COLUMBIA UNIVERSITY

DEPARTMENT OF AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER 826 FALL 2010 schermerhorn new faculty from the chairman’s office

The teaching done in Schermerhorn Hall constitutes the core mission of the Department of Art History and Archaeology, but owing to the Michael Cole nature of our discipline, instructors and students alike must cope with The Department is delighted to the inescapable reality that the objects, monuments, and buildings we welcome Michael Cole, who will study are almost always someplace else. However luminous a projected join the faculty as professor of image, and however vivid a digital presentation that simulates the Italian art during experience of moving through a building, these are expedient means the 2010–2011 academic year. that never fully compensate for the absence of the real thing in our Professor Cole is the author of darkened classrooms, where the day-to-day pedagogy of art history acclaimed studies of Renaissance takes place. The tangibility of the things we study—the texture of and art and architecture. paint on canvas, the play of light on a statue, the traces of the carver’s His book, Cellini and the Principles chisel on a Romanesque capital—is the chief glory of art history; that of Sculpture (Cambridge University we usually must study these things while not in their presence is its Press, 2002), has radically chief frustration. expanded our understanding of At Columbia, we overcome the absence experienced in the art the relationships among materi- history classroom by simply going outside. Charles Follen McKim’s als and artistic meaning in the Renaissance. A new book, campus not only allows us to teach about the organization of Ambitious Form: Giambologna, Ammanati, and Danti in architectural space but also fosters on-site discussions of topics such Florence (Princeton University Press), is now in press. His as the relationship between buildings and their ornament. Beyond recent articles deal with topics such as urbanism in late Columbia, we draw on New York’s museums and galleries, where, sixteenth-century , Bernini’s Apollo and Daphne, and on nearly any given day during the academic year, Columbia students the reception of Leonardo’s Treatise on Painting. Professor can be found looking at works of art with their teachers—an experi- Cole has been active also as the editor of scholarly antholo- ence that students inevitably cite as the most exciting part of any gies and as a curator. A graduate of Williams College who class. Nevertheless, so much of what we teach about is “over there,” holds a PhD from Princeton, Professor Cole has taught at far away, and hard to reach. This is why finding ways for our students the University of North Carolina at Chapel Hill and, most to travel is so important to the mission of the Department. recently, at the University of Pennsylvania. As short items in this year’s newsletter report, 2009–2010 was a good year for student travel. In addition to the research travel sup- ported annually by departmental and Graduate School fellowships, trips funded by the generosity of alumni and friends enabled students in two seminars to spend a week in and in Rome (see p. 5). This spring, thanks to the leadership of alumna Ms. Joan Mirviss Dual Slade Professors, (GSAS ’76), the Department established a travel fund for Japanese art named in honor of Professor Emerita Miyeko Murase. The fund Oxford and Cambridge will help ensure that students in her field travel to Japan and elsewhere This coming winter, members of the faculty of the Department in East Asia for direct study of works of art—an experience that was of Art History and Archaeology will hold two of the most pres- always a key element of her own pedagogy (see p. 3). tigious visiting appointments in the discipline of art history. Schermerhorn Hall will continue to be their home base, and New Zainab Bahrani will be Slade Professor of Fine Art at the University York will always offer countless opportunities for the direct study of of Oxford, while at the same time Barry Bergdoll will be Slade works of art, but as they pursue their coursework and research in a Professor of Fine Art at the University of Cambridge. The Slade department that was global in its ambitions long before anyone had professorships were established by a bequest from the philan- heard much about globalization, our students, passports in hand, thropist Felix Slade in 1869. The first to hold the professorship become citizens of the world, looking intensely, as we try so hard to at Oxford was John Ruskin. Currently, Slade Professors at the teach them to do, wherever their travels take them. two institutions deliver a series of eight public lectures and also offer seminars for graduate students. Among past and current Robert E. Harrist, Jr. members of the Columbia faculty who have held the Slade professorship are Meyer Schapiro (Oxford, 1967), Rudolph Wittkower (Cambridge, 1970), Howard Hibbard (Oxford, 1976), Reff (Cambridge, 1982), David Freedberg (Oxford, 1983), Joseph Connors (Oxford, 1998–99), and Cover: Interior of the Daibutsuden, (Great Buddha Hall) at To¯dai-ji temple, Nara, Robert E. Harrist, Jr. (Cambridge, 2007). That two members Japan. From a project by the Media Center for Art History made possible through the support of ARTstor. Several thousand photographs and some 250 Virtual of the faculty of a single department will hold the professor- Reality nodes will be available on the ARTstor database in late 2010. (Photograph ships simultaneously appears to be unprecedented. The working by Cassy Juhl) title of Professor Bahrani’s lectures is “Art and Ontology in Opposite page: The Judith Lee Stronach Center (Photographs by Annique Antiquity” and those of Professor Bergdoll, “A Changing Atwater ’09 BA) Frame: a History of Exhibiting Architecture Since 1750.”

2 major gifts

The Judith Lee Stronach Center, One Year Later

Stepping out of the elevator on the The Stronach Center was inaugurated on October 12, 2010. Over 8th floor and turning left, visitors to the course of the 2009–2010 academic year the Center has become Schermerhorn Hall now see, through a the heart of the Department of Art History and Archaeology. Graduate large glass panel, a dramatically lighted students gather informally to relax or study in the handsome social fragment of a classical sculpture and space, where receptions after lectures and departmental parties also behind it a great wall of books housed take place. At the opposite, quieter end of the Stronach Center are in glass-fronted cases. This view into a computer lab for use by graduate students and offices for graduate the Judith Lee Stronach Center is the instructors to meet with their undergraduate advisees. The department’s result of a major renovation carried Media Center also is located in the Stronach Center, facing Amsterdam out last summer. This transformation Avenue. Over the summer of 2010, a prize-winning architectural addi- of the space formerly occupied by the tion to the 9th floor completed several years ago and also funded by departmental slide library was funded the bequest from Ms. Stronach will be converted into a flexible new by a bequest from Judith Lee Stronach (’69 MA) and designed setting for meetings and informal classes and will be known as the by Professor Francesco Benelli and doctoral candidate Carolyn Yerkes. Stronach Studio.

Professors Murray and Joseph Named Miyeko Murase Travel Fund Launch to Endowed Professorships This spring former students and friends of Professor Emerita Miyeko Murase (’62 PhD) gathered in New York During the 2009–2010 academic year, two newly endowed professor- at a dinner hosted by Joan B. Mirviss (’76 MA) to celebrate ships were given to the Department of Art History and Archaeology the establishment of a travel fund in the field of Japanese by alumni of Columbia College. In July 2009, with the approval of the art named in her honor. A graduate of the Department and Trustees, Branden Joseph was named the Frank Gallipoli Professor of long time member of the faculty (1962–1996), Professor Modern and . This professorship was the gift of Murase trained generations of scholars and curators who Mr. Frank Gallipoli (’86 BA). In May, Stephen Murray was named now hold positions in the field of East Asian art throughout the Lisa and Bernard Selz Professor of History. The the world. The fund was initiated by a generous challenge gift of Mr. Bernard Selz (’60 BA) and Mrs. Lisa Selz, this professor- grant from an alumna with a goal of raising $250,000 to ship is the second position in the department they have endowed. In endow the fund in perpetuity. The fund will ensure that our 2002, Esther Pasztory became the Lisa and Bernard Selz Professor students continue to have opportunities for first-hand study in Pre-Columbian Art. Thanks to the generosity of the donors, the of works of art, which was an essential part of Professor fields to which the professorships are dedicated will endure continu- Murase’s teaching. ously as cornerstones of the Department’s academic mission.

3 Media Center travels to Japan

In May 2010, Matthew McKelway, Atsumi Associate Professor of Japanese Art, Jonathan Reynolds, Associate Professor of Japanese Architecture and Visual Culture, and senior Media Center staff members Caleb Smith and Cassy Juhl traveled to Japan to photograph architecture from the 8th through the early 21st Century. The project, the Media Center’s second funded by ARTstor, a non-profit digital image database created by the Andrew Mellon Foundation, produced 360-degree digital panora- mas of interior and exterior spaces, as well as high-resolution digital photographs. It is the first time interior images of temples such as Muroji and Jishoji will be available to broad audiences outside Japan. By late 2010 scholars will be able to access these resources for their teaching and research through the ARTstor database. The Media Center wishes to thank Aaron Rio, PhD Himeji-jo, Himeji, Japan candidate in Japanese art, and Visiting Scholar Sen So-oku, for Nezu Museum, exterior and first floor gallery, Kuma Kengo, Japan, 2009 their help in negotiating access to the famously off-limit sites (Photographs by Caleb Smith) around Kyoto and Nara.

Undergraduate Awards and Prizes Robert Branner Forum The department awarded its senior thesis prize to James DeWille The Robert Branner Forum for Medieval Art hosted a success- for “The Body in Jesús Soto: Movement, Participation, and ful lecture series this year, welcoming Sheila Bonde and Clark Performance in Soto’s Art, from Early Vibrations to the Penetrables.” Maines, Madeline Caviness, Kirk Ambrose, Juergen Schulz, Undergraduate fellowships went to Andrea Lujan to research her Clark and Tom Waldman, with special appearances proposed thesis on the Aztec Moon Goddess, and to Diana Greenwald from Arnaud Timbert from the University of Lille and Patrick to study the American painter Thomas Moran and his portrayals Ponsot, the Architecte en chef des Monuments historiques for of Yellowstone National Park. Riggio Summer Undergraduate France. The Forum also thanks Shirley Branner for her contin- Fellowships were awarded to Aliza Kathryn Minogue-Nachison ued support. For a list of past and upcoming speakers visit our (Yeronisos Island Field Excavation Field School, Cyprus), Meghna website: http://www.columbia.edu/cu/arthistory/html/dept_ Prasad (Fred Torres Collaborations, New York, New York), Catherine lande_branner.html Slowik (Smithsonian American Art Museum, Washington, D.C.), and Adela Yawitz (Dvir Gallery, Tel Aviv, Israel).

4 notes from abroad

Paris Travel Seminar Never have I had such an intense, exhausting, and rewarding Roman Light teaching experience! For eight days, during spring break, I roamed through the history of Paris and its art with twelve For ten days in October 2009 my undergraduates, ably seconded by three graduate students. graduate seminar of twelve students From morning croissants at a favorite café till dinnertime, we explored Rome and its environs. moved non-stop (well, actually, there was a lunch break) from Thanks to the generosity of donors one site to another: museums of course, but also the sewers, to the Department’s James Beck the grands boulevards, and the Opéra. We had too many Memorial Fund, which supported adventures and saw too many beautiful things to describe them the trip, and to Josh Sakolsky’s all, but I would like to mention a few highlights. Perhaps the expert planning, we were able to most unexpected visit of all was to the private collection of study our projects in far greater the Hermès company. Assembled by several generations of the detail than would have been pos- Hermès family, the collection included many marvelous items, sible by conventional media alone. including a toilette case by the legendary Aucoc, described in The topic was “ and Dumas’ La Dame aux Camellias, the significance of which we Catholic Reform,” a response to had discussed in class earlier in the semester, but whose precious the students’ requesting a seminar Bernini’s San Andrea del and intricate quality we had not been able to imagine. Another Quirinale, Rome, Italy, that focused on 16th and 17th great moment was defying the ban against groups discussing 1658–1670 (Photograph by century Rome. We wanted to paintings at the Louvre. We just sat close together on benches Andrew Tallon ’07 PhD) understand how the movement and pretended we weren’t having a great talk about Ge˙ricault’s for Church reform, which had Raft of the Medusa. I knew Paris, but I didn’t know how close begun in earnest in the 15th century, might have affected I could feel to students when I was with them all day, every styles in architecture, painting, and sculpture. The students day, for over a week. Our deep thanks go to Mr. Philip Aarons chose sophisticated research areas marked by a fresh approach (’73 BA, ’76 JD), a Columbia alumnus and chairman of the to material that too often has been subject to confessional Department’s Advisory Council, whose support made the bias. Thus we studied late-quattrocento frescoes by Filippino trip possible. Lippi and Pinturicchio, as well as the better known and more “Catholic Reform” monuments such as the early decoration —Anne Higonnet, Professor of Art History of the Gesù, the Jesuits’ mother church. Some participants explored uncharted territory, such as late 16th-century frescoes in Santa Cecilia that show the period’s interest in ascetic saints in landscapes. Still another re-evaluated the work of the papal architect and urban planner Domenico Fontana, and another made a case for the aesthetic intentions Cambridge Exchange of assembling Early Christian spolia in 16th-century churches. Beyond Rome itself we traveled to the Villa Farnese at Under November’s “chill and drear” sky, I had the good Caprarola and the Villa Lante at Bagnaia in order to discuss fortune to travel to England as the first participant in a series upper-class country life, villeggiatura, that was as important of exchanges organized by our department in collaboration for art at the time as were the sacred sites in the city. Among with the Department of the at the University of the unforgettable moments was our pilgrimage (which is what Cambridge. Dr. Frank Salmon, Head of the Department, gave you call it when the bus driver loses his way!) to have lunch a warm welcome at St. John’s College, where he is a fellow. at Bagnoreggio, a medieval town perched like an eagle’s nest Besides leading a seminar and lecturing on my current research, on a cone-shaped mountain north of Rome. Apart from the I had the rare opportunity to dine at St. John’s, where, in spite excitement of learning about art in situ, which is of course of Dr. Salmon’s careful guidance, I managed to commit nightly the ideal for any subject, I think one of the greatest benefits breaches of etiquette, such as confusing the glasses for water and of our trip was our camaraderie, which was as much intel- wine. The diverse research interests of the faculty and students, lectual as it was social. Certainly, I’ll never forget nor cease the presence of the Fitzwilliam Museum, the extensive libraries, being grateful for those wonderful days in Rome. And I dare and the extraordinary beauty of its architecture will make to hope that the memory of them will inspire our students Cambridge a valuable partner for exchanges with Columbia in as they begin their own careers as professional art historians. the years to come. —William Hood, Professor of Art History —Matthew McKelway, Takeo and Itsuko Atsumi Associate Professor of Japanese Art

5

curator’s corner at the wallach

Marjorie E. Wieseman (PhD’91) is Curator of Dutch Nancy Holt: Sightlines Paintings at The National Gallery in London. September 21 through December 11, 2010 Like many other museums and galleries, The National Gallery has recently sought to rein in an ever-expanding succession of international loan exhibitions and increase ancy Holt: Sightlines is the first compre- focus on the permanent collection. Instead of three major loan exhibitions per year, the Nhensive solo exhibition of this important Gallery now presents two loan exhibitions and one show of paintings drawn from the postwar American artist who works at the permanent collection. Close Examination: Fakes, Mistakes and Discoveries, the second in intersection of art, architecture, and time-based the series, opened in June 2010 and was curated by myself in collaboration with Ashok media. Her far-reaching body of work, from Roy, the Gallery’s Director of Scientific Research. the late 1960s to the present, includes , The brief for the films, videos, installations, and major sculpture exhibition was to draw commissions that are at the nexus of concep- attention to the work of tual art, , and post-minimalism. the Scientific department, Many of Holt’s projects were responsive to the and highlight the impor- environment, offering novel means for observ- tance of collaborative ing natural phenomena—summer and winter research at the Gallery. solstices, and sun and moonlight patterns—and The paintings selected transforming specific geographic locations. for exhibition cover the Alena Williams, a PhD candidate in the full range of the Gallery’s department, has organized the exhibition in col- holdings, and present a laboration with the artist. The works selected variety of research “prob- will illuminate Holt’s artistic trajectory from her North Italian, Woman at a North Italian, Woman at a lems” including outright initial experimentation with sound, light, and Window, probably 1510–30. Window during cleaning (1978). fakes (the Gallery has The National Gallery, London. The National Gallery, London. industrial materials to her development of major two); paintings that had site-specific works and freestanding environmen- been transformed to suit prevailing taste; copies, replicas and workshop collaborations; tal sculpture. More than forty of the artist’s embarrassing acquisitions, triumphant rediscoveries and so on. The case studies dem- onstrate how a collaborative approach incorporating scientific analysis, conservation, documentary research and connoisseurship enriches our understanding of paintings as physical objects. Some of the research behind the exhibition had already been published in the Gallery’s Project Europa: Technical Bulletin or in its collection catalogues, but more than two thirds of the works required new scientific research. Over a period of several months, one painting per week Imagining the (Im)Possible was examined in the conservation studio by a small team of Gallery scientists, conservators January 18 through March 26, 2011 and curators. Existing documentation was spread out, debated and discussed; questions (and sometimes answers) flowed freely, and plans for further investigation were agreed roject Europa: Imagining the (Im)Possible upon. The experience was a vivid reminder of why I entered into this profession: to Pconsiders the relation of art and artists to the think long and deeply about paintings as physical objects; about the circumstances of promise of a “New Europe” in the two decades their creation and about the effects of time, both on the paintings themselves and on since the fall of the Berlin Wall. The exhibition our attitudes toward them. During those precious hours the electronic and bureaucratic will feature paintings, sculpture, photographs, realities of a curator’s job seemed very far away… and video by more than twenty artists from Throughout the exhibition planning process, the problems of interpreting often quite Turkey to the UK who explore the conflicts and complex scientific research for a non-specialist audience posed a significant hurdle. (I contradictions of Europe’s democratic dream. often joked that I was the ideal curator for the exhibition because if I could understand While the European Union embodies notions the science, anyone could.) A key requirement was that any interpretive materials had to of democracy, human rights, peace, and hetero- have relevance beyond the three-month run of the exhibition. In the end, the material geneity, it has also given rise to xenophobia and was presented in a layered manner: within the exhibition at the most basic level, with racism, religious intolerance and the hardening more extensive information to be found on a dedicated exhibition website and in a of immigration policies. Project Europa will explore (published) basic guide to the technical examination of paintings. how challenges to democracy and diversity Work on this exhibition took me far outside my usual comfort zone of seventeenth- have been pressing issues for socially concerned century Netherlandish paintings, but having the vast resources of the National Gallery artists. This exhibition will present reflections at my disposal made it immeasurably easier. Working at the National Gallery, I am of and resistance to the collective imagination constantly aware of being just a small part of a far larger history: exhibitions and their of Europe, while also providing an opportunity curators come and go, but the preservation, documentation, display and interpretation for American audiences to consider the rela- of this remarkable collection will hopefully continue for many years to come. tionship between art and democracy at home.

6 MA in : Critical and Curatorial Studies (MODA)

MODA is pleased to announce new programs for the 2010–2011 academic year. The conversation series Curating Time will launch its first installment on September 26 with a presentation by Bill Horrigan, Director of Media Arts at the Wexner Center. Other guest lecturers include Nato Thompson, Chief Curator at Creative Time, and RoseLee Goldberg, Founding Director and Curator of projects will be presented, including ten videos, two films, three audio Performa. Curating Time is organized by Kristen Chappa, Tomoko pieces, seven photographic series, and several concrete poems. Three Kanamitsu, and Marley Blue Lewis (all MODA students). For temporary indoor installations and six large-scale, site-specific sculp- September 2010, Director Kaira Cabañas has planned a Curatorial tures will be represented by photographs, drawings, and ephemera. Travel Workshop for a select group of students in the program. Together they will attend the 29th São Paulo Biennial, which is a model for innovative curatorial strategies in an increasingly global art world. The workshop includes discussions with biennial curators and visits to important architectural sites, artist studios, and private collections. Finally, Love will open at the Wallach Art Gallery in April 2011. Featuring alumni from Columbia’s distin- guished Visual Arts Program, the exhibition is curated by MODA students Alex Benenson, Kristen Chappa, Tomoko Kanamitsu, and Donald Johnson-Montenegro.

Nancy Holt. Sun Tunnels (detail), 1973-76. Site specific sculpture at Great Basin Desert in Northwestern Utah. Courtesy the artist.

MODA students discussing the forthcoming Common Love exhibition with guest lecturer Michael Hardt, Professor of Literature and Italian, Duke University.

Internship Program with the National Susan Hefuna. ANA (full view and detail), 2006. Museum in Athens Handmade wood carving The Department of Art History and Archaeology established an and ink. Photograph by Randy Batista, courtesy the internship program for undergraduate and graduate students with Samuel P. Harn Museum of the National Archaeological Museum in Athens. Founded in 1893, Art, University of Florida. the museum is among the largest in the world, housing over 11,000 objects from the beginnings of Prehistory to Late Antiquity, a rich photographic archive and a library with rare publications, and mod- Project Europa: Imagining the (Im)Possible is organized by Kerry ern conservation laboratories. Thanks to Professor Mylonopoulos’ Oliver-Smith, curator of contemporary art at the Harn Museum of efforts, the joint program will offer internships to two of our students Art. At the Wallach Art Gallery the presentation and programming each year for up to six months, which will enable them to become will be organized in collaboration with Professor Alexander Alberro. acquainted with the museum’s extensive resources.

7 faculty book shelf

“the german school is a soul with- of l’art pour l’art, altogether new to the French. It therefore provided out a body; the French school, a body “a curious subject of study for French painters, whose way of seeing without a soul,” declared the French is so different and who have always been attached to form.” Whether critic Alexandre de Saint-Chéron in advocate or opponent, no French critic failed to point out the excep- 1836. “If only these two arts could tionalism of the Nazarene movement. study each other, unite, and complete As we examine this French debate of the 1830s, a realization emerges: each other, we would see the new art any real understanding of European art’s development in the nineteenth of the nineteenth century rise at last.” century must involve an understanding of the Nazarene movement and The date of Saint-Chéron’s statement its place within this development. Yet until now, the scholarship on this is symptomatic. For it was only then, important school has remained a mostly German affair, while the French more than twenty years after the fact, narrative has more or less dominated our perception of the course of that France discovered a contemporary nineteenth-century European art in general. This book aims to contrib- German ‘school’. And to the chagrin of ute to a fuller understanding of that European history, one that even many German artists, this discovery identified the ‘école allemande’ nationally self-centered art critics or artists in the period itself intuitively almost exclusively with the Nazarene movement. Certainly, few of de recognized. If the body of nineteenth-century art-historical scholarship Saint-Chéron’s French colleagues shared his enthusiasm or accepted has been predominantly French, this study seeks out its ‘soul’. the premise that could learn from its Teutonic other. But even the most vehement detractors of the ‘école allemande’ agreed upon —Excerpt from Cordula Grewe’s Painting the Sacred in the Age of its importance as a laboratory for modern art. The German School’s (Ashgate Publishing, 2009) p. 1. conception of art was, admitted Théophile Gautier, the poet-apostle

the master narrative of modern art when certain aspects of artistic practice, such as , jettisoned turns on the importance of specific the use of a specific medium in order to juxtapose image and written aesthetic mediums understood as simul- text within the same work. The now-fashionable possibility of installation taneously empowering artistic practice art followed in the wake of this dispatch of the medium. Installation and leveraging the works’ possibility of is relentless in its refusal of specificity, filling galleries with mixtures of meaning. In charting the development of video images and taped narratives. twentieth-century painting from For the most part, Perpetual Inventory charts my conviction as a to abstraction to abstract-, critic that the abandonment of the specific medium spells the death of critics and historians follow Clement serious art. To wrestle new mediums to the mat of specificity has been Greenberg who, in his essay “Modernist a preoccupation of mine since the inception of October, the magazine I Painting,” singled out flatness as the founded in 1976 with Annette Michelson… characteristic specific to painting because unshared by any of the other mediums, such as sculpture or drama. —Excerpt from Rosalind Krauss’ Perpetual Inventory (MIT Press, 2010) This master narrative hit the wall of Lyotard’s Postmodern Condition Introduction p. xiii.

the greatest art of every also an individual vision of how art should be experienced. In an era of time and place was for sale. unlimited acquisition opportunity, some collectors purchased immortality. Pried loose from royal, aristo- By the Second World War, the era of the collection museum had cratic, and church possession ended. Art markets tightened. Museums became increasingly profes- by the industrial and political sional, and collectors ceased asserting themselves so personally. But revolutions of the late eigh- the collection museums of the late-nineteenth and early-twentieth teenth century or seized by century remained. All across Europe and the United States, museums colonial conquest, precious like the Wallace Collection in London, the Musée Condé near Paris, treasures swept into a public the Gardner Museum in Boston, the Frick Collection in New York, market. Suddenly, money could the Huntington Art Gallery in Pasadena California, and Dumbarton buy paintings by , Rembrandt, Vermeer or Velázquez, sculp- Oaks in Washington D.C. continued to maintain personal collections, tures by Cellini, sumptuous illuminated manuscripts, entire rooms of more or less as they had originally been installed. When you cross the furniture, ancient Roman mosaics, splendid seventeenth-century threshold of these preserved collections, you enter another world. Time Persian carpets, Pre-Columbian gold, or the finest Chinese Ming and has stood still. Nothing seems to have changed for decades, perhaps for Qing porcelains. Some masterpieces went straight into museums, insti- more than a century. A ghost hovers everywhere, the ghost of the person tutions which were just as much the product of a modern attitude to art who once acquired all these things, who lived with them and wanted as the market that supplied them. Many masterpieces went into private them to stay together forever. homes. The most avid private buyers collected at once for themselves and for a museum. These extreme collectors amassed art in order to create —Excerpt from Anne Higonnet’s A Museum of One’s Own, museums of their own, museums that preserved not only the objects but (Periscope, 2010) p. xii.

8 faculty highlights

Alex Alberro’s published Kaira Cabañas lectured in the “Art was able to give a talk at Harvard in Andrea Hornick. In three teaching included “The Apprenticeship et Sociétés” seminar at the Centre February, and spent the summer experiments, she taught a seminar of Arshile Gorky,” in Texte zur d’Histoire de Sciences Po, Paris. term in Norway as a visiting scholar at and about the Frick Collection, Kunst (2010); “Edward Krasinski’s She also spoke at The Hirshhorn at the Oslo School of Architecture. sent a dozen students to be part of Dynamic Line,” in Avant-garde Museum in the context of Yves a Tino Sehgal exhibition at the in the Bloc (Warsaw 2009), “The Klein: With the Void, Full Powers Noam M. Elcott presented new Guggenheim, and traveled to Paris Wired Reverberation: Gilberto and contributed to the catalogue. research in New York, Florida, with another dozen seminar students, Zorio’s Sound Play,” in Robert Finally, she considered acquisitions and New Haven. He completed a plus three graduate students, for Lehman Lectures on Contemporary by the Museu d’Art Contemporani number of articles and catalogue eight days of immersion in Parisian Art No. 4 (New York 2009), and Barcelona in Relational Objects: essays, developed several new art, architecture, and history. “Response: Questionnaire on MACBA Collection 2002–07. courses, and curated a film pro- the Contemporary,” in October, gram and installation at the James Kellie Jones’ new book, 130 (2009). Alberro’s book, Jonathan Crary’s public lectures Gallery. Elcott most recently co- EyeMinded: Essays is forthcoming Institutional Critique: An Anthology included being keynote speaker at founded the Columbia University from Duke University Press in of Artists’ Writings, co-edited with the “Sights/Sites of Spectacle” con- Seminar on the Site of Cinema. early 2011. It chronicles her years B. Stimson, was published by ference at the University of British of arts writing and has garnered MIT Press in November 2009. Columbia in Vancouver and ple- David Freedberg spent the fall term an Alphonse Fletcher, Sr. Award nary speaker at the “Media Modes: as Fellow of the Wissenschafskolleg from Harvard University. Jones Zainab Bahrani’s most recent Art and Technology” conference at in Berlin, working on his book on was invited by the Getty Research book, Rituals of War (Zone Books, School of Visual Arts. Among his art and neuroscience. His Power of Institute and the Hammer 2009), was awarded the American recent publications are a critical Images appeared in a new Italian Museum to organize Now Dig Historical Association’s James Henry introduction to a new edition of Paul edition (containing four prefaces This! Art and Black Los Angeles, Breasted Prize. She appeared on Virilio’s Aesthetics of Disappearance translated from other foreign 1960–1980, an exhibition on the the television series Art through and an essay on Seurat in the editions). He was elected a cor- African American presence in the Time: A Global View in the epi- anthology Seurat Re-Viewed. responding member of the Istituto post WWII Los Angeles art scene, sodes “The Body” and “Portraits,” Veneto di Scienze, Lettere e Arti. which will open in October 2011. and she provided commentary on Francesco de Angelis organized the images in the series website, www. conference “Etruscan Myth: Images Cordula Grewe had an exception- Branden W. Joseph lectured learner.org/courses/globalart. and Inscriptions” at Columbia, ally productive year marked by at the UC Berkeley Department participated in conferences on the publication of her first book of Music, Wellesley College, the Francesco Benelli completed the Roman and Etruscan topics in (see faculty bookshelf), which is University of Chicago, the Sonic manuscript for his book on archi- Berkeley, Malibu, and Chicago, now under contract for a German Acts festival in Amsterdam, the tecture in Giotto’s painting. He and lectured in Paris and Oxford. edition. In addition, she secured a Museum für Moderne Kunst in published seven articles and essays He was nominated to the advisory contract for her catalogue raisonné Frankfurt, and the Institute for on Renaissance and medieval archi- board of Source: Notes in the History of Wilhelm Schadow, published Cultural Inquiry in Berlin and tecture and modern historiography of Art. His edited volume on The numerous articles in journals and published on Josiah McElheny, and he lectured in New York, Paris, Spaces of Justice in the Roman World anthologies, and presented seven Carolee Schneemann, Max Neuhaus, Rome, Moscow, Venice, Padua, will be published in the fall by Brill. talks in four different countries. Her John Cage, and Paul Scheerbart. Messina, , Bari and Vicenza. second book manuscript, under Vidya Dehejia received a grant contract with Penn State UP, won a Natalie Kampen received a major Barry Bergdoll received awards from The National Endowment publication grant from the Alexander grant from the Getty Foundation for the exhibition catalogues he for the Humanities (2010–2012) von Humboldt Foundation. for a project on the art and archae- co-edited at MOMA: the Philip to work on a project entitled “The ology of the Roman provinces Johnson Award of the Society Unfinished: Indian Stone Carvers Robert E. Harrist, Jr. received the under their initiative, “Connecting of Architectural Historians for at Work,” together with Peter Joseph Levenson award from the Art Histories.” She will co-direct Home Delivery (2008) and Best Rockwell, working sculptor and Association for Asian Studies for two short seminars, one in Britain Exhibition Catalogue of the year consultant of stone conservation. his book, The Landscape of Words: and one in Greece, in 2011–2012. by the American Association of They will investigate questions Stone Inscriptions from Early and She spent two months this winter Museum Curators for relating to stone and quarrying, tools Medieval China. He will continue as Getty Visiting Professor of 1919–1932. Rising Currents: and materials, the varying processes to serve as department chairman Art History at Jawaharlal Nehru Projects for New York’s Waterfront, of working rock-cut monuments, through 2010–11. University in New Delhi, and has which he conceived and curated, and the application of “the rhythm recently been appointed Visiting is on view through October 2010. of construction” to unfinished Anne Higonnet published a book, Professor of Roman Archaeology He gave keynote addresses for areas of constructed monuments. A Museum of One’s Own: Private at Brown University. Retirement the opening of the new Maxii Collecting, Public Gift (Periscope, takes more energy than she expected! Museum in Rome in November In the fall and spring, Vittoria Di 2010), an essay on Paula Modersohn- and to the annual meeting of the Palma was on maternity leave. Becker, a book chapter on the Hill- Holger A. Klein advanced work on Association of Collegiate Schools Although her son, Taddeo, did not Stead museum, and an exhibition his new book Cities, Saints, and of Architecture in New Orleans. give her a great deal of time off, she catalogue essay on new paintings by Sacred Matter. As consulting curator

9 Faculty Highlights continued of Medieval Art at the Cleveland cal tool—a spatial database contain- Dissertation Huffa Frobes-Cross “Inadequate Descriptive Museum of Art he has just finished ing hundreds of Gothic churches Fellowship Awards the reinstallation of the museum’s embedded in a Googlemap. The Systems: Rosler, Lonidier, Early Christian, Byzantine, and user may mouse over the map for 2010–2011 Steinmetz, Sekula” Early Medieval Art galleries. He and visit the buildings, while at Subhashini Kaligotla Berit Wallenberg is currently finalizing work on a the same time exploring the geo- “City of Shiva, City of Kings: major international loan exhibition political and temporal dimensions Foundation Fellowship Therese Sjøvoll “Queen Form and Meaning in the entitled Treasures of Heaven: Saints, of Gothic (http://www.mapping- Christina of Sweden’s Architecture of the Deccan, Relics and Devotion in Medieval gothicfrance.org). Musaeum: Collecting and 654–757” Europe and its accompanying cata- Display in the Palazzo M. Jordan Love “‘On Earth logue (Yale University Press). curated an Ioannis Mylonopoulos Riario-Corsini” as It is in Heaven’ The exhibition on The New Acropolis Creation of the Bastide Towns MIT Press published Rosalind Museum at the Miriam and Ira D. C.V. Starr Departmental of Southwest France” Krauss’ latest book, Perpetual Wallach Art Gallery and published Inventory, in February 2010. Her an article in the accompanying Dissertation Fellowship Risham Majeed “Romanesque next book, Under Blue Cup, is due catalogue. He published articles on Helm Fellowship from and Republic; Ethnography out this coming fall, and will also Greek sanctuaries, the semantics of the Lilly Library at the and Empire. Exhibiting be published by MIT Press. barriers in Greek temples, human University of Medieval and African Art at Page Knox “Scribner’s Monthly sacrifice in Greek art, and fourth- the Trocadéro, 1878–1937” 1871–1882: Transforming was century-BCE sculpture. He gave Matthew McKelway the Perception, Reception and Director of Art Humanities and lectures in Amsterdam, Athens, Katherine Morris “Two Consumption of Art in Post- published two articles in Japanese New York, Oxford, and Princeton. Ends Meet: Double-Ended Civil War America” on folding fan paintings, a topic of In January, he was elected voting Churches and Late Medieval ongoing research. He gave lectures member of the managing com- Devotion” Howard Hibbard at Cambridge, UCLA, Princeton, mittee of the American School Rory O’Neill “The Precarious Departmental Dissertation and the Metropolitan Museum. of Classical Studies at Athens. In Nature of Gothic” In the winter he studied screen April, he established a collabora- Fellowship Neeraja Poddar “Krishna Carolyn Yerkes “The Paradox paintings at the Museums of East tive internship program with the the Warrior and Politician: of Precision: Architectural Asian Art in Cologne and Berlin. National Archaeological Museum Narrating the Biography of Drawing between Ancients He will spend the 2010–2011 in Athens (see page 5). a God in Late 17th Century and Moderns” academic year in Tokyo on a Japan Illustrated Bhagavata Purana” Foundation research grant. Esther Pasztory is awaiting the imminent publication of her book, Chun-Yi Tsai “Images of Japan Foundation Fellowship Aaron Rio “Images of Chinese published Jean Frederc Waldeck: Artist of the Supernatural Grotesque: Keith Moxey Poets in Late Medieval “Impossible Distance: Past and Exotic Mexico from New Mexico From the Southern Song, Japanese Ink Painting” Present in the study of Dürer and University Press. She is currently Yuan, and Early Ming Period” Grünewald,” in The Essential working on a book on Andean art Serdar Yalçin “Seals and Kress Travel Fellowship Dürer (University of Pennsylvania entitled Inka Cubism: Reflections Patronage in the Late Risham Majeed (see above) Press, 2009), “Bruegel’s Crows,” on Andean Art. She has finished Bronze Age” in Balances, Perspectivas y an article for a volume of essays Renovaciones Diciplinares de entitled Multiple Modernities, Lurcy Fellowship CASVA Ittleson Joshua Cohen “Masks and the la Historia del arte (Centro the same as the course she had Fellowship Modern: African-European Argentino de Investigadores de pioneered and participates in at Anna Seastrand “Praise, Encounters in 20th-Century Arte, 2009); and “Do We Still Columbia. The volume is edited by Politics and Language: South Art and Performance” Need a Renaissance?” in Crossing Susan Vogel and Esther Pasztory’s Indian Mural Paintings Cultures: Conflict, Migration essay is entitled “Paradigm Shifts in 1500–1800” and Convergence. He lectured in the Western View of Exotic Arts.” Nineteenth Century Studies Association Karlsruhe, Uppsala, Stockholm, GSAS-CU International Buenos Aires, and Montreal, After forty-five years on the faculty, Student Travel Grant Travel Fellowship Christina Ferando and has been appointed to the officially retired on Jessamyn Conrad “Telling David Rosand “Staging Canova: Sculpture, editorial board of Art History. June 30th—although he will con- Time: Contextualizing Connoisseurship and Display, tinue to teach a course, on Titian, Narrative Painting in Duccio’s 1780–1822” Stephen Murray was appointed in the fall term and to supervise Maestà and the Trecento Lisa and Bernard Selz Professor of dissertations in progress. During Altars in the Crossing of Paul Mellon Centre Medieval Art. Working together his final sabbatical year, he was co- the Duomo of Siena” with Andrew Tallon ‘07 PhD and curator with Diana Fane (’93 PhD) for British Art Research teams of students from Vassar of the Wallach Art Gallery exhibi- Support Grant GSAS Research Excellence Sonja Drimmer “The Visual College and Columbia, and with the tion Edward Koren: The Capricious Dissertation Fellowship Language of Vernacular help of the Media Center for Art Line. In the spring of 2011 he will Anne Hunnell Chen Manuscript Illumination: History and Columbia Libraries, be the James Ackerman Scholar “The Politics of Family: John Gower’s Confessio Professor Murray is engaged in the in Residence at the American Familial Imagery in Amantis (Pierpont Morgan creation of an entirely new pedagogi- Academy in Rome. Tetrarchic Ideology” MS M.126)”

10 Pierre and Gaetana Matisse Politics, History, and Theory in alumni news Departmental Dissertation the Soviet Union, 1928–41” Fellowship Emily Liebert “Critical Humor Beningson, Susan Yaelle Amir ’06 MA is the 2010 Steven Bedford ’94 PhD gave in American Conceptual Art: “Shaping Sacred Space: Studies Guest Curator of Art in Odd talks at the Frick Museum and A Feminist History” in Ritual Architecture and Places, an annual public art and was the keynote speaker for North Andrew Sawyer “Architectural Artistic Programs of Early performance festival that will Dakota Preservation’s Annual Survey Photography and Buddhist Cave Temples and take place in October along 14th Meeting. In fall 2010, he will ‘Documentary Style’” their Relation to Tombs in Street, New York City. be the first director of the Joint Fifth Century China” UMass Amherst/Hancock Shaker Rudolf Wittkower Wayne V. Andersen ’66 PhD Village Historic Preservation Departmental Kelly, Sarah had two books published: German Program. “Camera’s Lens and Mind’s Dissertation Fellowship Artists and Hitler’s Mind: The Jessica Maratsos “Pontormo: Eye: James McNeill Whistler Culpability of German Artists during Benjamin Binstock ’97 PhD The Body, the Soul, and Italian and the Science of Art” the Weimar Decade and Marcel was appointed Adjunct Curator of Evangelismo” Duchamp: the Failed Messiah. Sixty Renaissance and Baroque Art at the Kim, Il of his essays falling outside stan- Bass Museum of Art, Miami Beach. Olivia Powell “The “Cult of Light in Fifteenth- dard art history will be published Choreographic Imagination Century Italian Renaissance as Disputatious Writings: Essays, , ’78 PhD in ” Herbert R. Broderick III Architecture” Reviews, Commentaries. was elected a Fellow of the Society Julia Siemon “Bronzino between of Antiquaries of London. His the Republic and the Academy” Lehman, Geoffrey Richard Anderson ’10 PhD article “Metatexuality, Sexuality Taryn Marie Zarrillo “Artistic “Perspective and the received a post-doctoral fellow- and Intervisuality in MS Junius Patrimony and Cultural Politics Renaissance Landscape” ship from the Andrew W. Mellon 11” was published in Word & in Seicento Venice” Foundation/ACLS Early Career Image and he presented “The Veil Lobis, Victoria Fellowship program. of as Exegetical Image in the “Artistic Training and Print Walter Read Hovey Illustrated Old English Hexateuch” Culture in the Time of Rubens” Memorial Fellowship Lilian Armstrong ’66 PhD at the “Index of Christian Art” Mark Watson “Apparitions: lectured in a seminar on Andrea conference at Princeton University. Memory and Globalization Neely, Evan Mantegna in Venice, sponsored in Contemporary Native “Cy Twombly and the Ethics by l’École du Louvre and Instituto Clifford M. Brown ’66 PhD was American Art” of Painting” Veneto in July 2009. She also granted Honorary Citizenship gave a paper on hand-illuminated of Mantua. He is the editor and Whiting Dissertation Neil, Jonathan T.D. incunabula at the “Early Printed contributor to the forthcoming I “Carl Andre, Richard Serra, Completion Fellowship Books as Material Objects” Gonzaga di Bozzolo, and the CAA Patrick Crowley “The The Problem of Materials, conference in Munich. monograph he wrote in 1996 in Appearance of Apparitions: and the Picture of Matter” collaboration with Guy Delmarcel Figuration and the Supernatural Noit Banai ’07 PhD contributed will appear in expanded form to in Ancient Rome” Roach, Catherine an essay to Europa! Europa? The serve as the catalogue for the “Frame Works: Paintings- Avant-Garde, , and the forthcoming tapestry exhibition Sonja Drimmer (see above) Within-Paintings in Fate of a Continent, the first vol- at the Palazzo Te. Nineteenth Century Britain” ume of the European Avant-Garde Yale Center for British Art and Modernism Studies series, and Simon Castets ’08 MA curated Visiting Scholar Fellowship is completing a manuscript on Yves a show at Yvon Lambert Gallery Dipti Khera “Picturing India’s Seasonwein, Johanna “The Nursing Queen: Klein for Reaktion Books. in New York, which opened in ‘Land of Princes’ in Between Sculptures of the Virgo Lactans June 2010. the Mughal and British Empires: in Late Medieval France” ’72 BA, ’74 Topographical Imaginings of Stephanie Barron’s MA exhibition at the Los Angeles ’66 MA has Udaipur and its Environs” David Christman Thompson, Erin County Museum of Art (LACMA) retired as Special Professor Emeritus, “Images of Ritual Mockery Art of Two Germanys/Cold War Hofstra University and Director, on Greek Vases” Cultures was voted “2009 Best Hofstra Museum. Dissertations Thematic Exhibition” nationally Completed Tsuchikane, Yasuko by the International Association Adam S. Cohen ’86 BA has been 2009–2010 “Domoto Insho (1891–1975) of Art Critics. appointed Associate Professor and Buddhist Temple Art in in the Department of Art at the Anderson, Eric Twentieth Century Japan” Colleen Becker ’08 PhD gave University of Toronto. He is the “ at Home: birth to her son Jay Vivek Madan author of The Uta Codex: Art, Jakob von Falke and the Xue, Lei on August 4, 2009. She was invited Philosophy, and Reform in Eleventh- Viennese Interior” “The Elusive Crane: Memory, to read an excerpt of her novel- Century Germany and editor of Metaphor and a Stone in-progress at the “Talking the Eye and Mind: Collected Essays in Anderson, Richard Monument from Sixth-Century Broads” event at the Broadway Anglo-Saxon and Early Medieval “Toward a Socialist Architecture: China” Bookshop in Hackney, London. Art by Robert Deshman.

11 Alumni News continued

Alessandra Comini ’69 PhD Anne Dugan ’06 MA is living The Rome of Paschal l: Papal Michael A. Jacobsen ’76 PhD celebrated her 75th birthday in on an organic vegetable farm in Power, Urban Renovation, Church remains retired and recently Antarctica; she recently finished Northern Minnesota. She runs Rebuilding and Relic Translation, donated his art history library to writing an essay for New York’s the “Free Range Film Festival” 817–824 (Cambridge University the University of Georgia/Cortona Neue Galerie for an exhibition in her barn and just took a posi- Press, 2010). She co-edited Cities, Italy. He published “The Place of next year entitled National Idols, tion as Curator at the Duluth Texts, and Social Networks, 400– MG in the History of Styling” in Private Identities: Music and Art Institute. 1500: Experiences and Perceptions Classic MG Magazine no. 37. Musicians in Imperial . of Medieval Urban Space (Ashgate, Mary Douglas Edwards ’86 2010). She is Lecturer in Medieval Irma B. Jaffe ’66 PhD at the age of Susan Cooke ’85 M Phil is the PhD presented “The Impact of Archaeology at Birkbeck College, 93, is currently writing her mem- Associate Director of the Estate St. Augustine upon Duccio’s University of London. oirs, which include her graduate of David Smith. She has an essay 14th-century Panel Painting study under Meyer Shapiro. forthcoming entitled “David Depicting Jesus and the After three years as Lecturer at San Smith on Julio González” for Samaritan Woman at the Well” Jose State and Stanford, this past Jacqueline Jung ’02 PhD Julio González/David Smith, at the “Patristic, Medieval and August Max Grossman ’06 PhD recently completed her book Institut Valencia d’Art Modern, Renaissance Conference” at began a tenure-track position as manuscript, The Gothic Screen Valencia, Spain. Villanova University and “Parallels Assistant Professor of Art History at (now under review at Cambridge between Native American and the University of Texas at El Paso. University Press) and lectured Alexandra Costic ’06 BA is European Works of Art and at the University of Wisconsin- currently a graduate student at Architecture” at “Southeastern Virginia Heckert ’00 PhD was Madison, Rutgers University, and the University of Virginia, MA College Art Conference” in promoted from Associate Curator the University of Halle (Germany). in Architectural History. Mobile, Alabama. to Curator in the Department of She continues to celebrate the Photographs at the J. Paul Getty arrival of her first child, Klaus Michael Cothren ’80 PhD co- Sharon Flescher ’77 PhD is Museum, Los Angeles. Recent Joseph Merback Jung, born in authored with Marilyn Stokstad, the Executive Director of the exhibitions include Irving Penn: January 2010. Art: A Brief History, and the International Foundation for Small Trades; Urban Panoramas: larger and more comprehensive Art Research (IFAR) and editor- Opie, Liao, Kim; and In Focus: Eitan Karol ’86 M Phil has been Stokstad & Cothren, Art History. in-chief of the award-winning Tasteful Pictures. appointed CEO of Louis Karol He was appointed to the Scheuer quarterly IFAR Journal. architecture in Cape Town. His Family Chair of Humanities at Milena Hoegsberg ’04 BA book Charles Holden Architect Swarthmore College, where he Raymond Foery ’97 PhD received received her MA from the Center was awarded the 2008 Alice Davis has taught since 1978. a grant to visit the Herrick Library for Curatorial Studies, Bard Hitchcock Medallion by the at the Academy of Motion Picture College, in 2008 and recently Society of Architectural Historians Sarah E. Cox ’06 PhD had a won- Arts and Sciences in Beverly Hills curated the solo exhibitions Nanna of Great Britain. He lives in Kochav derfully busy 2009 with four con- to continue his research on the Debois Buhl: Looking for Donkeys Yair, Israel with his wife, Finch, ference papers (Philadelphia APA, last films of Alfred Hitchcock. at Southern Alberta Art Gallery, and their five daughters. Stockholm, Glasgow International He is also the chair of the search Canada, and Lucy Raven: China Numismatic Congress, and Bursa, committee for the dean of the Town at Overgaden, Copenhagen. Sarah E. Kelly ’10 PhD has been Turkey AIEMA Symposium), School of Communications at She co-authored the essay “Talking associate curator of American art at manuscript research in Turin, the Quinnipiac University in Hamden, and Thinking about Biennials: The the Art Institute of Chicago since publication of her chapter in the Connecticut. Potential of Discursivity,” which 2002. In 2009 she helped curate Survey of Numismatic Literature, will be published in The Biennial Apostles of Beauty: Arts and Crafts and two more articles in press. Suzanne Frank ’70 PhD is doing Reader (Hatje Cantz, 2010). from Britain to Chicago, and con- final edits of her book,The Institute tributed an essay to the catalogue. Sabina Da Cavi ’07 PhD edited a for Architecture and Urban Studies: Jeffrey Hoffeld ’73 M Phil She also co-authored American manuscript source by Miguel Diez An Insider’s . returned from the Norman Mailer Modernism at the Art Institute of de Aux on the court of Naples in Writers Colony, in Provincetown, Chicago: World War I to 1955. the Baroque time. Her disserta- Kimberli E. Gant ’09 MA, the MA, where he was a writer in tion Spain in Naples: Building, Director of Exhibitions for the residence. American University in Rome Sculpture, and Painting under the Museum of Contemporary African mourns the premature loss of Spanish Viceroys (1585–1621) Diasporan Arts (MoCADA) has Christina Hunter ’03 PhD has Professor Terry Kirk ’97 PhD. was published in June 2009. been accepted into the PhD Art been teaching Art Humanities in Professor Kirk had been an AUR History program at the University the Department of Art History faculty member for over twenty Lindsay Dorrance ’09 MA is of Texas-Austin, specializing in and Archaeology at Columbia for years, admired for his inspired the Assistant Director for Alumni Contemporary African Diasporan the past three years. Exhibiting as teaching and love of his disci- Relations and Development for Arts. She is also curating three Christina Stahr, she has shown her pline. He was a graduate of the the Arts Initiative at Columbia exhibitions this year, at MoCADA, collage-based work in Montreal, Art History Program at Columbia University. In the spring of 2009, the Brooklyn Academy of Music Cologne, and New York during University and will be warmly she started her second Masters and Deutsche Bank Art. the past year, and had a solo exhi- remembered by his friends and in Fundraising Management and bition, Labyrinth-An Exploration, colleagues for his love of opera, Nonprofit Administration, also Caroline Goodson ’04 PhD at the Brooks Gallery in Prague, ballet, the fine arts and for his at Columbia. published a monograph entitled Czech Republic in June 2010. sense of humor.

12 Alex Klein ’01 BA edited the essay France,” Metropolitan Museum at CCNY, celebrating the bicen- and Exhibitions in 1820s London collection, Words Without Pictures Journal 44, 2009 The Metropolitan tennial of the composer’s birth. at the Yale Center for British Art, (LACMA / Aperture, 2010) and Museum of Art, New York. She and Jane Roos (’81 PhD) New Haven. had a solo exhibition of her work organized and spoke at an all-day at Las Cienegas Projects in Los This past academic year, in addi- colloquium in honor of Theodore Janice Lynn Robertson ’05 PhD Angeles. She is currently the Ralph tion to her full teaching load at Reff, which was held at Columbia was appointed Visiting Associate M. Parsons Curatorial Fellow in Hofstra, Claire Lindgren ’76 on April 9, 2010. Professor at Pratt Institute. She the Photography Department PhD had an article published also delivered a talk entitled “Alive at LACMA and a lecturer in the in SVP Editions, Arles, France, Lucy Oakley ’95 PhD is Head with Movement: The Pulse of Roski School of Fine Arts at USC. presented an invited paper at of Education and Programs at Aztec Picture-Writing” to the an International Colloquium in NYU’s Grey Art Gallery and Columbia University Seminar on Juliet Koss ’90 BA, Associate Merida, Spain, and gave a lecture Editor-in-Chief at caa.reviews. the Arts of Africa, Oceania and Professor and Chair of Art History for the AIA, L. I. Chapter. She is researching a book on the Americas. at Scripps College in Claremont, selected New York City churches California, published Modernism Mary Davis MacNaughton and will teach a graduate seminar Judith Rodenbeck ’03 PhD after Wagner (University of ’81 PhD directs the Williamson on the Triangle Shirtwaist received an Andy Warhol/Creative Minnesota Press, 2010). Gallery of Scripps College and Factory Fire. Capital Art Writer’s Grant for teaches seminars in modern and 2010. She also stepped down as Catherine Krudy ’04 BA was contemporary art in the art his- In December 2009, Clifford editor-in-chief of Art Journal after appointed Director of Printed tory program at the Claremont Pearson ’82 MA, a deputy editor- a successful three year run. Matter, the world’s largest non- Colleges, where one of her col- in-chief of Architectural Record, profit organization dedicated to leagues is Juliet Koss (’90 BA). edited the 10th anniversary issue of Judith C. Rohrer ’84 PhD is in artists’ publications based in the magazine’s Design Vanguard, the second year of her second New York City. John Markowitz ’78 MA is con- which features work by emerging 3-year position as Chair of the ducting an NIMH-funded research architects from around the world. Department of Art History at Alisa LaGamma ’96 PhD, study to compare psychotherapies Emory University. Curator in the Department of to treat posttraumatic stress dis- In the past year, Richard A. the Arts of Africa, Oceania, and order (PTSD) at Columbia/New Pegg ’01 PhD was co-author Jane M. Roos ’81 PhD received the Americas at The Metropolitan York State Psychiatric Institute. of the first book in the MacLean an Andrew Mellon Emeritus Museum of Art, was awarded Collection series, The MacLean Fellowship, delivered papers at a 2010 Center for Curatorial James Marrow ’75 PhD was Collection: Chinese Ritual Bronzes, the Musée d’Orsay and CAA and Leadership Fellowship and elected a Corresponding Member and managing editor of the second continues to lecture at Christie’s. this year served as Chair of the of the Österrechische Akademie book in the series, Protecting She has written a new book on Metropolitan’s Forum of Curators, der Wissenschaften. His recent Wisdom: Tibetan Book Covers in Rodin (Phaidon Press, 2010) and Conservators, and Scientists. She publications include the introduc- the MacLean Collection. she co-organized the colloquium is currently preparing the exhibi- tory essay and codicological for Theodore Reff at Columbia. tion Heroic Africans: Enshrining description to the new, full fac- Kristin Poor ’03 BA curated the the Individual through Art for simile of the Hours of Catherine of exhibition Drawing American Donald Rosenthal ’78 PhD the Metropolitan Museum’s fall Cleves, and a catalogue essay for Light: Dan Flavin and the contributed historical essays on 2011 season. exhibition of the same manuscript at Dia Art painting and music and on artistic held at the Museum Het Falkhof Foundation, where she is Assistant collaborations for the catalogue Susan Laxton ’04 PhD com- in Nijmegen and the Morgan Curator. Mixed Use, Manhattan: of an exhibition of contempo- pleted a very productive year Library in New York. Photography and Related Practices, rary painting, Rivers of Silence at the Institute for Advanced 1970s to the Present is forthcom- (Bangkok; National Gallery of Study and is poised to start as Thomas Martin ’88 PhD, ing this fall from MIT Press. She Thailand, 2010). Assistant Professor of the History professor, Bard High School Early begins her first year as a PhD of Photography at University of College, organized and chaired candidate in Art History at Paige Rozanski ’08 MA is California, Riverside. a session on Bernard Berenson Princeton in September. living in Washington, DC and at College Art Association in working as Curatorial Assistant Bernice K. Leader ’80 PhD February 2010. He presented a Barbara A. Porter ’01 PhD at Glenstone. completed a six month long proj- paper on Filarete at the “New was visited in Amman for ten ect: providing the art for five England Renaissance Conference” days by Dominique Collon (’71 Kathryn Rudy ’01 PhD has been floors of the new Vivian and in October 2009. PhD), former curator of the elected to the Board of Editors for Seymour Milstein Heart Center British Museum, who served Brill’s book series The Library of at New York Presbyterian Marjorie Munsterberg ’83 PhD as her dissertation mentor after the Written Word—The Manuscript Hospital/Columbia campus. published “Ruskin’s Turner: the the death of Edith Porada. World (www.brill.nl/lwwm). Making of a ” in Raymond Lifchez ’57 M Arch, The British Art Journal, and her Catherine Roach ’06 PhD is Andrew Russeth ’07 BA is assis- ’67 MA published “Jean-Galbert website www.writingaboutart.com a Postdoctoral Associate in the tant editor of ARTINFO.com and Salvage and His Anatomie du is now available as a book. She also Department of the History of Art, writes for Art+Auction and Modern combattant: Art and gave a talk about Delacroix and Cornell University. She curated Painters magazines. Patronage in Post-Revolutionary Chopin as part of a program held Seeing Double: Portraits, Copies,

13 Alumni News continued

Tomoko Sakomura ’07 PhD Johanna Seasonwein ’10 PhD is physician—and subject of two which ran at Bryn Mawr from fall has been appointed caa.reviews the Andrew W. Mellon Curatorial portraits—Dr. Gachet. Entitled 2009 until spring 2010. Field Editor for Books and Fellow for Academic Programs Leaving van Gogh, it will be pub- Related Media on Japanese Art. at the Princeton University Art lished in April of 2011 by Spiegel Irene Winter ’73 PhD was hon- Museum. She is curating an exhibi- & Grau, a division of Random ored by Barnard College last spring Michael Schwartz ’94 PhD tion on the Gothic Revival, to be House. Wallace is currently with their Medal of Distinction. is co-founder and co-director on view at Princeton in the spring researching a new novel about Two volumes of her collected of the Comparative and of 2012. the relationship between Berthe essays were published by Brill in Continental Philosophy Circle. Morisot and Edouard Manet. December under the overall title: He is also Aesthetic Editor for Mary B. Shepard ’90 PhD, On Art in the Ancient Near East. www.integralife.com. co-edited with Lisa Pilosi and Alan Wallach ’63 BA, ’73 PhD She has recently retired from the Sebastian Strobl, The Art of has been invited to serve as Terra Department of History of Art & Richard J. Schwartz ’62 BA, Collaboration: Stained-Glass Visiting Professor in American Art Architecture, Harvard University. ’67 MA has started a new busi- Conservation in the Twenty-first at the Freie Universität in Berlin ness, RJ Schwartz & Associates, Century, Corpus Vitrearum, for the fall of 2010. Carter Wiseman ’72 MA deliv- a resource company to develop United States of America, ered a talk entitled “Genius by the and nurture creative ideas/projects Occasional Papers III, Papers H. Barbara Weinberg ’72 PhD: Numbers: Le Corbusier’s Quest to through social media, sales force Presented at the Forum for the American Stories: Paintings of Codify Architectural Quality” as development, team building, and Conservation of Stained Glass, Everyday Life, 1765–1915, the part of the exhibition Compass and crisis intervention. held at The Metropolitan major loan exhibition of which Rule on the role of mathematics Museum of Art, New York, 1–3 Barbara was co-curator and lead in architecture, at the Yale Center Christine Sciacca ’08 PhD June 2009 (Turnhout, 2010). catalogue author, was featured for British Art. He is working on published the book, Building the in fall 2009 at The Metropolitan a book based on his Yale School Medieval World, an exploration of Romy Silver ’08 MA recently Museum of Art, where it of Architecture course, Writing on images of architecture in illumi- published two articles “Agnes attracted more than 200,000 Architecture, to be published by nated manuscripts. It accompanied Martin” and “Modern Women: visitors. A modified version of W. W. Norton in 2012. an exhibition of the same name A Timeline” co-written with the exhibition appeared at the at the J. Paul Getty Museum in Michelle Elligott, in Modern Los Angeles County Museum of Susan Wood ’79 PhD has two Los Angeles. Women: at the Art in spring 2010. articles accepted for publication in Museum of Modern Art, Museum 2010: “Who Was Diva Domitilla? Jennifer (Ahlfeldt) von of Modern Art, 2010. Barbara Ehrlich White ’65 PhD, Some Thoughts on the Public Schwerin ’04 PhD is a Fellow Emerita Professor of Art History at Images of the Flavian Women,” at the International Research Jeffrey Chipps Smith ’79 PhD Tufts University, gave a lecture in American Journal of Archaeology, Institute: “Morphomata. Genesis, co-edited The Essential Dürer French on Pierre-Auguste Renoir and “Caracalla and the French Dynamics and Mediality of (University of Pennsylvania Press), and his wife at the Grand Palais in Revolution: a Roman Cultural Figurations” at the gave the Josephine Walters Bennett Paris. She is completing a book on in 18th Century Iconography,” University of Cologne. She Lecture (“Dürer as Collector”) Renoir and his family. Memoirs of the American Academy received an NEH Grant to at the Renaissance Society of in Rome. She will also be doing a develop a 3D GIS database for America’s conference in Venice, Angélique Wille ’06 BA received lecture tour for the Archaeological ancient Mayan architecture. and was the Anna Maria Kellen her MA from Bryn Mawr College Institute of America. Fellow at the American Academy in May, 2009 with a thesis on the John F. Scott ’71 PhD continues in Berlin (winter-spring 2010). fifteenth-century Flemish artist Anne Woollett ’04 PhD is now to do research in retirement. His Hieronymus Bosch. She was a Curator in the Department of article “Human Sacrifice in the Romaine Stec Somerville curator for Darwin’s Ancestors Paintings, J. Paul Getty Museum. Iconography of Classic Veracruz ’53 MA is involved in a long- Sculpture,” was published in term project to reopen the Peale Blood and Beauty: Organized Museum in Baltimore, the first Violence in the Art and Archaeology purpose-built public museum in of Mesoamerica and Central America, designed by Robert Reff Colloquium America, edited by Heather Orr Cary Long and opened in and Rex Koontz (Cotsen Institute 1814. Anyone interested in the Jane Roos ’81 PhD and Marjorie Munsterberg ’83 PhD organized of Archaeology Press, 2009). Peale Museum should contact an all-day colloquium to honor Professor Emeritus Theodore Reff, [email protected]. which was held in Schermerhorn Hall on Friday, April 9, 2010. Libby W. Seaberg ’64 MA cre- They spoke, as did the following former students of Professor Reff: ated the website www.janetsobel. Erin Thompson ’10 PhD will be Frances Beatty ’81 PhD, Roberta Bernstein ’75 PhD, Elizabeth com to publish her essay “Will the joining the litigation department Childs ’89 PhD, Petra Chu ’75 PhD, Michael FitzGerald ’87 Real Janet Sobel Please Stand Up?” of the New York office of Hogan PhD, Sharon Flescher ’77 PhD, Peter Galassi ’86 PhD, Mona and continued making art, which Lovells LLP. Hadler ’77 PhD, Maria Morris Hambourg ’80 PhD, Charles can be seen on her website www. (Mark) Haxthausen ’76 PhD, Lewis Kachur ’88 PhD, John Klein libbyseaberg.net. Carol Wallace ’06 MA finished a novel about the last two months ’90 PhD, Kirsten Powell ’85 PhD, Elizabeth Streicher ’90 PhD, of van Gogh’s life, narrated by his and Judy Sund ’86 PhD.

14 With Thanks Columbia Art History and Archaeology The strength and renown of Columbia’s Department of Art History and Archaeology derive not only Advisory Council from the expertise and dedication of the faculty, but also from alumni and friends who carry forward the intellectual mission of the department and who provide financial support for professorships, fellowships, Philip E. Aarons, Esq. symposia, and an array of programs and projects that enhance our core offerings. Armand Bartos, Jr. We are deeply grateful to the following individuals, foundations, corporations, as well as those who have wished to remain anonymous, who have given generously in the fiscal year 2009–2010: Frances Beatty Annette Blaugrund Morton C. Abromson • Lucy A. Adams•Cynthia B. Altman • Lewis B. Andrews • Eloise M. Angiola • Nelson Blitz, Jr. and Lilian A. Armstrong • Kevin J. Avery • Awty International School • Kaylan A. Baban • Joan D. Baekeland Catherine Woodard • Baekeland • Armand Bartos, Jr. c/o Armand Bartos Jr. Fine Art, Inc. • Stephanie J. Barron Jean Magnano Bollinger • Adrienne B. Bell • Barry G. Bergdoll • Raphael Bernstein • Annette & Stanley Blaugrund • Nelson Fiona Donovan Blitz, Jr. c/o Nelson Air Device, Corp. • Michael Botwinick • Herbert R. Broderick III & Mosette Lee MacCormick Edwards Broderick • Nancy A. H. Brown • Barbara C. Buenger • David J. D. Cast • Petra T. D. & Fen-Dow Linda S. Ferber Chu • David C. Christman • Heather Clydesdale • Christiane C. Collins • Susan J. Cooke • Charles A. Kate Ganz Coolidge III • Maria A. Conelli • Joseph Connors • Mary M. Cope • Alexandra G. Costic • Jonathan Marian Goodman K. Crary • Michael H. and Georgia R. de Havenon c/o New York Community Trust • Shirley S. Michael and Georgia de Havenon Crosman • Jadwiga I. Daniec • John H. Davis • Judith H. Day • Elizabeth V. Del Alamo • Hillary A. Frederick David Hill DeMarchena • Fiona Donovan • Lee M. Edwards • Mary D. Edwards • Rebecca I. Edwardson • Linda S. Ferber • Natalie Fielding • Barbara S. Fields • Sharon Flescher • Raymond A. Foery • Emily K. Folpe Jeffrey M. Hoffeld • Ilene H. Forsyth • William G. Foulks • Iris Friedlander • Grace A. Gliedman • Amy Golahny • Dean Steve Kossak H. Goossen • Grace C. Grossman • Adelaide B. Hagens • Piri Halasz • Paul F. Hartzell, Jr. • Fenella Carol F. Lewine G. & Morrison H. Heckscher • Eileen Hsiang-Ling Hsu • Sebastian Izzard c/o Sebastian Izzard, LLC. Glenn D. Lowry • Michael Jacoff • Irma B. Jaffe • Carroll L. Janis • Susan T. Jenkins • Mitchell D. Kahan • Nicholas A. Mary A. Lublin Kalikow • David M. Kamen • Natalie Kampen • Elizabeth & Karl Katz • Eloise Q. Keber • Caroline Philippa Feigen Malkin A. King • Alice B. Kramer c/o The Arthur & Alice Kramer Foundation • Helen L. Meltzer-Krim • Jane Amy D. Newman & Ladis K. D. Kristof • Jonathan L. Kuhn • Jack H. Kunin • Frances Kuzui • Christine W. Laidlaw • Doralynn Pines Bard H. Langstaff • Lindsay Leard • Bernice K. Leader • Chauncy D. Leak Jr., Esq. • Robert J. Levine Amy Greenberg Poster • William R. Levy • Carol F. Lewine • Raymond Lifchez • Virginia R. Liles • Elizabeth A. Lillehoj • Louise Riggio Carla G. Lord • Carol A. Lorenz • Evan M. Lowy • Mary A. Lublin • Mary D. MacNaughton • Maxine Terez Rowley S. Maisels • Nina A. Mallory • Tod A. Marder • John C. Markowitz • Mary Livingston Griggs & Mary Griggs Burke Foundation • David J. Menke • Katherine J. Michaelsen • Curtis J. & Terry S. Milhaupt, Steven and Lauren Schwartz Esq. • Julia I. Miller • Kent M. Minturn • Joan B. Mirviss c/o Joan B. Mirviss, Ltd. • Louise M. Montalto Bernard T. and Lisa Selz • Gratia W. Nakahashi • Klaus F. Naumann • Otto J. Naumann c/o Otto Naumann, Ltd. • Amy D. Robert B. Simon Newman • Carolyn W. & Michael E. Newmark • Joan L. Nissman • James H. North • Judith H. Oliver Leopold and Jane Swergold • Ellen C. Oppler • Gary G. & Mary A. Otsuji • Megan K. O’Toole • Melinda L. Parry • Andrea H. Dale C. Turza Paul • Francesco A. Passanti • Richard A. Pegg • Jeanette F. Peterson • Benvenuto & Maria G. Pernis Miriam Wallach • Doralynn S. Pines • Barbara A. Porter • Jerome J. Pollitt • Sheila M. Pozon•Elizabeth K. Reeve • Mark S. Weil Donald M. Reynolds • Nancy R. Reynolds • Terry H. Robinson • Rockefeller Brothers Fund, Inc. Marie-Hélène Weill • Judith C. Rohrer • David & Ellen Rosand • Donald A. Rosenthal • Claudia J. Rousseau • Emily Sano • Adam Weinberg Charles C. Savage • Walter D. Schmitz • Richard J. Schwartz • Jaime B. Schwartz • Libby W. Seaberg H. Barbara Weinberg • Lisa and Bernard Selz c/o The Selz Foundation, Inc. • Nancy P. Sevcenko • Jeanne Siegel • Robert Gertrude Wilmers B. Simon • Susan M. Sivard • Romaine S. Somerville • Katharine E. Staelin • Allen Staley • Louisa R. Stark • Christina C. Staudt • Paul S. Sternberger • Howard M. Stoner • Virginia B. Suttman • Samuel D. Sweet • Leopold Swergold • Silvia Tennenbaum • Miwako Tezuka • Weston W. Thorn • USG Foundation, Inc. • Herica N. Valladares • Deborah B. Waite • Mary J. Wallach c/o The Mary & James G. Wallach Foundation • Laura E. Warfield • Masako Watanabe • Nicholas F. Weber • Mark S. Weil We would also like to thank the c/o University Lane Foundation • Marie-Hélène Weill • Barbara E. White • Ronald V. Wiedenhoeft • following staff members for their Gertrude Wilmers • Susan E. Wood • Thomas W. Yanni • Mark J. Zucker generous help with the newsletter: Luke Barclay, Jørgen G. Cleemann, Josh Sakolsky, Sonia Sorrentini, We regret any errors in or omissions from this list. Contributions from the above individuals and foundations helped fund Cassy Juhl, Caleb Smith, Jeanette the following initiatives: Wallach Art Gallery exhibitions, projects by the Media Center for Art History, Archaeology and Silverthorne, and Sally Weiner. Historic Preservation, and funding for other student research projects and fellowships.

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

calendar highlights

2010 2011 September 21–December 11 November 4 November 11 January 18–March 26 March 28 Nancy Holt: Sightlines Arts of Africa, Oceania, Donald Keene Project Europa: Imagining The Bettman Lectures Wallach Art Gallery and the Americas Seminar Center Lecture the (Im)Possible Rosalind Blakesley Takahiro Kondo Wallach Art Gallery September 27 November 10 April 18 The Bettman Lectures The Onassis December 9 January 31 The Bettman Lectures Robert Bagley Scholar Lectures Arts of Africa, Oceania, The Bettman Lectures Patricia L. Rubin Sophocles Hadjisavvas and the Americas Seminar Thierry de Duve October 7 Mid-April–June 11 Arts of Africa, Oceania, February 28 Common Love and the Americas Seminar The Bettman Lectures Wallach Art Gallery Ewa Lajer-Burcharth

Editor: Emily Ann Gabor Copy Editor: Luke R. Barclay Design: Florio Design For a complete listing of departmental events visit www.columbia.edu/cu/arthistory or call 212.854.4505 826 FALL 2010

schermerhornwww.columbia.edu/cu/arthistory