and Organized by postdoctoral fellow Deborah Haufler, Jun Hu, Jeehyun Lee, Yu Thought in the Early Medieval Period Vischak, this international conference featured Ping Luk, Sylvia Lee; back row, March 16–17, 2010 14 scholars who addressed various aspects of left to right: Stephen Whiteman, At this major international conference orga- ancient Egyptian visual culture and, specifically, Bryan Lowe, Jeffrey Moser nized by the Index of Christian Art, 15 leading its context. Surviving ancient Egyptian texts are scholars from both sides of the Atlantic pre- almost devoid of any discussion of the nature Department Lecture Series sented their recent research on early medieval and value of art, aesthetics, or the identities continued from page 22 art in Britain and Ireland. The conference was and roles of artists, but the surviving material inspired in part by significant recent discover- and visual culture demonstrates a profound Spring 2010 ies, including the Staffordshire hoard, which concern for the significance of shape, form, is the largest assemblage of Anglo-Saxon gold and composition. Thursday, February 4 Art and Its Audiences objects ever discovered, as well as important The speakers discussed objects and monu- Lecture Series finds of Irish metalwork and manuscripts. ments that were produced for specific purposes Michael Leja These major finds have stimulated dynamic and places, and to function in concert with University of Pennsylvania development in this field of study, which the other objects, monuments, spaces, and actions. Reception Issues in Early Mass speakers addressed from a variety of viewpoints. By examining these materials together, the Visual Culture The gathering drew audience members from as papers illuminated layers of meaning embed- Tuesday, February 16 far away as Israel. For more details, see page 30. ded in Egyptian images and objects, from major Patricia Berger University of California–Berkeley monuments to minor objects and writing. Precious One: Transformative Arts Horizons + Horizontality The four sessions focused on four differ- and Technologies in 18th-Century 2010 Graduate Student Symposium ent types of context: three-dimensional (space, Asia March 27, 2010 landscape, architecture), two-dimensional (inte- Tuesday, March 2 Ten graduate student speakers, who hailed from riors and exteriors, object surfaces), form and Art and Its Audiences as far away as Erlangen-Nürnberg, approached message (the relationship of writing and pic- Lecture Series the topic of “Horizons + Horizontality” from a torial art), and the Egyptian world of images Horst Bredekamp Humboldt University, Berlin range of historical and methodological perspec- (ideals, others, and the natural world). To pro- The Audience as Prisoner: Reflec- tives. The first panel, “Delineations,” considered vide an even broader contextualization, each tions on the Activity of the Object the horizon line’s material and illusionistic role session incorporated one comparative paper Thursday, April 1 in Giuseppe Bagetti’s battle-scapes and Cy from a field outside ancient Egypt. Art and Its Audiences Twombly’s paintings. The session “Skyscraping” Lecture Series explored Sol Lewitt’s interest in the ziggurat- Architecture and Icon: A Symposium Finbarr Barry Flood topped skyscrapers of New York City, El in Honor of Slobodan Ćurčić Institute of Fine Arts, New York University Lissitzky’s proposal for a Wolkenbügel (a April 24, 2010 All That Glitters: Image and horizontal skyscraper), and the history of the This symposium honored Professor Slobodan Ornament in Early Islam artificial skyline in the modern planetarium. Ćurčić as he retires from the department after Thursday, April 22 The final panel, “Perspectives,” analyzed 28 years of inspiring teaching, dedicated advis- Art and Its Audiences Panofsky’s “principle of disjunction,” the ana- ing, and wide-ranging publishing on the art Lecture Series morphosis of Holbein’s Ambassadors, and the and architecture of the late antique and Byzan- Alina Payne landscape-as-tabletop still lives of William tine periods. The speakers were Kim Bowes *02 Harvard University Materiality and Kleinarchitektur: Harnett. (Cornell University), Haim Goldfus *97 (Ben- The Economy of Scale in Renais- Professor Jennifer Roberts of Harvard Uni- Gurion University of the Negev), Alessandra sance Architecture versity delivered the keynote address, “Copley’s Ricci *08 (Koç University, Istanbul), Ann Terry Atlantic Horizon and the Challenge of Per- (St. John’s Preparatory School, Massachusetts), ceptual Delivery.” Her paper framed the work Robert Ousterhout (University of Pennsyl- of early American painter John Singleton Cop- vania), and Henry Maguire (Johns Hopkins ley in relation to the shifting geopolitics of the University), who gave the keynote lecture. For American Revolution, and included a nuanced more details about the symposium, see page 9. s p r i n g   1 0 23 Tang Center for East Asian Art

he P. Y. and Kinmay W. Tang Center versity), addressed the problems of perspective, Tpromoted the understanding of East Asian questioning the role of the photographer’s point art and culture through a variety of scholarly of view. Eliza Ho (Ohio State University) and activities this year. Under director Jerome Sil- Richard Kent *95 (Franklin and Marshall Col- bergeld, the P. Y. and Kinmay W. Tang Professor lege) focused on the transition from fine-art of Chinese Art History, and associate director photography to documentary photography in Dora C. Y. Ching, the center organized two China during the 1930s. D. J. Clark, a photo symposiums and four lectures, sponsored a and multimedia journalist and professor of visual two-day workshop, acquired a group of artworks journalism in Dalian, China, discussed how for the Princeton University Art Museum, and the interpretation of photographs can be his- worked toward the publication of several large- torically and culturally bound. In conjunction scale projects. with the symposium, Princeton University Art Set of bells in a sacrificial In October, the Tang Center held the Museum Asian art curators Cary Liu ’78 *97 deposit at Xinzheng, Henan international symposium “China Seen by the and Xiaojin Wu *08 (M.A.), along with pho- province, Chunqiu period, Chinese: Documentary Photography, 1951– tography curator Joel Smith *01, organized the 8th–6th century b.c.e. 2003.” The conference coincided with an exhibition “Asian Moments: Art, Documents, exhibition at the China Institute Gallery in Photographs” at the museum. More than 100 New York of Chinese people attended the symposium and exhibition. documentary pho- Since 2004, the Tang Center has sponsored tography from the a biennial graduate student symposium in East Guangdong Museum Asian art, providing a forum for young academ- of Art. Although ics to exchange ideas on intellectually engaging Western photogra- topics. In February, the graduate students in East phers have shown Asian art hosted the 2010 symposium “Hier- China to Westerners archies,” which was organized by Jun Hu *09 for 150 years—and (M.A.). This conference explored the implica- photography has tions of different forms of hierarchical thinking been a major on artistic practice, both past and present, and its medium in Western historiographic legacy. museums since the Historiography and art criticism have long 1950s—it was not been classification-conscious practices: since the until 2003 that the earliest art-historical writing in East Asia, his- Shi Baoxiu (b. 1950), Soldiers Being Guangdong Museum of Art exhibited the first torians and art critics have created hierarchical Transported to the Front Line in permanent collection of works by Chinese systems for rating artists and ranking categories Yunan Use the Railway Military documentary photographers assembled by any of art, privileging certain subjects, genres, and Station for Their Meal, 1985 Chinese museum. A curatorial committee of means of expression. This helped to consolidate photographers spent two years touring more the place of the visual arts within a broad hier- than 20 provinces, viewing 100,000 photo- archy of cultural pursuits. Artists, on the other graphs, and selecting 600 works by 248 hand, have had to negotiate their way through photographers for the Guangdong Museum’s an ever-changing social landscape—be it social collection. Silbergeld organized the China stratification or the more narrowly defined mar- Institute exhibition, “Humanism in China: A ket comprised of the state, religious institutions, Contemporary Record of Photography,” which private patrons, and fellow artists. The speakers featured 100 of these photographs and was the at this symposium attempted to demystify, re- first exhibition of its kind in the United States. situate, and reflect on these various hierarchical Presentations at the symposium consid- systems and their historical consequences. Eight ered historical and cross-cultural perspectives, graduate students from institutions as far afield as well as critical and theoretical approaches to as Oxford University and the Chinese Univer- the subject. Silbergeld introduced the problem sity of Hong Kong spoke on subjects that ranged of defining “documentary” photography in the from Japanese sutra copyists to Chinese wom- Chinese context. James Elkins (School of the en’s orchid paintings. The symposium featured Poster for the graduate student symposium “Hierarchies” Art Institute of Chicago) discussed meanings a keynote lecture by Professor Marsha Haufler and assumptions in documentary photography, (University of Kansas). drawing from a diverse set of “documentary” In April, the Tang Center sponsored a two- projects, while Bridget Alsdorf (Princeton Uni- day workshop, “Ancient China as a Culture of 24 s p r i n g   1 0 Bruce M. White Finally, Matthew McKelway (Columbia Univer- Tang Center Events sity) presented a paper on Japanese art, focusing on the fans from the Nanzenji screens. Lectures As part of its ongoing collaboration with November 12, 2009 Princeton’s art museum, the Tang Center Mary Hirsch occasionally funds acquisitions of art for the Independent Scholar museum’s permanent collection. For the last 1,001 Heads: Animating the Uni- verse and Mimicking the Neighbors several years, the center has actively collected Co-sponsored by the Program in works by the artists featured in the museum’s East Asian Studies 2009 exhibition “Outside In: Chinese × Amer- February 16, 2010 ican × Contemporary Art.” This year the Tang Patricia Berger Center contributed to the acquisition of the well- University of California–Berkeley known red chalk drawing, Portrait of a Man, by Precious One: Transformative Arts Liu Dan, the only artist in the exhibition whose and Technologies in Eighteenth- work had not yet entered the museum’s col- Century Asia lection. The Tang Center also purchased nine Co-sponsored by the Department of Art and Archaeology Chinese documentary photographs, new prints April 8, 2010 Liu Dan, Portrait of a Man, 2001; red chalk on ivory of works that were shown in the China Insti- tute’s “Humanism in China” exhibition and that David Schaberg antique paper. Princeton University Art Museum University of California–Los Angeles 2009-119, museum purchase, Fowler McCormick, are currently on long-term loan to the Princeton Purpose of “The Discussion on Salt Class of 1921, Fund, with gifts from the P. Y. and University Art Museum. and Iron” Kinmay W. Tang Center for East Asian Art, Richard The Tang Center invited Zhao Shengliang, Co-sponsored by the Program and Ruth Dickes, and David Solo. © 2001, Liu Dan Ph.D., of the Dunhuang Academy of China, in East Asian Studies and to spend the spring 2010 semester in Princeton the Department of Art and Archaeology Bells,” organized by the department’s Professor assisting with the Lo Archive project, a multi- Robert Bagley in conjunction with his gradu- year research and publication initiative. The 500 April 13, 2010 ate seminar. One of the most prominent and Buddhist cave temples in Dunhuang, an oasis Matthew McKelway Columbia University yet most neglected artifacts in the archaeolog- town situated at the crossroads of the north- ern and southern routes of the ancient Silk Invention and Inversion in ical record of ancient China is the bronze bell, Momoyama Painting: Fans from or rather, musical sets of bells. Taking the most Road, preserve approximately 2,000 sculptures the Nanzenji Screens spectacular find of such bells, the inscribed set and 45,000 square meters of wall paintings that excavated from the tomb of Marquis Yi of Zeng range in date from the 4th to the 13th century Symposiums (d. 433 b.c.e.), as its point of departure, this c.e. Princeton’s Lo Archive of Dunhaung photo- October 24, 2009 workshop explored the place of bronze bell pro- graphs is an unparalleled resource for the study China Seen by the Chinese: Docu- mentary Photography, 1951–2003 duction, bell performance, and music theory in of Buddhist art in East Asia, preserving more the culture of the pre-Han period. Invited par- than 2,500 historic views of the caves as they Graduate Student Symposium ticipants included Professors David Schaberg were in the early 1940s, prior to the many dep- February 27, 2010 (University of California–Los Angeles), Hai- redations and questionable restorations that have Hierarchies Keynote speaker: Marsha cheng Wang *07 (University of Washington), taken place since that time. Through analysis of the photographs and research on the cave paint- Haufler and Paul Goldin (University of Pennsylvania). University of Kansas As it does almost every year, the Tang Cen- ings, Zhao is helping to sequence the thousands Views from the Back of the Book: ter organized four lectures on topics of interest of images of paintings and sculptures. Publica- Monks, Women, and Foreigners to the East Asian art community. Mary Hirsch, tion of the Lo Archive, with its many previously Workshop an independent scholar, presented a paper on unpublished archival photographs, will provide April 9–10, 2010 Chinese shadow puppets; she had recently cat- the best chronological treatment of this impor- tant material to date. In addition to the Lo Ancient China as a Culture of Bells alogued the collection of shadow puppets in Archive project, the Tang Center has a number Workshop leader: Robert Bagley the East Asian Library and Gest Collection and Princeton University of other scholarly publications currently in mounted an exhibition in the library. production. ARTiculations: Undefining Patricia Berger (University of Chinese Contemporary Art, proceed- California–Berkeley) spoke about ings of the symposium held last her recent research on Bud- spring in conjunction with the dhism and transformative arts “Outside In” exhibition, will be and technologies in 18th- released by Princeton Univer- century Asia. David Schaberg, sity Press in November 2010. who participated in the work- For information about Tang shop on ancient Chinese music Center publications, sympo- and bells, also gave a paper on the siums, and other events, visit the ancient Chinese text The Discus- website www.princeton.edu/tang. sion on Salt and Iron and archaeology. Zhao Shengliang s p r i n g   1 0 25 Marquand Library

irector Sandra Brooke reports that one of the most important develop- Dments at Marquand Library is the addition of two dedicated East Asian bibliogra- phers. Kim Wishart, who joined the library in July 2008 as Chinese art specialist, is a Ph.D. candidate in Chinese art in the department. She holds undergraduate degrees in both art history and studio art, and brings a rich combination of Illustration from Dubois- Maisonneuve, Introduction à editorial, teaching, and curatorial experience to l’étude des vases antiques d’argile the position. Thanks to generous support from peints vulgairement appelés the East Asian studies program and the Tang étrusques... (1817) Center, Marquand was able to add Japanese art specialist Nicole Fabricand-Person ’76 *01, who returned to Princeton in August 2009 after teaching at several colleges and universities. A specialist in medieval Japanese art and Buddhist Detail of the Tuileries Palace in Jacques-François iconography, Fabricand-Person also works on Blondel, Architecture françoise... (1756). John Rupert 19th-century Japanese woodblock prints. Martin Book Fund Some of this year’s most significant acqui- uments pertaining to ceramics collected by the sitions were in the field of Asian art. Marquand Qing court. purchased the original editions of Hokusai’s In the field of ancient art, the library was woodblock masterpiece, Fugaku hyakkei (One able to acquire a deluxe copy of Dubois- Hundred Views of Mount Fuji), which was pub- Maisonneuve’s Introduction à l’étude des vases lished in three volumes in 1834, 1835, and antiques d’argile peints vulgairement appelés 1847. The first two “falcon feather” volumes étrusques... (1817). This scholarly portfolio, with retain their original, delicately embossed cov- 101 etched plates, depicts black- and red- figured ers and appended advertisements. The library vases from famous collections such as that of Sir William Hamilton. Marquand’s copy includes a The apostle John as author rare, duplicate set of 91 plates that were hand- from the Reichenauer colored at the time of publication. Perikopenbuch facsimile Acquisitions in medieval art include three sumptuously produced facsimiles: the Reichenauer Perikopenbuch, a richly illuminated evangeliary created in the scriptorium of the Benedictine monastery at Reichenau around 1000; the Königsgebetbuch, a private prayer book written in gold and presented as a gift to the boy emperor Otto III (980–1002); and De rerum naturis, a manuscript produced at Montecassino in the time of Abbot Theobald (1022–35) of Mount Fuji seen through a bamboo grove, from the universal encyclopedia authored by Rabanus Hokusai, Fugaku hyakkei (One Hundred Views of Maurus, the 9th-century archbishop of Mainz. Mount Fuji) (1835) Marquand added some particularly nota- also acquired the immersive 20-volume his- ble items in the field of architecture, including tory of Tokyo, Edo Meisho Zue (Famous Sites in the scarce second edition of Leon Battista Alber- and around Tokyo), written by three generations ti’s Libri De re ædificatoria dece[m] (Paris, 1512), of the Saitō family beginning in the 1790s and the first edition of this treatise to be divided finally published in 1834 with more than 600 into 10 distinct chapters. A rare copy of Marsi- Fortifications in Francesco woodblock illustrations by Hasegawa Settan; lio della Croce’s L’historia della publica et famosa Tensini’s La fortificatione, and Qing gong ci qi dang an quan ji (Archives of entrata in Vinegia del serenissimo Henrico III. re guardia, difesa, et espugnatione the Complete Collection of Porcelain and China di Francia is an account of celebrations in Venice delle fortezze esperimentata in Wares of the Qing Imperial Palace), a 52-volume during the 1574 visit of the king of France, with diverse guerre... (1624) chronological reprinting, in facsimile, of doc- illustrations of ephemeral architecture designed

26 s p r i n g   1 0 by Andrea Palladio. The First art-historical treatments of [-fift] Booke of Architecture, ancient and modern Roman the first English translation sculpture. Marquand also of Sebastiano Serlio’s Tutte acquired a group of pam- l’opere d’architettura, was pub- phlets on the Salon of 1781, lished in London in 1611 at some decrees issued by the the charge of court painter French National Assembly in Robert Peake. Marquand also 1791 to regulate the Salon, acquired a group of 17th- Humphry Repton’s improved and a rare 1793 catalogue century books on fortifica- landscape from his Fragments on of what was to become the tions. Of particular interest the Theory and Practice of Landscape Louvre. is Francesco Tensini’s La for- Gardening. . . (1816) Among this year’s addi- tificatione, guardia, difesa, tions in the field of modern et espugnatione delle fortezze esperimentata in art are some early theoretical works by Rus- diverse guerre… (1624), with exquisite etchings sian artists, including Kazimir Malevich’s Ot by Odoardo Fialetti that imaginatively com- kubizma i futurizma k suprematizmu (From Cub- bine diagrammatic, pictorial, and mythological ism and Futurism to Suprematism) (1916) and Design for a state bed from imagery. Jacques-François Blondel’s Architecture the first German edition of Wassily Kandin- Thomas Chippendale, Le guide françoise… (1752–56) is a monumental, lavishly sky’s Über das Geistige in der Kunst (1912), one du tapissier, de l’ébéniste, et de tous illustrated survey of French architecture that of the most important manifestos of modern ceux qui travaillent en meubles remains an authoritative source. art. Bruno Taut’s Alpine Architektur (1919) is a (1762). Elise and Wesley Wright Jr. In the field of garden history, the library fantastic, utopian vision of architecture and its ’51 Marquand Book Fund acquired Humphry Repton’s final major work, regenerative power, from the mountains to the Fragments on the Theory and Practice of Land- cosmos. The 1923 Moscow edition of Vladi- scape Gardening…(1816), inventively illustrated mir Mayakovsky’s autobiographical poem Pro with hand-colored aquatints that include fold- eto (About This) features Alexander Rodchenko’s over flaps depicting his improvements at notable photomontage illustrations and book cover, and estates, such as Woburn Abbey, and to his own is an important example of his Productivist art. modest garden at Hare Street. Marquand also In contemporary art, Marquand acquired completed its run of the influentialReport of the poster/catalogue Dada 1916–1923, designed the Board of Metropolitan Park Commissioners by Marcel Duchamp for a retrospective exhibi- (1893–1919), supervised by Charles Eliot, chief tion held at the Sidney Janis Gallery in 1953. landscape architect to the Massachusetts com- It is a tour de force of graphic design, dense mission until his death in 1897. with texts arranged as an evocation of his Nude A significant acquisition in decorative arts is Descending a Staircase. Also acquired were sev- Cosmic vision from Bruno Taut’s the third and most complete edition of Thomas eral artists’ books, among them Dieter Roth’s Alpine Architektur (1919) Chippendale’s Cabinet-maker, translated as Le 1965 Diter Rot, also known as the Copley Book; guide du tapissier, de l’ébéniste, et de tous ceux qui Urzeit/Uhrzeit (1990) and other works by travaillent en meubles (1762), with 200 plates Hanne Darboven; and Jim Dine’s Hot Dream showing the latest styles for a Francophile audi- (52 Books) (2008). ence, including Louis XVI and Catherine the The periodicals holdings were enhanced Great. The library also added a this year by the addition of a full run of Le teinturier univer- full run of Removedor (Mon- sel (Paris, 1860–64), a journal tevideo, 1944–53), the official on dyeing technology and color publication of the Torres- theory, with Michel Eugène García Studio, and the third Chevreul’s lecture notes, as well issue of Tristan Tzara’s Dada as multiple fabric samples. (Zurich, 1918), a pivotal Rare items in paint- example of Dada typographic ing and sculpture include design that includes 19 Pietro Accolti’s Lo Inganno de original woodcuts. Other gl’occhi… (1625), a treatise on modernist journals added this perspective that is important year include Lajos Kassák’s in its own right as well as for MA (Budapest, 1921–25); incorporating an essay on paint- Stavba (Prague, 1923–38); Cover design by Alexander ing by Leonardo da Vinci, once Bouwkunde: Maandschrift Rodchenko for Vladimir thought to be lost. Giovanni (Antwerp, 1924–25); Horizont Mayakovsky’s Pro eto (About This) (1923) Andrea Borboni’s Della statue Poster/catalogue Dada 1916–1923, (Brno, 1927–32); and Tér és (1661) is one of the earliest designed by Marcel Duchamp forma (Budapest, 1928–44). s p r i n g   1 0 27 Visual Resources Collection

isual Resources, directed by Trudy architecture. ARTstor has also added a set of Jacoby, placed a major emphasis this 9,000 images from the Society of Architectural Vyear on broadening the scope of the Historians Architecture Resources Archive subject matter covered by the digital image (SAHARA), a collection of digital images, pho- collections, both by adding images locally and tographed and contributed by members of the by licensing external collections. society, that document architecture, landscape A significant addition this year was Bridge- design, and the built environment. man Education, the online educational resource Visual Resources is contributing to the of the Bridgeman Art Library, which Visual growth of both ARTstor and SAHARA by pro- Frans Hals, Laughing Cavalier, Resources licensed in partnership with the Uni- viding approximately 5,000 images from its Wallace Collection, an image versity library. Bridgeman has provided images William L. MacDonald archive of photographs from the Bridgeman for reproduction since 1972, and their online of ancient Roman architecture. Acquired by the Education collection collection offers more than 300,000 digital department in December 2008, this collection images, including material not available from offers extensive coverage of sites in remote por- any other source. The collection offers particu- tions of the former Roman Empire, as well as larly comprehensive coverage of museums in the well-known monuments throughout Italy. United Kingdom, Germany, and Eastern The department’s digital image collections Europe, including the National Gallery in are now available in ARTstor as part of their London, the Ashmolean Museum, the Dulwich “hosting” pilot project, which allows Princeton Picture Gallery, the Fitzwilliam Museum, the users to search ARTstor and the department’s National Museums in Warsaw and Stockholm, image collections in a single search. New func- and the State Russian Museum in St. Petersburg. tions in ARTstor this year include the direct The site offers an array of searching capabilities, export of ARTstor groups to PowerPoint and the including by keyword, subject, and medium, as ability to save image details. well as an advanced search that filters by nation- Visual Resources has expanded its instruc- ality, century, location, and other criteria. Visual tional program for graduate students and has Resources is able to obtain higher-resolution now added sessions for undergraduates. In these images from Bridgeman for inclusion in group tutorials, students learn strategies and Almagest and ARTstor. techniques for finding images and using them in Visual Resources partnered with the Program papers and PowerPoint presentations. in Latin American Studies this year to license a Visual Resources’s new Web page (www. Frieze of an indigenous warrior, collection of 2,300 digital images of Latin princeton.edu/visualresources) offers an over- ex-Convent of San Miguel American art and architecture from James B. view of available image resources and guidance Arcángel, Ixmiquilpan, Mexico, ca. Kiracofe, director of the Inter-American Insti- on the use of images. The site includes new 1550s, an image from the Inter- tutorials on image and PowerPoint use, along American Institute/J. B. Kiracofe tute for Advanced Studies in Cultural History. This collection provides wide-ranging coverage with links to help for ARTstor and Almagest. of the built environment throughout Latin Sources for images for publication have also been America, including colonial material, as added, and the section on copyright has been well as pre-Columbian sites and Spanish updated, along with new information on the use antecedents. Acquiring this collection also of images in publications. Julie Angarone, the gives Visual Resources access to the photog- department’s computer support specialist, rapher’s slide collection for scanning. created the website’s elegant design and easy ARTstor has now grown to more than functionality. 1 million images, with collections ranging An excellent group of undergraduates—Ruth from archives of the Giza and Dura- Chang ’12, Annie Shapiro ’11, Cara Tucker ’12, Europos archaeological expeditions to and Bridget Wright ’11—contributed to a num- portfolios of modern artists such as Josef ber of scanning and data projects this year. Art history major and Albers and Roy Lichtenstein. The Asian Art As a result of budget restrictions, Visual student staff member Photographic Distribution collection from the Resources will lose cataloguer Beth Wodnick, Bridget Wright ’11 scans archival University of Michigan offers 9,600 images of whose expert work during the last two years has photographs and adds them to Chinese painting, sculpture, bronzes, and been greatly appreciated. She will leave in May to the Visual Resources collection ceramics; Central Asian art; and Japanese paint- accept a position as digital imaging technician at ing. Another recent addition, the Ezra Stoller Firestone Library. Archive, provides 26,000 images of modern

28 s p r i n g   1 0 Research Photographs ples and iconic landscapes, his albums include somber images of the Japanese The archives of the 1932–39 excavations of people struggling to survive in the after- the ancient city of Antioch, held by the depart- math of World War II. The exhibition, ment’s Research Photographs collection, were “An Accidental Tourist in Post–World actively consulted this year by members of an War II Japan,” was displayed in con- international committee working on a compre- junction with a conference honoring hensive publication of this major center of the Professor Yoshiaki Shimizu. Graeco-Roman world. Gunnar Brands of Halle- Late-19th- and early-20th- Wittenberg, Ulrich Weferling of Leipzig, Andrea century photographs of Egypt from De Giorgi of Rutgers, Alan Stahl, curator of the department’s collections were fea- numismatics at Firestone Library, and Michael tured in the exhibition “Egyptian Art Padgett, curator of ancient art at the Princeton and Architecture in Context,” mounted University Art Museum have initiated a pilot to accompany postdoctoral fellow project focusing on a few well-documented, chron- Deborah Vischak’s two courses, “The ologically diverse, and historically interesting The Great Buddha (Daibutsu) Ancient Egyptian Body” and “Egyptian Art and sectors of the sprawling site. Curator of Research at the Kōtoku-in Temple in Architecture in Context,” and the associated Photographs Shari Kenfield is identifying and Kamakura, photograph by conference “The Egyptian Image in Context.” preparing archival material—photographs, field Egbert Giles Leigh ’25 These vintage photographs document the con- notebooks, and other documents—which the texts of archaeological monuments and sites committee is evaluating with the hope of ini- created over four millennia, as well as depicting tiating a project to study and publish all of the contemporaneous Egyptians living and working material from the excavations, much of which in harmony with both their environment and still remains unpublished. their ancient past. Research Photographs also holds a complete Kenfield also collaborated with Julia set of the earliest panoramic photographic doc- Ritter, curator of the Antiochian Heritage umentation of the facade of the early Islamic Museum in Ligonier, Pennsylvania, on the desert castle of Qasr al-Mushatta in Jordan, museum’s upcoming exhibition on Chris- made in situ by Rudolf-Ernst Brünnow in 1898. tian motifs in the domestic architecture of These archival images are playing an important Early Christian Syria, scheduled to open in role in a project led by Johannes Cramer of the 2011. Photographs from Princeton’s expe- Technical University of Berlin and Claus-Peter ditions to Syria in 1904–05 and 1909 are Haase, former director of Museum of Islamic providing detailed documentation of these struc- Art in Berlin. Their team is conducting an archi- tures, some of which have now vanished. tectural survey of the site and an extensive study The department’s archaeological archives are of the ornate facade of the castle, which has been Propylon of Ptolemy II Euergetes featured in the most recent issue of the journal in the Islamic museum’s collection since 1903. at Karnak, photograph by Anabases: Traditions et Réception de l’Antiquité, An intriguing exhibition mounted by Antonio Beato published by a team headquartered at the Kenfield in McCormick Hall displayed a selec- Université de Toulouse. Each issue of the jour- tion of photographs taken in Japan by Egbert nal, which focuses on the Giles Leigh ’25 in 1947– reception and continuing 50, when he served as an influence of ancient Med- economic and financial iterranean civilizations on reconstruction official. His modern culture, profiles sig- albums were donated to nificant archives of material Princeton in 1999 by his dealing with antiquity. At sons Egbert Giles Leigh Jr. the invitation of Corinne ’62 and Catesby Leigh ’79. Bonnet of Toulouse, Ken- Posted to Japan to partici- field contributed an article pate in the rebuilding of a detailing the department’s country devastated by war, holdings, which range from Leigh obviously realized documents and photographs the importance of under- of archaeological expeditions standing its culture, and of more than a century ago he embarked on a series of to the records of the depart- exploratory and educational The current issue of Anabases ment’s current excavation profiles Research Photographs’ journeys that he sensitively project at Polis Chrysochous archaeological archives recorded with his camera. The facade of Qasr al-Mushatta in Jordan, in Cyprus. In addition to sacred tem- photograph by Rudolf-Ernst Brünnow s p r i n g   1 0 29 Index of Christian Art

his has been another busy year for Publishers, distributed by Cornell University the Index of Christian Art and its direc- Press, 2009), honors the Index’s long-time Ttor, Colum Hourihane, with a major research scholar in Byzantine and Early Chris- international conference, two new publications, tian art, Lois Drewer. With papers on topics substantial additions to the database, and two that include erasures from church floor mosaics, new staff members. the origins of heraldry, the function of images On October 30, 2009, the Index hosted in legal documents, the meaning of towers in the conference “Liminal Spaces: A Symposium Byzantine art, and the interconnections of in Honor of Pamela Sheingorn.” A professor of Moslems, Christians, and iconoclasm, this history at Baruch College who is a long-time volume opens windows into some unexpected, supporter of the Index, Sheingorn served for and surprisingly significant, areas of Byzantine Flyer for the conference “Insular many years as an editor of the journal Studies in art and culture. The contributors are Slobodan and Anglo-Saxon: Art and Iconography, which is based at the Index. The Ćurčić, Anthony Cutler, Catherine Jolivet-Lévy, Thought in the Early Medieval speakers explored some of the themes that have Sofia Kotzabassi, Eunice Dauterman Maguire, Period” (Morgan Library and been central to her research, especially the com- Henry Maguire, Robert Ousterhout, Nancy Museum, Ms. M. 708, fol. 42v, plex interrelationship of literature, drama, and Ševčenko, and Don Skemer. the evangelist Luke) artistic representation in the medieval and early In March of this year the Index published modern periods, with a focus on texts, images, Looking Beyond: Visions, Dreams, and Insights readers, viewers, performance, and spectators. in Medieval Art and History, edited by Colum On March 16–17, the Index presented the Hourihane (Penn State University Press, 2010). major international conference “Insular and In this intriguing volume, 16 scholars exam- Anglo-Saxon: Art and Thought in the Early ine the medieval conception of the non-physical Medieval Period.” This symposium brought a world, how it was visualized, and how artists roster of eminent speakers to campus to dis- represented the invisible by means of the visible. cuss their research on art produced in Britain Some of the papers look at the nature of visions and Ireland in a wide range of media during and prophetic dreams—who received them, the 7th–10th centuries. The papers placed this where they occurred, and how they related to artistic production in its cultural and historical contemporary liturgy and imagery. The pro- background, discussed recent trends in dat- ceedings of another Index conference, Gothic ing, and shed light on aspects that have been Art and Thought in the Middle Ages, are cur- neglected by previous scholarship. A number rently being edited, and publication is expected of the papers presented novel iconographical later this year. analysis, demonstrating to both students and The Index’s database of illuminated manu- Byzantine Art: Recent Studies, researchers the paths to future approaches. The scripts received a major addition this year with Essays in Honor of Lois Drewer speakers included Michelle Brown, Peter Har- the donation by the department’s Professor bison, Jennifer O’Reilly, Éamonn Ó Carragáin, Emeritus James Marrow of his archive of more Heather Pulliam, and Michael Ryan. The con- than 350,000 slides. This unparalleled collec- ference was generously supported by Princeton’s tion of images was assembled during 45 years of Edward T. Cone ’39 *42 Fund for the Human- research by Marrow in public and private collec- ities, the Department of Art and Archaeology, tions around the world, from Vienna to Rio de and the Program in Medieval Studies. This was Janeiro. Many of the manuscripts in this rich the third in a series of international confer- archive are little known and under-studied, and ences organized by the Index that focused on a number of them are in private hands or are recent work on the major periods, styles, and known primarily from the records of the auc- intellectual milieus of medieval art. The previ- tion houses through which they passed. The ous symposiums presented recent research on great strength of the collection is its compre- Romanesque art of the 11th and 12th centuries hensive coverage of Northern manuscript (2006) and Gothic art (2009). illumination. A grant to the Index is supporting The Index also had an active publications the work of a dedicated cataloguer, Beatrice schedule again this year. Byzantine Art: Recent Radden Keefe, who is adding these works to the Looking Beyond: Visions, Dreams, Studies, Essays in Honor of Lois Drewer, edited online database. and Insights in Medieval Art and History by Colum Hourihane (Arizona Center for In combination with the wealth of images Medieval and Renaissance Studies and Brepols from the 1,600 illuminated manuscripts in the

30 s p r i n g   1 0 Morgan Library and Museum and 220 man- B.F.A. from Pratt Institute, where she majored uscripts in the Princeton University Library, in painting and earned a minor in art history. the Marrow archive will make the Index’s data- After an internship in the prints, drawings, base an unrivalled online resource for the study and photographs department at the Brooklyn of manuscript illumination. Cataloguing of the Museum, she earned her M.Litt. in the history Morgan Library’s collection is nearing com- of art and connoisseurship from Christie’s Edu- pletion, with only 100 manuscripts still to be cation in London, a division of the University of catalogued. Recent additions to Glasgow. Her master’s thesis investigated the database have included the the imagery of late medieval pilgrim- striking images in a trove of age art, relics, and souvenirs in Coptic manuscripts found England, and she contributed in 1910 in the ruins of the an entry on Margery Kempe to Egyptian Monastery of St. the Encyclopedia of Medieval Michael, near modern Ham- Pilgrimage (Brill, 2009). uli. The final stages of the Savage comes to the Index Morgan project are being from Bloomsbury Auctions generously supported by the New York, where she was a King David in the Rothschild Hours, a Flemish work of ca. Sherman Fairchild Foundation. cataloguer in the books and 1500–20, one of the images In November, the Index manuscripts department. She has recently donated by Professor launched a public database of nearly also been an editor for the Art Sales Emeritus James Marrow 4,500 photographs of Byzantine Jessica Savage Index for French and Italian sales. Her monuments and art taken by the late scholarly interests include medieval scholar and photographer Svetlana Tomeković manuscript and early print culture, centers of (http://ica.princeton.edu/tomekovic/main. production, especially Prague, as well as Western php). This archive, which came from Catherine codicology, paleography and illumination, Jolivet-Lévy of the Sorbonne, provides wide- medieval literature, and language. At the Index ranging visual coverage of many Byzantine sites she will collaborate on the ongoing digital cata- throughout Europe and the Near East—includ- loguing of illuminated manuscripts in the ing Italy, Greece, Bulgaria, Serbia, Cyprus, Morgan Library. Turkey, Russia, and beyond—with a particu- In November, the Index welcomed Beatrice lar emphasis on monumental fresco painting, Radden Keefe. She earned an M.A. in medieval All of these images have now been added to history and art history at the University of St. the Index’s subscription database with detailed Andrews in Scotland, and a Ph.D. in art history cataloguing. In the meantime, this pub- at the Courtauld Institute of Art in London, lic version, which can be can be where she studied with John Lowden The Archangel Michael in the filtered by country and spe- and wrote a dissertation on illus- frontispiece of a Coptic manuscript cific site, gives students and trated manuscripts of the dated 902–03 (Morgan Library and scholars access to one of the comedies of Terence. Before Museum M.603, fol. 1v) largest collections of images joining the Index, Radden of Byzantine monumental art Keefe held a postdoctoral available on the Web. appointment at Johns Hopkins The holdings of University, where she worked Byzantine material were on the Roman de la Rose Digital further strengthened this year Library (http://romandelarose. by an additional donation of org), a database of images of more photographs of medieval Serbian than 100 manuscripts of the allegori- monuments from the Blago Fund Beatrice Radden Keefe cal love poem. Her recent work (www.srpskoblago.org), which includes a chapter on the manuscript promotes the preservation of Serbia’s cultural tradition of the comedies of Terence and Plautus heritage. These images include extensive that will appear in the forthcoming Cambridge documentation of the notable frescoes in the Companion to Roman Comedy, while her current monasteries of Studenica and Dečani. research focuses on the purposeful defacement The Index lost a staff member this year of images in medieval manuscripts. At the when Laura Cochrane accepted a teaching Index, Radden Keefe will work on cataloguing St. John Chrysostom and St. position at Middle Tennessee State University. the archive of more than 350,000 slides of Gregory of Nazianzus in a fresco Her position was taken by Jessica Savage, who illuminated manuscripts recently donated by at Studenica monastery in Serbia joined the Index in January. Savage holds a James Marrow. dated 1208–09; photograph by Svetlana Tomeković s p r i n g   1 0 31 Excavations

Excavations at Polis The scholars who are contributing to these publications come from a number of institu- Chrysochous, Cyprus tions across the United States and in Europe, ince its inception in 1983, the Princeton including Cyprus. To enable these far-flung con- Cyprus Expedition has focused largely on tributors to work with the project’s voluminous Sfieldwork, especially excavation, in the records, Shari Kenfield, the department’s cura- town of Polis Chrysochous (ancient Marion tor of research photographs, is coordinating the and, later, Arsinoe). Last summer, a small team scanning of notebooks, photographs, and plans conducted targeted excavations to address ques- documenting more than two decades of dig- Director William Childs, tions about the Roman and Byzantine town, ging. Smith has created a SharePoint website that foreman Alexandros digging through a late antique street, following allows the team members to access this mate- Koupparis, and site architects the course of an imposing Roman Imperial rial from their computers anywhere in the world. take precise measurements of ashlar drain, and excavating a deep terracotta- They can view or download scans of the field a deep Roman cistern lined well. notes, photographs, and plans; read publica- Increasingly, however, the focus is shift- tions related to Polis; and find information about ing toward the publication of synthetic objects from the Polis area in various museum studies of the material found during the collections. The collaborative website also pro- excavations. In September 2009, a long- Two of the Polis objects vides a virtual environment that enables the that may be included in time member of the excavation team, scholars to work together even when they are not the upcoming exhibition Joanna Smith ’87, took up a research in Polis or Princeton, allowing them to collabo- in Princeton: 6th-century position in the Department of Art and rate on writing and editing documents, keep up b.c.e. terracotta figurine of Archaeology to coordinate the publica- with project developments, and engage in online a woman (right), and gold tions. She is also working with Professor discussions. All members of the team can also solidus of the Byzantine William Childs, director of the excava- upload their own data to the SharePoint website. emperor Justin II, tions, and Michael Padgett, curator of Throughout the many years of digging, 565–78 c.e. (below) ancient art at the Princeton University Childs has maintained a complex database that Art Museum, on an exhibition about contains all of the project’s data, especially about the history and archaeology of the site. the tens of thousands of objects uncovered. The The exhibition, titled “City of Gold,” is team has also carefully documented the archi- tentatively scheduled for the fall of 2012. tectural remains, soil deposits, and locations of A number of preliminary publica- objects in each area of excavation. A feature of tions about the excavations have already the original database enabled it to link this data appeared, including, most recently, an with a three-dimensional imaging function. interim report on a Cypro-Archaic pub- Recent changes in technology, however, neces- lic building by Nassos Papalexandrou *98, a sitated an upgrade. To accomplish this, Smith study of ethnicity and cross-cultural exchange by is working with William Guthe, geographic Nancy Serwint *87, and an article on imported information systems (GIS) and remote sensing Attic pottery by Michael Padgett. Other pub- coordinator in Academic Services and the Office lications are forthcoming in the near future: of Information Technology, and Wangyal Shawa, articles on terracottas and votive offerings by the GIS librarian in the Digital Map and Geo- Serwint; studies of late antique and medieval spatial Information Center at the Lewis Library, basilicas, sacred sites, and burial practices by to create a GIS for the Polis excavations. Amy Papalexandrou *98; and an examination of The pilot GIS project involves a sanctuary a perplexing hoard of late-14th-century copper complex of the Geometric to Archaic period. coins by Alan Stahl, curator of numismatics at As the system is developed, it will be expanded Wangyal Shawa, Joanna S. Smith Firestone Library. to include all of the excavation areas. It will also ’87, and Bill Guthe stand in front The Polis team is now preparing a multi- facilitate integration of the Princeton team’s exca- of the wall-sized 8-million pixel volume final publication of the excavations. vation and survey areas in the Chrysochou Valley display panel showing the Polis GIS pilot project Several new scholars have joined the Princeton region in and around Polis with those recorded group, including specialists in Roman and Byz- by German, British, Cypriot, and Swedish teams antine pottery, to study the material from the from the 1880s to the present. Roman through Byzantine periods and prepare it for publication.

32 s p r i n g   1 0 Excavations at Bālis, Syria In the summer of 2009, Professor Thomas Leisten, director of the excavations at Bālis, led a small team of specialists and conserva- tors who worked on the study and preservation of artifacts uncovered in previous years. They focused particularly on the pottery, small finds, and painted plaster recovered from the Shi- ite mosque-shrine, or mashhad, located about one kilometer east of the city. Excavation of this commemorative building, which was prob- ably erected in a pre-existing cemetery in the 10th or 11th century c.e., was completed by the Princeton expedition last summer. A second team conducted field surveys and systematic collection of surface artifacts, with the goal of expanding our knowledge of Dignitaries gather to celebrate the inauguration of the wider area surrounding the town of Bālis the new Bālis expedition house (Roman Barbalissos). This phase of the proj- ect is of special interest because parts of the city that have been submerged under the waters of than 200 guests, including Syria’s director gen- the Lake Assad reservoir since the 1970s are now eral of antiquities and museums, the German emerging in the form of islands as the level of ambassador to Syria, and the governor of the the lake falls. Scouring this newly revealed ter- province. The celebratory event, which was cov- rain, the survey team recovered a wide range of ered by Syrian television, featured a sumptuous artifacts, including coins, millstones, and Byz- banquet, along with the ceremonial slaughter of antine basalt capitals and building blocks dating five sheep. to the 9th century c.e. Some of the architectural Plans are also under way for the construction elements are decorated with carved reliefs of sun of a permanent roof over portions of the qasr, discs and crosses. The crew extracted these heavy the extensive desert palace complex constructed blocks from the former lake bed, cleaned 30 by an Umayyad prince in the early 8th century years of deposits from their surfaces, and trans- c.e. The preliminary designs, created by the Laying out the banquet ported them to the new expedition house, near Belgrade architectural group Arhinaut, show a celebrating the inauguration the Umayyad palace, for additional conservation striking modern structure that will not only and study. provide protection for this core area of the site, A highlight of the 2009 season was the but will also make a strong architectural state- transfer of the dig’s operations from the local ment. Sculpture and other stone artifacts found school to the newly constructed expedition in the excavations will be exhibited under this house, which was completed in the summer of canopy, creating a museum-like environment for 2008. This new headquarters building, which visitors, but without the usual confining walls. can be used throughout the year by various This structure will also serve the important archaeological teams, provides facilities for more function of providing for the long-term preser- intensive conservation work, in addition to vation of the qasr’s fragile painted plaster walls, accommodations for staff members. It also hosts which are among the finest and best-preserved a visitors’ center that features informative display examples of early Islamic wall painting in the boards—with texts in English, German, and Middle East. Arabic—explaining the history of Bālis/ The new Bālis expedition house Barbalissos and the results of the recent excava- and visitor’s center tions, with plans of the newly unearthed buildings. A new brochure has also been created, Architect’s rendering of enabling visitors to take self-guided tours of the the proposed roof over site. Debris has been cleared away and new the Bālis qasr paths created, so that visitors are now free to explore the sprawling site on their own. The dedication of the new archaeological park and visitors’ center was attended by more s p r i n g   1 0 33 News from Alumni

Undergraduate Alumni 40-foot-long piece was inspired by Thomas Coles’s Voyage of Life paintings. Richard has Joel Babb ’69’s paintings of the woodlands of recently written a number of screenplays, some interior western Maine and the Florida backwa- of them for animated features. On a recent visit ters were featured in “People, Places & Things: to China, he met with the government’s director The Art of Ben Aronson, Joel Babb, and Alec of animation projects, who expressed interest in Soth” at the Naples Museum of Art in Naples, creating a 3-D animated version of Richard’s Florida, from January 30–April 18, 2010. The screenplay Little Hippino in English for the group exhibition “Reality Check,” which was on American market; arrangements for that project Joel Babb ’69, Bowfront and Tower, view at Trudy Labell Fine Art in Naples, Florida, are currently in the works. Commonwealth, oil on linen in February, included a selection of his Florida H. Avery Chenoweth ’50 reports that the high- beach scenes. Last fall, the Vose Galleries in Bos- light of this year was painting a portrait of the late ton exhibited some of Joel’s renowned Marine Corps Col. John Ripley, a decorated panoramas and streetscapes of Boston, along Vietnam veteran and Avery’s friend, which was with recent paintings of Nantucket and the commissioned by the U.S. Naval Academy to Maine coast and woodlands, in a solo show hang in its Memorial Hall. To reconstruct the titled “Joel M. Babb: Enlightened Perspectives.” life-size image, Avery, who is a Marine Corps col- The solo exhibition “Joel M. Babb: The Process onel and three-war veteran, worked from a small, Revealed,” which was on view at the Bates Col- 30-year-old black-and-white photo of Ripley’s lege Museum of Art in Lewiston, Maine, from face and from a photo of himself in his own uni- October 10, 2009–March 27, 2010, paired his form. Many of Avery’s portraits and other Richard Castellane ’55 and preparatory drawings with finished paintings, paintings are in the Marine Corps Museum, the Jeff Scheussler, Voyage of Life revealing the many stages of work that go into Pentagon, and various hospitals, corporations, II, installation at the Munson- the resolved works of art that are typically seen Williams-Proctor Arts Institute in and private collections. He also creates abstract in museums and galleries. This exhibition dis- Utica, New York expressionist works, which he has enjoyed paint- played works from three of his many areas of ing since he earned an M.F.A. at the University of interest: cityscapes, wilderness landscapes, and Florida after graduating from Princeton. In his figural works. More of Joel’s paintings can seen retirement in Perry, Georgia, Avery devotes his at www.joelmbabb.com. time to painting, writing, and updating his two [[email protected]] art and history books published by Barnes & Bill Camfield ’57, who is emeritus from the Noble: Art of War: Eyewitness U.S. Combat Art Department of Art History at Rice University, is from the Revolution through the Twentieth Century working almost full-time on a catalogue raisonné and Semper Fi: The Definitive Illustrated History of of the works of Francis Picabia, which takes him the U.S. Marines. [[email protected]] to Paris for a couple of months every year. He Jamie Crapanzano ’00 is in the final semester of has also written occasional essays for exhibitions Columbia Business School and will graduate this and for Art and Activism: Projects of John and May. After graduation, she will begin working at Dominique de Menil, which will be published by H. Avery Chenoweth ’50 with Credit Suisse as a trader in the equity division. the Menil Collection this fall. His most interest- his portrait of Marine Corps She credits her art history degree from Princeton ing recent catalogue essay was for the exhibition Col. John Ripley as the foundation of her ability to read stock “Francis Picabia: Dessins pour Littérature” at the charts. [[email protected]] Galerie 1900–2000 in Paris in 2008. André Bret- on’s daughter, Aube Elléouet, discovered a Jennifer Elliott ’05, after working for four years package of original drawings Picabia had made in at Doyle New York, an auction house on Man- 1922–23 as covers for Breton’s magazine Littéra- hattan’s Upper East Side, is now in her first year ture. None of the drawings had ever been seen, of law school at the University of Illinois College and 15 of them were totally unknown. of Law. She is interested in combining her art [[email protected]] background with the law by specializing in art law. She ran in this year’s Boston Marathon, Richard Castellane ’55 collaborated with Jeff and this summer will clerk for the chief justice Scheussler to create an installation titled Voyage of the Central District of Illinois. of Life II at the 61st Exhibition of Central New [[email protected]] York Artists at the Munson-Williams-Proctor Arts Institute in Utica, New York. The 34 s p r i n g   1 0 Donald Goddard ’56 was interviewed by Tina unlike the modern Internet. Andersen and his Takemoto for “Looking through Hannah’s Eyes: sister-in-law, Julia Cushing Andersen, worked Interview with Donald Goddard,” which with French architect Ernest Hébrard to publish appeared in the summer 2008 issue of Art Jour- the World City plans and concepts in an enor- nal. Hannah Wilke, who was Donald’s wife and mous, sumptuously printed tome that was sent to sometime collaborator, was also the subject, world leaders and worthy institutions, including along with playwright and performance artist Princeton University. Andersen’s sculpture and Deb Margolin, of an article by Constance Zay- original art from the World City publication are toun, “Smoke Signals: Witnessing the Burning on view at the Museo Andersen in Rome. Art of Deb Margolin and Hannah Wilke,” in [[email protected]] the fall 2008 issue of TDR (The Drama Review). Megan Wellford Grinder ’95 lives and works in Last year, Donald’s review of the exhibition Memphis, Tennessee, painting primarily portraits “Dove/O’Keeffe: Circles of Influence” at the and landscapes in oil. She shows her landscapes Sterling and Francine Clark Art Institute in at Perry Nicole Fine Art in Memphis (www. Williamstown, Massachusetts, was published on perrynicole.com) and has had a solo show and the website www.CambridgeBuzz.com. About has participated in several group shows at the 100 of his reviews of exhibitions in New York, gallery. She also paints portraits by commission. around the United States, and in Europe, A selection of her work can be seen on her dating from 2000 to 2006, are posted at website www.megangrinder.com. www.newyorkartworld.com. [[email protected]] [[email protected]] Detail of a harbor from A World Nora Gross ’08 initiated a writing center at a City of Communication by Hendrik Holly (Markovitz) Goldstein ’00 defended her charter high school on the West Side of Chicago Andersen, whose work was the Ph.D. dissertation, “American Landscapes as last year as a Project 55 Fellow. The mission of subject of Tamsen Granger ’76’s Revisionist History: The Frontier Photographs of the school, North Lawndale College Prep, is to master’s thesis Mark Klett, John Pfahl, Deborah Bright, and prepare students from under-resourced commu- Robert Adams” in the Department of Art His- nities for acceptance to, and graduation from, tory at Boston University. Her dissertation college. Now in her second year of directing the positions these contemporary photographs of writing center and teaching English, Nora has iconic American frontier sites as visual embodi- developed a peer writing coach program, a series ments of revisionist history. All four artists use of school-wide writing contests, a tri-annual liter- photography to re-image and rewrite American ary magazine, and other activities and events to landscape history, and they investigate conflicting promote writing and the arts. The school has a narratives of nationhood and reinterpret the lega- relatively limited art program, so she is particu- cies of 19th-century photographers. Holly has larly excited about finding roundabout ways to taught the history of photography and modern introduce her students to the artists whose work and contemporary art as a lecturer at Boston she has enjoyed. While she devotes most of her University, Suffolk University, and the University time to teaching, Nora continues to be involved of Hartford. [[email protected]] in art and photography, and she recently began a Tamsen Granger ’76, after years of working in project of making photographic portraits of her finance, entrepreneurial endeavors, and on the students. [[email protected]] Megan Wellford Grinder ’95, Jack, home front, returned to art history and earned Gregory Hedberg ’68, who earned his Ph.D. in oil on linen her M.A. at Temple University last August. She art history at New York University, presented a teaches at Bucks County Community College in paper titled “New Insights into Degas’s Creative Pennsylvania. Her master’s thesis examines the Process in Sculpture” on March 6, 2010, at a work of American expatriate sculptor Hendrik symposium on French art in honor of Colin Andersen (1872–1940), best known for his cor- Eisler at the Institute of Fine Arts, New York respondence with writer Henry James, but also University. Greg is currently finishing a book the creator of A World City of Communication, his titled Degas’s Little Dancer, Aged Fourteen: The foray into urban planning, published in 1913. Unknown First Version. He is director of Euro- Andersen’s dream city plan gave art and physical pean art for Hirschl & Adler Galleries in New culture pride of place, and included museums, York, a firm owned by Stuart Feld ’58. colossal statuary, gymnasia, and even baseball fields. His urban infrastructure called for such William I. Homer ’51, the H. Rodney Sharp Nora Gross ’08, Candice innovations as an underground rail system and Professor Emeritus at the University of Delaware, central heat, to be pumped throughout the city, is working on the second volume of The Letters of and he endorsed the concept of centralized orga- Thomas Eakins; the first volume was published in nization of all information, available to all, not September 2009 by Princeton University Press (PUP). Bill and his wife Christine collaborated s p r i n g   1 0 35 with PUP staff to arrange “An Afternoon with excavations, one at Bronze Age Alalakh and the Thomas Eakins” at the Philadelphia Museum of other at Iron Age Tell Tayinat, and he is working Art last September. The special event featured a on the publication of recently excavated cunei- dramatic reading from the newly published edi- form texts from those two sites. His forthcoming tion of Eakins’s letters, a guided tour of the article examines the social context of a petition to museum’s Eakins collection, and a reception cele- the Moon God found at the ancient Mesopota- brating the book and Bill’s 80th birthday. He has mian city of Ur. [[email protected]] been named to the visiting committee of the David Maisel ’84’s photographs from the series University of Delaware Museums and is chair of “Library of Dust” were shown in a solo exhibition the mid-Atlantic section of Princeton’s Annual at the Von Lintel Gallery in New York in January Giving Campaign. The spring 2009 issue Insight, –February 2010. The large-scale images show the Delaware department’s newsletter, featured copper canisters in varying states of deterioration Titian, Tintoretto, Veronese: Rivals an interview with Bill on the growth of the and efflorescence, photographed individually in Renaissance Venice, catalogue department into a leading player among the against a black backdrop, posed like subjects sit- of the exhibition curated by nation’s art history programs. He recently gave ting for a portrait, which is appropriate since they Frederick Ilchman ’85 part of his art book collection to the library of hold the unclaimed cremated remains of patients the Ogunquit Museum of American Art, and his of a state-run psychiatric hospital. “Library of Walt Whitman research papers to the Temple Dust” was the subject of an oversize monograph University Library. He continues to draw and published by Chronicle Books in 2008. It has paint in his spare time. also been featured in publications such as the Frederick Ilchman ’85 was the lead curator for New York Times, the Los Angeles Times, Aperture, the exhibition “Titian, Tintoretto, Veronese: and ARTnews. David’s work was also included in Rivals in Renaissance Venice,” organized jointly the exhibition “As We Live and Breathe” at the by the Museum of Fine Arts, Boston, where the Carrie Secrist Gallery in Chicago in September– exhibition was displayed in the spring and sum- November 2009. [[email protected]] mer of 2009, and the Musée du Louvre, where it Laura McPhee ’80 has published two new books was on view in the autumn of 2009. Paintings by of photographs: River of No Return (Yale Univer- the three greatest artists of 16th-century Venice sity Press, 2008) and Guardians of Solitude (Iris were lent by many of the major museums of Editions, London, 2009). River of No Return Europe and the United States, churches in Venice, celebrates the splendor of the Sawtooth Valley in and Queen Elizabeth II. Publications including central Idaho and presents the environmental Time magazine and the Wall Street Journal called complexities of managing a vast landscape and the exhibition one of the year’s best. The team of balancing the needs of ranchers, biologists, min- authors Frederick assembled for the catalogue ers, tourists, and locals. Laura’s photographs, included one of his favorite undergraduate teach- An ancient Mesopotamian taken with a large-format view camera, capture ers, Patricia Fortini Brown, who wrote a major petition to the Moon God (British the region’s immense spaces, mountain ranges, Museum UET 6 402) being essay on the patronage of these three painters. rivers, and ranchlands; the effects of mining and published by Jacob Lauinger ’99 Now the Baker Curator of Paintings at the devastating wildfires; and the human stories of Museum of Fine Arts, Boston, Frederick has also the people who live and work there. The accom- recently been named co-project director for Save panying texts set the photographs in the context Venice Inc. [[email protected]] of the work of earlier American photographers Jacob Lauinger ’99 moved to England last Sep- and discuss Laura’s working methods and experi- tember to become the first Gaylord and Dorothy ences photographing the evolving landscape. The Donnelley Research Fellow at Corpus Christi images in Guardians of Solitude were made in College at the University of Cambridge. The three canyons in the White Cloud Mountains of fellowship does not involve teaching, and while central Idaho in 2008, where, about three years he misses the classroom, he is enjoying the earlier, a wildfire burned for two weeks, charring opportunity to concentrate full-time on his more than 40,000 acres of forestland. More Laura McPhee ’80, River of research projects. His primary research is for a examples of her work can seen on her website, No Return book on an important but poorly understood www.lauramcphee.com. Laura is a professor of empire, Yamhad, that ruled northern Syria from media and performing arts at Massachusetts Col- about 1800–1600 b.c.e. Jake is using cuneiform lege of Art and Design. [[email protected]] texts from Alalakh, a subject city of Yamhad, to Brody Neuenschwander ’81 had the busiest year explore the empire’s internal organization, how it ever in 2009, with exhibitions in New York, Lon- maintained its position of power for two centu- don, Brussels, and Tokyo. His most interesting ries, and why, perhaps, it fell when it did. He is project of 2009 was a sound and video also the epigrapher for two archeological

36 s p r i n g   1 0 installation for the tower of Sint Rombouts of the American Friends of Arts and Crafts in Cathedral in Mechelen, Belgium’s most impor- Chipping Campden (www.afaccc.org), a not- tant Gothic structure, in collaboration with for-profit corporation dedicated to supporting composer Jeroen D’hoe. The video, called institutions in the northern Cotswolds that col- Change Ringing, is projected onto a screen placed lect and preserve artifacts of the pioneers of the in the oculus of the tower’s uppermost chamber. Arts and Crafts Movement. [[email protected]] A male figure filmed in a vertical tube struggles Joanna S. Smith ’87’s new book, Art and Society with gravity and with an enormous book, barely in Cyprus from the Bronze Age into the Iron Age able to keep from falling from the tube, and by (Cambridge University Press, 2009), examines a extension, the video. The installation is perma- period of dramatic social and political change in nent, so all Princetonians who visit Mechelen are the ancient Mediterranean from the end of the invited to climb the 490 steps to view Brody’s Late Bronze Age into the Iron Age, ca. 1300–700 creation, which is the highest artwork in Bel- b.c.e. Focusing particularly on Kition, the largest gium. [[email protected]] Cypriot harbor city of that period, this new study Claire de Dobay Rifelj ’02 spent three years in reinterprets the relationships among Cyprus, the Brody Neuenschwander ’81, Change Ringing, permanent video the curatorial department of the Hammer Phoenicians, and Assyria, using the placement installation in the Cathedral of Museum in Los Angeles, working on contempo- and scale of images to reveal the inner workings Mechelen, Belgium, with music rary exhibitions. In the fall of 2008 she entered of economic and social control. In April 2009 composed by Jeroen D’hoe graduate school in art history at the Institute of Joanna traveled as the Cesnola Lecturer for the Fine Arts in New York. This fall she will begin Archaeological Institute of America, and last work on her dissertation, which examines collage summer her exhibition about the excavations in and assemblage practices on the West Coast in Phlamoudhi, Cyprus, traveled to the Cyprus the 1970s and ’80s and their relationship to, Museum in Nicosia. The exhibition, “Views among other things, film narratives and struc- from Phlamoudhi: Celebrating the Return of tures. [[email protected]] Artifacts from Excavations in the Village (1970– Mark Sheinkman ’85 has a solo exhibition of 1973),” was trilingual, with material in English, paintings this April and May at Steven Zevitas Greek, and Turkish. In September 2009 Joanna Gallery in Boston, and will have another solo joined Princeton’s Department of Art and show in September–October 2010 at Holly Archaeology, where she is coordinating the Johnson Gallery in Dallas. A solo exhibition last publication of the department’s long-term year at the Museum Gegenstandfreier Kunst in excavations in the town of Polis Chrysochous, Otterndorf, Germany, was accompanied by a Cyprus, and finishing her publication of the Iron hardcover catalogue written by curator Ulrike Age sanctuary in the town’s locality of Peristeries. Mark Sheinkman ’85, Powell, 2009, Shick. Two of his drawings were recently [[email protected]] direct gravure with abrasion acquired by the Kupferstichkabinett, Museum of Landry Smith ’99 *05 is currently an adjunct Prints and Drawings, State Museum of Berlin, professor of architecture at the University at and will be included in an exhibition that will Buffalo, where he teaches studio design. He travel to the Bibliothèque Nationale de France in recently completed designs for several indepen- Paris. Mark’s work is also in the collections of the dent projects, including the M-House in Museum of Modern Art in New York, the Portland, Oregon, a project that explored the National Gallery in Washington, the Metropoli- technique of splicing to enmesh inside and out- tan Museum of Art, and many other museums. side spaces. He also participated in the project by For more information and to see more of his Team 0 for Lower Manhattan in 2100, address- work, visit www.marksheinkman.com. ing rising sea levels. The project is on view at the [[email protected]] Museum of Modern Art in New York from Cameron O. Smith ’72 has begun an 18-month March 24 through August 10, 2010. sabbatical from his most recent career in oil- and [[email protected]] gas-focused investment banking, having sold Joanna Wendel ’09 is working as a curatorial the bank he founded in 1992 to a larger Wall assistant at Harvard University’s Busch-Reisinger Street firm in June 2008. During the following Museum, which is devoted to Germanic art, 18 months, he headed that firm’s energy practice. processing new acquisitions and conducting Cameron plans to spend his sabbatical traveling provenance research, among other responsibili- Joanna S. Smith ’87, Art and Society in Cyprus from the Bronze to marvelous parts of the world with Princeton ties. This summer, she will give a gallery talk Age into the Iron Age Journeys, as well as following up his senior thesis titled “Painting and Sculpture in Postwar on Charles Ashbee and the Guild of Handicraft Germany” at Harvard’s Sackler Museum. by completing research and publishing his work [[email protected]] on the Essex House Press. He serves as president s p r i n g   1 0 37 Graduate Alumni “what” and the “who”—what events and develop- ments occurred, what notable images were taken, Virginia Bower *77 (M.A.) contributed an essay and who took them. Claude’s new work, on the to Sunnylands: Art and Architecture of the Annen- other hand, examines why photojournalists have berg Estate in Rancho Mirage, California, edited covered certain phenomena in certain ways and by David G. De Long (University of Pennsylva- what has motivated and compelled them. It nia Press, 2009). Her essay focuses on the explains how contemporary photojournalism is extensive collection of Chinese ceramics and grounded in three large ideas: the desire to wit- enamels assembled by Leonore and Walter ness and record historical events and important Annenberg which is still housed at their former people, the belief in photography’s power to estate, now part of the Annenberg Foundation advance social justice, and the embrace of a uni- Virginia Bower *77 (M.A.) et al., Trust at Sunnylands. In the course of her versal humanism. The book also argues that Sunnylands: Art and Architecture research, Virginia interviewed Mrs. Annenberg. contemporary photojournalists are so strongly of the Annenberg Estate in Rancho [[email protected]] Mirage, California influenced by these three ideas that they have James Clifton *87, with Walter S. Melion, co- become the central tenets of the profession. curated the exhibition “Scripture for the Eyes: Claude is an associate professor in the School of Bible Illustration in Netherlandish Prints of the Journalism at Indiana University, the winner of a Sixteenth Century,” which was on view from shared Pulitzer Prize for Feature Photography, June–September 2009 at the Museum of Biblical and the author of A Voice Is Born: The Founding Art in New York, and from October 2009–Janu- and Early Years of the National Press Photographers ary 2010 at the Michael C. Carlos Museum at (National Press Photographers Association, Emory University in Atlanta, with a catalogue 1985). [[email protected]] published by D. Giles Ltd. of London. His most Tracy E. Cooper *90 lectured widely in 2009, recent published essay is “‘Appositis exemplis, ac from the Renaissance Society of America’s annual sententiis illustrata’: Philips Galle’s Series of the Scripture for the Eyes: Bible meeting in Los Angeles to the University of Cam- Illustration in Netherlandish Prints Sacraments and the Works of Mercy,” in Infant bridge, at the Centre for Research in the Arts, of the Sixteenth Century, catalogue Milk or Hardy Nourishment? The Bible for Lay Social Sciences and Humanities. She spoke at a of the exhibition co-curated by People and Theologians in the Modern Period, panel at Columbia University on the state of Ital- James Clifton *87 edited by W. François and A. A. den Hollander ian Renaissance Studies, and lectured twice at (Leuven, 2009). Jim has been director of the Princeton—once as the keynote speaker at the Sarah Campbell Blaffer Foundation and curator Graduate Student Conference in Renaissance in Renaissance and Baroque painting at the Studies, “Expertise in the Early Modern World,” Museum of Fine Arts, Houston, since 1994. and again in the Robert J. H. Janson-La Palme [[email protected]] *60 Colloquium, “Exploding the Can[n]on: Robert Conway *82 (M.A.) completed his first Architecture in the Veneto after the Death of year as director of the Conner Family Trust, Palladio,” organized by Deborah Howard. Along which maintains the art and artistic legacy of with Dan McReynolds *09, Tracy was an invited Bruce Conner, the San Francisco artist who was lecturer at the 51st Corso sull’architettura palladi- renowned for working fluently across a wide ana at the Centro Internazionale di Studi di range of media. The job combines administra- Architettura Andrea Palladio in Vicenza, where tive, curatorial, commercial, and scholarly she was also interviewed for Il Giornale di challenges that closely fit Bob’s eclectic career. Vicenza. Her article “Palladio’s Publics” was Under his direction, each of the three representa- published on the Web to accompany the virtual tive galleries—in San Francisco, Los Angeles, and exhibition “Harmony to the Eyes: Charting New York—produced solo exhibitions this year, Palladio’s Architecture from Rome to Baltimore,” and Conner’s work was also exhibited at Art sponsored by Homewood Museum at Johns Basel, Basel/Miami, The Armory Show, and The Hopkins University. During spring 2010 Tracy is Claude Cookman *94, American on leave from the Department of Art History in Photojournalism: Motivations Art Show. Bob is also assisting Kevin Hatch *08 the Tyler School of Art at Temple University in and Meanings with the publication of his book on Conner and is developing an exhibition for this fall at the Philadelphia. [[email protected]] Kunsthalle Wien. [[email protected]] Brian Curran *97 teaches at the Pennsylvania Claude Cookman *94 has just published Ameri- State University, where he is an associate professor can Photojournalism: Motivations and Meanings of art history. In 2009, he was appointed co-editor (Northwestern University Press, 2009), a histori- of the Memoirs of the American Academy in Rome cal synthesis that focuses on the “why” of and will assume the editorship of the journal for American photojournalism, as opposed to the a three-year term beginning in June 2010. In traditional approach, which centers on the spring 2010, he was a resident scholar at the

38 s p r i n g   1 0 Institute for the Arts and Humanities at Penn at the Church of San Marco as clues to Palladio’s State. With Anthony Grafton, Pamela O. Long, creative habits of mind and the way he envisioned and Benjamin Weiss, Brian is the co-author of spolia in Venice. Obelisk: A History (MIT Press, 2009), a scholarly [[email protected]] but entertaining account of the origins and sur- Sabine Eiche *83 left Florence in 2008 after prisingly mobile history of these enormous 32 years to take care of her elderly parents in hieroglyph-covered monoliths. The book exam- Vancouver. Her review of Daniela Lamberini’s ines their origins in Pharaonic Egypt, their monograph Il Sanmarino: Giovan Battista physical and ideological appropriation by the rul- Belluzzi, architetto militare e trattatista del ers of succeeding empires—from Imperial Rome Cinquecento, appeared in the Burlington Magazine and Napoleonic France to Victorian England in November 2009. Revisitations, the catalogue of and Gilded Age America—and the technical and an exhibition of paintings by Lyall Forsyth Harris engineering challenges they posed to ancient, at the Academy of Fine Arts in Lynchburg, Vir- Renaissance, and even modern American archi- ginia, last November, has an introductory essay Brian Curran *97 et al., tects. This new publication shows that the by Sabine. She also published a few non-scholarly Obelisk: A History history of obelisks is a story of technical achieve- pieces in The Florentine in 2009, including a ment, imperial conquest, Christian piety and poem about Brunelleschi and the dome of Flor- triumphalism, egotism, scholarly brilliance, ence cathedral (June 18, 2009) and an article, political hubris, and bigoted nationalism. “Some Like It Cold” (July 2, 2009), about the [[email protected]] Renaissance custom of drinking chilled liquids. Blake de Maria *03 was awarded tenure this Otherwise, to keep her gray cells active, she March at Santa Clara University, where she does freelance translations from German and teaches in the Department of Art and Art His- Italian into English. Her new website is tory and directs the Medieval and Renaissance http://members.shaw.ca/seiche. Studies Program. She spent much of the last year [[email protected]] doing the final editing of her new book,Becom - Nancy Finlay *84 is the editor of Picturing ing Venetian: Immigrants and the Arts in Early Victorian America: Prints by the Kellogg Brothers Modern Venice (Yale University Press, 2010). The of Hartford, Connecticut, 1830–1880 (Wesleyan volume focuses on the artistic patronage commis- University Press, distributed by University Press sioned by and associated with wealthy immigrant of New England, 2009). This is the first book- Blake de Maria *03, Becoming merchants who relocated to Venice with the aim length account of the pioneering and prolific Venetian: Immigrants and the Arts of becoming Venetian cittadini, or citizens. It Kellogg family of lithographers, active in Con- in Early Modern Venice also considers the communal functions of this necticut for more than four decades. Daniel merchant clan, their social identity as natural- Wright Kellogg opened his print shop in Hart- ized citizens, their contributions to the fabric of ford more than 25 years before Nathaniel Currier early modern Venice, and their complex relation- and James M. Ives began their printmaking part- ship with Venice’s native population. In April, nership, but the Kelloggs have long been Blake traveled to Venice, as did many other overshadowed by the Currier & Ives firm. For Princeton alumni and grad students, to pres- this book Nancy gathered together eight essays ent new research at the Renaissance Society of that explore the complex relationships among art- America’s annual conference in a series of sessions ists, lithographers, and print, map, and book honoring the department’s Professor Patricia For- publishers. With 111 color illustrations and tini Brown. During the 2010–11 academic year, 1,028 thumbnail images, the volume presents a Blake will be on sabbatical, which will allow her complete visual overview of the Kelloggs’ produc- to focus on her new project, titled Galileo’s Ven- tion between 1830 and 1880, and provides ice: The Visual Culture of Science in a Renaissance museums, libraries, and private collectors with Republic. [[email protected]] the information needed to document Kellogg Margaret D’Evelyn *94 gave a paper on prints in their collections. This comprehensive Picturing Victorian America: Prints “Andrea Palladio and the Spolia of San Marco” study of the Kellogg prints also includes a time- by the Kellogg Brothers of Hartford, at the 2009 annual conference of the Southeast line, biographies, checklist of prints, and dating Connecticut, 1830–1880, edited by College Art Association in Mobile, Alabama, last guide. Nancy is curator of graphics at the Con- Nancy Finlay *84 October. Her paper examined passages on the necticut Historical Society (www.chs.org), where Piazzetta and the Piazza San Marco in Daniele an exhibition of Kellogg prints is on view through Barbaro’s Commentaries on Vitruvius’s writings, July 17, 2010. [[email protected]] which Barbaro composed with the help of the Marcy B. Freedman *81 (M.A.) presented the architect Andrea Palladio. She focused particu- performance piece Dare to Stare at the Katonah larly on Barbaro’s remarks on the spolia columns Museum of Art last year, inviting museum s p r i n g   1 0 39 visitors to join her for one-on-one, five-minute Holloway Lecture at Brown University on staring sessions. For another performance, The December 3, 2009. The volume brings together Tree Hugger, she spent one hour each Saturday 24 papers containing recent research on subjects afternoon in September and October at an out- ranging from the Kleophrades Painter to the door sculpture exhibition, hugging a tree. Her Black Sea, and from Sicilian coinage to archaeol- solo performance The Art of Cardboard, a spoof ogy in modern Rome. The four sections of the of art and art history, attracted a standing-room- book—on iconography in context, cultural only crowd in Yonkers, New York, and her interconnections across the Mediterranean, the interactive art project My Funny Valentine was coinage of Sicily, and interpretative archaeology presented in Tarrytown, New York. In collabora- —reflect the various fields of inquiry that have tion with Gene Panczenko, she completed two marked Ross’s career and serve as a testimony to videos, Great Ball of Fire and Waters of Change. the impact of his research. The contributors She also worked with Panczenko to curate a include department alumni Malcolm Bell III ’63 video screening event called Wet!, featuring works *72, John Kenfield *71, Alan Shapiro *77, and Flyer for The Tree Hugger, a by 17 artists from around the country. This Barbara Tsakirgis *84. [[email protected]] performance piece created by spring, Marcy presented a three-part lecture Marcy B. Freedman *81 (M.A.) Mark J. Johnson *86 recently published The series titled “From Marble to Vaseline: Sculptors Roman Imperial Mausoleum in Late Antiquity and Their Materials” at the Katonah Museum of (Cambridge University Press, 2009), a substan- Art. In the coming months, she will speak on tially enlarged and extensively revised version of various art history topics at public and private his dissertation. Mark’s book is the first compre- institutions in Chappaqua, Scarsdale, and Rye, hensive study of the mausoleums of the later New York, and will discuss her own art career as Roman emperors, constructed between the years a guest speaker at Ohio State University. 244 and 450 and bridging the Roman empire’s [[email protected]] transition from paganism to Christianity. It Andrew E. Hershberger *01, associate professor examines the symbolism and function of the of contemporary art history at Bowling Green domed rotunda structures, demonstrating for the State University in Ohio, spent the summer of first time that these important monuments served 2009 as a visiting scholar at the Arizona Senior as temples and shrines to the divinized emperors. Academy (ASA), which is affiliated with the Uni- Through an examination of literary sources and versity of Arizona. In addition to doing research the archaeological record, he also identifies which at Arizona’s Center for Creative Photography for buildings were built specifically as imperial his forthcoming edited anthology on photo- tombs. Mark, who is a professor of art history at graphic theory (Blackwell Publishing), Andrew Brigham Young University, is currently working Mark J. Johnson *86, gave five joint presentations at the ASA on on a book about the early Byzantine churches of The Roman Imperial “Photography and Geology: Interdisciplinary Sardinia, as well as one on the architectural Mausoleum in Late Antiquity Landscapes” with geologists Bob McCormack patronage of the Normans in Sicily and southern and Charlie Prewitt. He is also part of a team of Italy. [[email protected]] Ohio researchers and photographers who have Robert S. Mattison *85, the Marshall R. been awarded a grant by the National Endow- Metzgar Professor of Art History at Lafayette ment for the Humanities for their project College, has just published his fifth book,Arshile “Imagining a New Deal: A Documentary Por- Gorky: Works and Writings (Ediciones Polígrafa, trait of Ohio.” The project director and lead Barcelona, 2010), an overview of the works and author is Patricia Williamsen of the Ohio writings of one of the most influential artists of Humanities Council, and the team’s photogra- his generation. The book shows how Gorky phers include 2008 Guggenheim Fellows Ardine merged fantasies about his Armenian childhood Nelson and Fred Marsh. Andrew is the lead art with a deep understanding of modern culture and historian on the NEH grant committee and the science to create paintings that are hinges between lead curator of exhibitions. The team has also the personal obsessions of the surrealists and the won a grant from the Ohio Arts Council for a painterly, broadly relevant art of abstract expres- photographic re-survey of sites documented in sionism. Bob also wrote catalogue essays on Farm Security Administration–era photographs Robert Motherwell’s Opens, for an exhibition at Robert S. Mattison *85, Arshile of Ohio. [[email protected]] the Bernard Jacobson Gallery in London; on Gorky: Works and Writings R. Ross Holloway *60 was honored with the Grace Hartigan for a show at the C. Grimaldis festschrift Koine: Mediterranean Studies in Honor Gallery in Baltimore; and on Brandon Ballengee of R. Ross Holloway, edited by Derek Counts and for an exhibition at Lafayette College and the Anthony Tuck (Oxbow Books, 2009), which was Shrewsbury Museum in England. He was also the presented to him at the third annual R. Ross curator of “New Visions: Black and White

40 s p r i n g   1 0 Photography in Contemporary Art,” shown at of how violent European-wide controversies the Allentown Art Museum, Lehigh University, about ecclesiastical history informed the building and Lafayette College. Bob gave the inaugural of Santa Maria Maggiore and San Giovanni in Curtis Carter Lecture on Art and Social Change Laterano, and of how the creation of a new at Marquette University, speaking on “Robert princely administrative center on the Quirinal Rauschenberg: The Stone Moon Series and a Hill was linked with the stifling of the palace- Social Agenda,” and he also spoke on Robert building ambitions of papal families. The book Motherwell at Northwestern University. also considers the rich architectural worlds of two [[email protected]] institutions dedicated to learning, the Capitoline Shane McCausland *00 rejoined the Depart- Museum and the Corsini Library. With John ment of Art and Archaeology at the School of Pinto, Heather co-organized the session “Speak- Oriental and African Studies at the University of ing Ruins: Architects and Antiquity, 1400–1750” London last fall, where he now lectures in the at the 2009 Society of Architectural Historians history of Chinese art. From 2004 to 2009 he conference. She is currently working on a book Shane McCausland *00 and was head of collections at the Chester Beatty on Giovanni Battista Piranesi and is a Beckman Matthew P. McKelway, Chinese Library in Dublin. Shane recently published Fellow at the Center for Advanced Study at the Romance from a Japanese Brush: Kano Sansetsu’s Chōgonka Scrolls Chinese Romance from a Japanese Brush: Kano University of Illinois, where she teaches architec- tural history. [[email protected]] in the Chester Beatty Library Sansetsu’s Chōgonka Scrolls in the Chester Beatty Library (Scala Publishing, 2009), co-authored Julia K. Murray *81 is spending this academic with Matthew P. McKelway. This is the first year and next as a senior fellow in the University book in English devoted to exploring the history, of Wisconsin’s Institute for Research in the cultural context, and artistic style of the extraor- Humanities, allowing her to focus entirely on her dinary pair of picture-scrolls, titled Song of research. She recently published the article “‘Idols’ Lasting Sorrow, created by the Kyoto Kano in the Temple: Icons and the Cult of Confucius” School master Sansetsu (1590–1651) and depict- in the Journal of Asian Studies. Her research on ing the tragic love story of the Tang emperor representations of Confucius (551–479 b.c.e.) is Minghuang and his beloved concubine Yang being presented in the current exhibition “Con- Guifei. Shane is also the curator of “Telling fucius: His Life and Legacy in Art,” on view at Images of China: Narrative and Figure Paintings, the China Institute Gallery in New York City 15th–20th Century, from the Shanghai through June 13, 2010. The show, which is Museum,” a loan exhibition, with catalogue, on accompanied by a fully illustrated catalogue with view at the Chester Beatty Library in Dublin scholarly essays, is the first to examine the mate- Heather Hyde Minor *02, from February–May 2010. His monograph Zhao rial and visual culture of the state and family cults The Culture of Architecture in Mengfu (1254–1322): Calligraphy and Painting for worshiping Confucius. It reveals the diversity Enlightenment Rome for Khubilai’s China is forthcoming from Hong of his images and appropriations over the centu- Kong University Press later this year. ries, particularly relevant now that China is [[email protected]] promoting its own conception of Confucius as a Tine L. Meganck *03 is a postdoctoral research national symbol, just decades after he was reviled fellow at the Royal Museums of Fine Art in in the Cultural Revolution. Co-curated with Lu Brussels, Belgium. She is currently writing a Wensheng, director of the Shandong Provincial micro-history of one of the masterpieces of the Museum in China, the exhibition brings trea- collection, the Fall of the Rebel Angels (1562) by sured objects from Confucius’s hometown of Pieter Bruegel the Elder. She and her husband Qufu, Shandong, some of which are being Carl are happy to announce the birth last year shown outside China for the first time. of twins August and Violetta. [[email protected]] [[email protected]] Jacqueline Marie Musacchio *95 has pub- Heather Hyde Minor *02 has just published lished Art, Marriage, and Family in the Florentine The Culture of Architecture in Enlightenment Renaissance Palace (Yale University Press, 2008), Rome (Penn State University Press, 2010), which which investigates the intersection of art and the marriage ritual in the middle- and upper- is set in Rome of the 1730s and ’40s and focuses Confucius: His Life and Legacy in class homes of 15th-century Florence through on two important historical phenomena: an Art, catalogue of the exhibition intensive building campaign carried out by the an analysis of urban townhouses, their furnish- curated by Julia K. Murray *81 popes, and the concentrated movement by a ings, and the lives of their inhabitants. Her book number of reform-minded individuals to save examines the relationship of physical settings Italian learned culture. Contemporary intellectu- to the formation and ongoing life of the fami- als, architects, and popes serve as guides in each lies who lived inside them. It also analyzes the of the seven chapters, providing lively accounts palace and its furnishings as the setting for the s p r i n g   1 0 41 performance of daily life, from the start of a which Véronique co-edited with Catriona household via marriage, through its growth and MacLeod and Charlotte Schoell-Glass, was pub- development in childbirth, and its termination lished last summer, and she is currently editing and redistribution at death. Jacki is an associate the proceedings of the 2008 Conference on Word professor of art at Wellesley College, where she and Image Studies, Efficacité/Efficacy. This year teaches Italian Renaissance and Baroque art. Her she delivered conference papers and lectures in current research looks at the cultural patronage Switzerland, France, Italy, and the U.S., and was and historiography of Bianca Cappello, a Grand invited to serve on the program committee of the Duchess of Tuscany in the late 16th century Italian Art Society. In December she was a lec- who used the arts to maintain and improve turer on a 15-day Colby College alumni trip to her reputation against her many critics. Egypt, along the Nile from Alexandria to Abu [[email protected]] Simbel. [[email protected]] Kristoffer Neville *07 has taught 17th- and Sheryl E. Reiss *92 has taught in the Depart- Jacqueline Marie Musacchio *95, 18th-century art at the University of California– ment of Art History at the University of Southern Art, Marriage, and Family in the Riverside since the fall of 2007. He recently California since fall 2008. Last spring she pub- Florentine Renaissance Palace published Nicodemus Tessin the Elder: Architecture lished several entries on Raphael and others in the in Sweden in the Age of Greatness (Brepols, 2009), exhibition catalogue From Raphael to the Carracci: a revised version of his Princeton dissertation on The Art of Papal Rome (National Gallery of Can- the leading architect in Scandinavia in the mid- ada, 2009). Her article “Per havere tutte le opere... 17th century. Tessin’s extensive travels in the da Monsignore Rev.mo: Artists Seeking the Favor Netherlands, Italy, France, and Germany pro- of Cardinal Giulio de’ Medici” appeared in The vided him with a comprehensive picture of Possessions of a Cardinal: Politics, Piety, and Art, contemporary European architecture, which he 1450–1700, edited by Mary Hollingsworth and drew on as he synthesized a new group of build- Carol Richardson (Penn State University Press, ings—including palaces, banks, courthouses, and 2010). Sheryl presented a paper titled “The fortifications—that would attract international Patronage of the Medici Popes at San Lorenzo in attention as models for princely architecture. His the Historiographic Tradition” at the 2010 meet- productivity required a new approach to archi- ing of the Renaissance Society of America; it will tecture, and he was instrumental in developing be published in San Lorenzo: A Florentine Church, the architectural studio in northern Europe, dis- edited by Robert Gaston and Louis Waldman tinguishing the design process from the business (Villa I Tatti, forthcoming). Her article “From of building, and in the process recreating himself ‘Defender of the Faith’ to ‘Suppressor of the Kristoffer Neville *07, Nicodemus as the modern architect. Kristoffer’s book traces Pope’”: Visualizing the Relationship of Henry Tessin the Elder: Architecture in Tessin’s work and career, as well as his methods VIII to the Medici Popes Leo X and Clement Sweden in the Age of Greatness and how they transformed the building culture VII” will appear in Henrici-Medici: Artistic Links in the region from a site-oriented task to a more between the Early Tudor Courts and Medicean Flor- conceptual, studio-based process of designing. ence, edited by Cinzia Sicca and Louis Waldman Kristoffer is now working on several other proj- (Yale Center for British Art, forthcoming). ects in northern European architecture. [[email protected]] [[email protected]] Paul W. Richelson *74 , who is chief curator of Véronique Plesch *94 is currently president of the Mobile Museum of Art, served on the com- the International Association of Word and Image mittee that selected sculptor Edward Hlavka to Studies (www.iawis.org). Before the next trien- create a sculpture of Alabama native Helen Keller nial conference, which will take place in 2011 in for the United States Capitol’s Visitor’s Center. Montreal, the association is sponsoring the con- Paul attended the unveiling of the statue, a gift of ferences “Displaying Word and Image” in the State of Alabama, with members of the Keller Belfast, and “Once Upon a Place: Haunted family and a host of dignitaries last October. The Houses and Imaginary Cities” in Lisbon, as well sculpture, which depicts Keller as a seven-year-old as sessions at College Art Association and the child at the moment of her sentience at the International Congress on Medieval Studies at famous pump at her home in Tuscumbia, Ala- Véronique Plesch *94 on a Colby College alumni trip to Egypt Kalamazoo. With Catriona MacLeod, Véronique bama, is the first monument in the Capitol to is organizing and chairing the session “Literary honor an individual with disabilities. A second and Artistic Exhibition Strategies: Même Com- cast of the sculpture will tour Alabama art muse- bat?” in Belfast, and another one, “Word and ums this year. [[email protected]] Image in the Mystical Experience,” in Kalama- John M. Schnorrenberg *64 has taught a short zoo. Elective Affinities: Testing Word and Image course each spring since 2002 for the Arlington Relationships, Word & Image Interactions 6, Learning in Retirement Institute in Arlington, 42 s p r i n g   1 0 Virginia. This year’s course focuses on great century German paintings. sculptors. John is currently writing a short book [[email protected]] on the architectural history of his high school, Marta Weiss *08 contributed the essay “The Christ School, in Arden, North Carolina. Page as Stage” to the exhibition catalogue Playing [[email protected]] with Pictures: The Art of Victorian Photocollage, Ulrike Meyer Stump *96 (M.A.) teaches the his- edited by Elizabeth Siegel (The Art Institute of tory of photography at the Zurich University of Chicago and Yale University Press, 2009). The the Arts and serves as an adviser to the Swiss exhibition features works in photocollage made Ministry of Culture on its funding of publica- during the 1860s and ’70s by aristocratic Victo- tions and exhibitions related to photography, as rian women—whimsical and fantastical well as on acquisitions for the National Art Col- compositions of photographs and watercolors lection. She gave a talk this year at the Swiss that combine human heads and animal bodies, National Museum in Zurich and began work on placing people into imaginary landscapes and morphing faces into common household objects. an exhibition project for the Karl Blossfeldt Sheryl E. Reiss *92 et al., The Archive in Munich. [[email protected]] The exhibition was shown at the Art Institute of Possessions of a Cardinal: Politics, Margaret Rose Vendryes *97 is the curator of Chicago and the Metropolitan Museum of Art. It Piety, and Art, 1450–1700 the exhibition “Beyond the Blues: Reflections of will be on view at the Art Gallery of Ontario African America in the Fine Arts Collection of from June 5–September 5, 2010. Marta is cura- the Amistad Research Center,” which is on view tor of photographs at the Victoria and Albert at the New Orleans Museum of Art from April Museum in London. [[email protected]] 11 through July 11, 2010. This multifaceted Justin Wolff *99 is an assistant professor of art project illuminates the contributions of African history at the University of Maine, where he American artists over the past 125 years with 100 teaches courses on American and modern art, and paintings, prints, drawings, and sculptures from art theory and criticism. His next book, The Art the collection of the Amistad Research Center, of Experience: Thomas Hart Benton and the Ameri- along with the artists’ notes, sketchbooks, diaries, can Scene, is forthcoming from Farrar, Straus, and and letters drawn from the center’s archives. The Giroux in 2011. [[email protected]] exhibition is accompanied by a catalogue featur- David Wright *76 has published Il De pictura di ing illustrated essays, as well as a visual inventory Leon Battista Alberti e i suoi lettori, 1435–1600 of the entire fine arts collection at Amistad, the (Leo S. Olschki, 2010), a study of Alberti’s De first comprehensive publication of the collection. Beyond the Blues: Reflections of pictura that overturns most accepted ideas about African America in the Fine Arts The Amistad Research Center is the nation’s larg- it. Long considered to be a theory of Renaissance est independent repository of original materials Collection of the Amistad Research painting, it was in fact an innovative teaching Center, catalogue of the exhibition devoted primarily to the study of the history, cul- manual intended to introduce young students to curated by Margaret Rose ture, and life experiences of African Americans. a new way of learning to draw in the new Flo- Vendryes *97 The rich collection is best known for its works by rentine Renaissance style, starting from linear Harlem Renaissance artists but also includes perspective. Using a variety of evidence—includ- important late-19th- and early-20th-century ing library inventories, ownership marks, and artists such as Edward Bannister and Henry O. dedications—David has also compiled a list of Tanner, as well as those whose careers flourished known readers, who turn out to be scholars as in later decades. The exhibition will travel to sev- well as drawing students, all of whom wished to eral other venues throughout the United States. develop their drawing skills, but for very differ- [[email protected]] ent reasons. This new book also explains why Gary Vikan *76 blogs as CultureComment at so few Renaissance paintings bear much resem- www.charmcitycurrent.com, with observations blance to Alberti’s principles, which were simply on the art scene from his chair as director of the training exercises for young artists. Alberti wrote Marta Weiss *08 et al., Playing Walters Art Museum in Baltimore. He invites all the book as a provisional introduction, and all of with Pictures: The Art of Victorian to take a look and post a comment. Gary’s most his so-called paintings were simply optical dem- Photocollage recent book, Byzantine Pilgrimage Art, will be onstrations. David recently completed an article published this year by Dumbarton Oaks, and he on the iconography of Ghirlandaio’s (mis- is currently working on a book-length study named) Uomini famosi in the Palazzo titled From the Holy Land to Graceland. Vecchio in Florence and an essay [[email protected]] on the iconography of two seriously Joshua Waterman *07 is the Andrew W. Mellon misunderstood garden ensembles, Pra- Postdoctoral Curatorial Fellow at the Philadel- tolino and Bomarzo. [dwright139@ phia Museum of Art. He is currently writing a tampabay.rr.com] catalogue of the museum’s 15th- and 16th- s p r i n g   1 0 43 The Department of Art and Archae- Department of Art and Archaeology Non-Profit Mail ology Newsletter is produced by the McCormick Hall U.S. postage Publications Office of the Depart- Princeton University PAID ment of Art and Archaeology and Princeton, NJ - Permit no.186 the Office of Communications, Princeton, NJ Princeton University. Editor: Christopher Moss Design: Megan Peterson Photography: Lisa Ball, John Blazejewski, Patricia Blessing, Elizabeth Bolman, Mike Bruce, Jeffrey Campbell ’10, Jeffrey Chen ’13, David Connelly, Jeff Evans, Valerie Ford, Lisa Lee, Efraim Lev-er, Hannah McDonald- Moniz ’10, Hugo Meyer, Matthew Milliner, Christopher Moss, Nebojša Stanković, Drew Strauss, Jaqueline Sturm, D. Alexander Walthall, Bruce M. White, Zuo Ya Illustrations: JoAnn Boscarino Cover illustration: Indian, Mughal (School of Akbar), Page from an Imperial Copy of the Baburnama: Scene of Reception: Feast at Sultan Ialal ad-Din’s House at Karrah, ca. 1598 (detail). Princeton University Art Museum, gift of Mr. C. O. von Kienbusch ’06, for the C. O. von Kienbusch, Jr., Memorial Collection, y1971-30 (photo: Jeff Evans) Department of Art and Archaeology newsletters are available in PDF format on the Web at www. Comments and news or information from princeton.edu/artandarchaeology/ publications/index.xml. our readers on recent activities are always Copyright © 2010 by welcome, as are inquiries regarding the pro- The Trustees of Princeton University gram. Please submit news items for the next In the Nation’s Service and issue to Newsletter, Department of Art and in the Service of All Nations Archaeology, McCormick Hall, Princeton University, Princeton, NJ -, or e-mail [email protected].

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