Fall 2014 Kress Foundation Department of Art History

Newsletter Fall 2014

Department of A^Kr^rtêssH^Foisûnt^doâtrîoyⁿ

1301 Mississippi Street, 209 Spencer Museum of Art, Lawrence, Kansas 66045 phone: 785-864-4713 F email: [email protected] F web: arthistory.ku.edu

From The Chair

This year the Art History Department was pleased to honor Corine Wegener as

the recipient of the 2014 Franklin D. Murphy Disꢀnguished Alumni Award. Cori received a Master’s degree ﬁrst in Poliꢀcal Science from the University of Kansas in 1994, and in 2000 obtained her Master’s degree from KU in the History of Art.

CONTENTS

From The Chair With Thanks

From 1999—just before she completed her History of Art Master’s degree—to

2012, Cori enjoyed an impressive career trajectory at the Minneapolis Insꢀtute of Arts. In their Department of Decoraꢀve Arts, Texꢀles and Sculptures, she began as

a Curatorial Intern and was subsequently hired as a Research Assistant, then Assis-

tant Curator, and ﬁnally Associate Curator. In these roles, Cori was responsible for the acquisiꢀon, conservaꢀon, exhibiꢀon, and educa-

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2014 Murphy

Lecture Series

ꢀonal programs related to American and European decoraꢀve arts.

New Faculty Faculty News Alumni News

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Meanwhile, from 1982 through 2004, Cori assumed

the responsibiliꢀes as a Major (now reꢀred) in the U.S. Army Reserve. These years were concurrent

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with the ꢀme she spent as an undergrad and grad-

uate student, and also concurrent with her cura-

torial career at the Minneapolis Insꢀtute of Arts. Cori’s mobilizaꢀons in the U.S. Army Reserve took

Graduate Student 20 News

her to Germany, Guam, Bosnia and Iraq. In Guam,

Congratulations Financial Support 23 Parting Shot 24

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she coordinated educaꢀon programs for 5,000 Iraqi Kurdish refugees. In Bosnia, she supervised mulꢀple

economic development projects. In Iraq from 2003-

2004, Cori served as an Arts, Monuments, and Archives Officer in Baghdad, and military liaison to the Iraqi Ministry of Culture. Aﬅer theﬅ, looꢀng and destrucꢀon had taken place at the Iraq Naꢀonal Museum, Cori assisted law enforcement and museum staff in recovery and reconstrucꢀon efforts.

In 2006 Cori founded the U.S. Commiꢁee of the Blue Shield for which she formerly served as president. The U.S. Commiꢁee of the Blue Shield is part of the Internaꢀonal Blue Shield movement, which was established to support implementaꢀon of the 1954 Hague Convenꢀon for the Protecꢀon of Cultural Property in the Event of Armed Conﬂict.

Aﬅer the 2010 earthquake in Haiꢀ, Cori served as co-organizer of the Smithsonian Insꢀtuꢀon’s Haiꢀ Cultural Recovery Project in Port-au-Prince. In that role, she advised the Smithsonian on the post-earthquake recovery of Haiꢀan cultural sites,

Department of Art History | 1

collecꢀons and organizaꢀons. From late 2012 to the present, Cori has served the Smithsonian Insꢀtuꢀon as the Cultural Heritage Preservaꢀon Officer in the Office of the Under Secretary for History, Art, and Culture. There she has developed the Smithsonian’s long-term role in preserving cultural heritage endangered by natural disasters, armed conflict, and related crises. She has coordinated with naꢀonal and internaꢀonal partners to develop training programs aimed at reducing risk and miꢀgaꢀng damage to cultural heritage, as well as providing appropriate emergency

responses.

Cori’s mulꢀ-faceted career and professional contribuꢀons have brought great disꢀncꢀon to herself and to her alma mater, the University of Kansas. Her signiﬁcant work has taken her to countries all over the world, including Egypt, Libya, Mali, Syria, and Haiꢀ. She returned to Lawrence to give her lecture enꢀtled “From Berlin to Baghdad: When Art Historians Go to War” on October 2, 2014.

Corine Wegener kindly agreed to an

interview with Chair and Professor, Linda Stone-Ferrier.

Linda Stone-Ferrier: Whꢇꢀ ꢇꢆ e yꢁu glꢇ d yꢁu l e ꢇꢆꢄ ed ꢇs ꢇ gꢆꢇ d uꢇꢀ e sꢀu- de ꢄꢀ ꢀhꢇꢀ h e lp ed pꢆ e pꢇꢆ e yꢁu fꢁꢆ yꢁuꢆ cuꢆꢆ e ꢄꢀ pꢁsꢂꢃꢁꢄ?

Corine Wegener: I learned a mulꢀdis-

ciplinary approach to museum work, combining a variety of courses with

pracꢀcal experience. I worked as a part-ꢀme membership assistant in the Spencer Museum, which prepared

me for a museum career, including

aꢁending board meeꢀngs, preparing for exhibiꢀon openings, and working

with donors. I also received a very

broad base of experience in art his-

tory, enabling me to work with many

Cꢁꢆꢂ d ꢂsplꢇys ꢇ WWII e ꢆꢇ phꢁꢀꢁ d uꢆꢂꢄg h e ꢆ l e cꢀuꢆ e ꢇꢀ KU, pꢇꢆꢀ ꢁf ꢀh e “B e ꢆlꢂꢄ” pꢁꢆꢃꢁꢄ ꢁf “Fꢆꢁm B e ꢆlꢂꢄ ꢀꢁ Bꢇgh d ꢇ d : Wh e ꢄ Aꢆꢀ Hꢂsꢀꢁꢆꢂꢇꢄs gꢁ ꢀꢁ Wꢇꢆ.” Imꢇg e cꢁuꢆꢀ e sy ꢁf ꢀh e Sp e ꢄc e ꢆ Mus e um ꢁf Aꢆꢀ, Th e Uꢄꢂv e ꢆsꢂꢀy ꢁf Kꢇꢄsꢇs.

types of collecꢀons– oﬅen a requirement in the decoraꢀve arts.

LSF: Whꢇꢀ d ꢁ yꢁu wꢂsh yꢁu hꢇ d l e ꢇꢆꢄ ed ꢁꢆ e xp e ꢆꢂ e ꢄc ed ꢇs ꢇ gꢆꢇ d uꢇꢀ e sꢀu de ꢄꢀ ꢀhꢇꢀ wꢁul d hꢇv e pꢆ e pꢇꢆ ed yꢁu b e ꢅ e ꢆ fꢁꢆ yꢁuꢆ cꢇꢆ ee ꢆ?

CW: I wish I had learned more about provenance research on collecꢀons. I very much hope graduate programs start to oﬀer courses on this topic. It is a fundamental part of collecꢀons stewardship, criꢀcal to the acquisiꢀons and loan process, and can even become a legal liability for museums when not done properly.

LSF: Whꢇꢀ ꢇ d vꢂc e d ꢁ yꢁu hꢇv e fꢁꢆ cuꢆꢆ e ꢄꢀ uꢄ de ꢆgꢆꢇ d uꢇꢀ e ꢇꢄ d gꢆꢇ d uꢇꢀ e sꢀu de ꢄꢀs ꢆ e gꢇꢆ d l e ss ꢁf ꢀh e ꢂꢆ cꢇꢆ ee ꢆ ꢇspꢂ- ꢆꢇꢃꢁꢄs?

CW: Study what really interests you most. Don’t compromise on that, but also learn some criꢀcal skills that will help set you apart in the job market. Also remember that the job you are preparing for may not even exist

yet– think strategically!

2 | Department of Art History

LSF: Assumꢂꢄg ꢁꢄꢈ’s gꢆꢇꢉuꢇꢀꢈ ꢉꢈgꢆꢈꢈ ꢂs cꢁmplꢈꢀꢈꢉ bꢈfꢁꢆꢈ sꢀꢇꢆꢃꢄg ꢇ ꢄꢈw full-ꢃmꢈ pꢁsꢂꢃꢁꢄ, whꢇꢀ ꢇꢆꢈ ꢀhꢈ bꢂg- gꢈsꢀ ꢇꢉjusꢀmꢈꢄꢀs ꢀhꢇꢀ ꢁꢄꢈ hꢇs ꢀꢁ mꢇkꢈ ꢇs ꢁꢄꢈ gꢁꢈs fꢆꢁm bꢈꢂꢄg ꢇ gꢆꢇꢉuꢇꢀꢈ sꢀuꢉꢈꢄꢀ ꢀꢁ ꢇ pꢆꢁfꢈssꢂꢁꢄꢇl ꢂꢄ ꢀhꢈ ﬁꢈlꢉ?

CW: Unfortunately many new grads have to balance two or three part-ꢀme jobs while pursuing that coveted full-ꢀme posiꢀon. Be ﬂexible! Be prepared to take on that task or project no one else wants; it could be a chance to demonstrate your ingenuity and even posiꢀon you for the next big project.

LSF: Why ꢉꢂꢉ yꢁu chꢁꢁsꢈ ꢀhꢈ cꢇꢆꢈꢈꢆ pꢇꢀh ꢀhꢇꢀ yꢁu ꢇꢆꢈ ꢄꢁw ꢁꢄ?

CW: While I had studied the terrible impact on World War II on cultural heritage, I was really not prepared when I faced it myself at the Iraq Naꢀonal Museum in 2003. Collecꢀons were smashed and looted, offices trashed, and staff demoralized. I finally understood the true impact of permanent loss of our shared history and vowed to do everything I could to help prevent that sort of loss in the future. Unfortunately, we are now witnessing this same type of destrucꢀon in numerous countries around the world.

LSF: Whꢇꢀ ꢉꢁ yꢁu cꢁꢄsꢂꢉꢈꢆ ꢀꢁ bꢈ yꢁuꢆ ꢁꢄꢈ ꢁꢆ ꢀwꢁ (ꢁꢆ mꢁꢆꢈ) pꢆꢁuꢉꢈsꢀ ꢇccꢁmplꢂshmꢈꢄꢀ(s) pꢆꢁfꢈssꢂꢁꢄꢇlly, ꢇꢄꢉ why?

CW: I’ve been very lucky to be able to do a variety of rewarding projects in my career, but I am probably most proud of founding the U.S. Commiꢁee of the Blue Shield. During my tenure as president we created a training program for U.S. military personnel (basically the 21st-century Monuments Men) and we successfully lobbied for the 2009 U.S. raꢀficaꢀon of the 1954 Hague Convenꢀon for the Protecꢀon of Cultural Property in the event of Armed Conflict. This year marks the 60th anniversary of the treaty and I’m very proud the U.S. is finally included as an official state party.

Mꢇjꢁꢆ Cꢁꢆꢂꢄꢈ Wꢈgꢈꢄꢈꢆ wꢂꢀh Iꢆꢇqꢂ Jꢈwꢂsh
Aꢆchꢂvꢈ ꢇꢀ INC Cꢁmpꢁuꢄꢉ.

Cꢁꢆꢂ wꢂꢀh ꢇ ꢉꢇmꢇgꢈꢉ pꢇꢂꢄꢃꢄg fꢆꢁm ꢀhꢈ Nꢇꢉꢈꢆ Musꢈum ꢂꢄ Pꢁꢆꢀ-ꢇu-Pꢆꢂꢄcꢈ, Hꢇꢂꢃ fꢁllꢁwꢂꢄg ꢀhꢈ
2010 ꢈꢇꢆꢀhquꢇkꢈ

With Thanks

Thꢈ Kꢆꢈss Fꢁuꢄꢉꢇꢃꢁꢄ Dꢈpꢇꢆꢀmꢈꢄꢀ ꢁf Aꢆꢀ Hꢂsꢀꢁꢆy bꢈꢄꢈfiꢀs fꢆꢁm ꢀhꢈ gꢈꢄꢈꢆꢁsꢂꢀy ꢁf ꢇlumꢄꢂ ꢇꢄꢉ fꢆꢂꢈꢄꢉs whꢁsꢈ fiꢄꢇꢄcꢂꢇl suppꢁꢆꢀ sꢀꢆꢈꢄgꢀhꢈꢄs ꢀhꢈ ꢂꢄꢀꢈllꢈcꢀuꢇl mꢂssꢂꢁꢄ ꢁf ꢀhꢈ ꢉꢈpꢇꢆꢀmꢈꢄꢀ ꢇꢄꢉ mꢇkꢈs pꢁssꢂblꢈ ꢇꢄ ꢇꢆꢆꢇy ꢁf pꢆꢁgꢆꢇms ꢀhꢇꢀ ꢈꢄhꢇꢄcꢈ ꢁuꢆ cꢁꢆꢈ ꢁffꢈꢆꢂꢄgs.
Wꢈ ꢇꢆꢈ ꢉꢈꢈply gꢆꢇꢀꢈful ꢀꢁ ꢀhꢈ fꢁllꢁwꢂꢄg ꢉꢁꢄꢁꢆs – ꢇs wꢈll ꢇs ꢁꢀhꢈꢆs whꢁ wꢂsh ꢀꢁ ꢆꢈmꢇꢂꢄ ꢇꢄꢁꢄymꢁus – fꢁꢆ ꢀhꢈꢂꢆ gꢈꢄꢈꢆꢁus gꢂﬅs ꢂꢄ fiscꢇl yꢈꢇꢆ 2014:

Bijan Amini & Mary Alice Taylor Amini Brynn H. Andrews Gretchen Day Atwater & Beauford W. Atwater III Janet Baker

Leslie Diane Moe-Kaiser Karen Zeitler Murphy Margaret E. Nelson & Paul R. Nelson An-Yi Pan

Laurie A. Baker Nila A. Baker

Janet C. Powell Marla Prather
James K. Ballinger & Linda Ballinger

Marianne Barnard Michelle Mead Dekker

Patricia Cain Rodewald & Lance E. Rodewald

Jonathan C. A. Russell

Alexandra M. Schriner
Edmund R. Eglinski & Pam Boles Eglinski Charles C. Eldredge Martha Gage Elton & Alan Elton Ellen R. Goheen & John R. Goheen Edward J. Goldstein
Todd David Shenkenberg & Jan Heimann Shenkenberg Kevin D. Sigourney & Julie Leyba Sigourney Stacey J. Skold Dale D. Slusser & Sherry Fowler Robert L. Speer

Randall R. Griﬀey

Andrew R. Stevens & Anna M. Stevens

Douglas T. Tyler & Karen Fegan Tyler

Hannah C. Villa
Anne D. Hedeman & John Hedeman

Grace M. Knoꢁ & Alan W. Knoꢁ

Janey L. Levy

Denise R. Warner

Chu-tsing Li

Mike J. McGoﬃn, Jr. & Allison Sivells McGoﬃn Susan Weinlood McLeod

Jane C. Weaver

Margeaux E. Welsh Jessica L. Zuendel

Wꢈ ꢇꢆꢈ ꢈxꢀꢆꢈmꢈly gꢆꢇꢀꢈful ꢀꢁ Marla Prather (BA’78; MA’81), whꢁ hꢇs ꢈsꢀꢇblꢂshꢈꢉ ꢀhꢈ Pꢆꢇꢀh- ꢈꢆ Oppꢁꢆꢀuꢄꢂꢀy Fuꢄꢉ ꢂꢄ Aꢆꢀ Hꢂsꢀꢁꢆy. Thꢈ fuꢄꢉ wꢂll bꢈ usꢈꢉ ꢀꢁ suppꢁꢆꢀ sꢀuꢉy ꢇbꢆꢁꢇꢉ, ꢆꢈsꢈꢇꢆch ꢇꢄꢉ ꢀꢆꢇvꢈl ꢈxpꢈꢆꢂꢈꢄcꢈs fꢁꢆ gꢆꢇꢉuꢇꢀꢈ sꢀuꢉꢈꢄꢀs ꢂꢄ ꢀhꢈ Hꢂsꢀꢁꢆy ꢁf Aꢆꢀ Dꢈpꢇꢆꢀmꢈꢄꢀ. Mꢇꢆlꢇ ꢂs ꢇ Cuꢆꢇꢀꢁꢆ ꢂꢄ Mꢁꢉꢈꢆꢄ ꢇꢄꢉ Cꢁꢄꢀꢈmpꢁꢆꢇꢆy Aꢆꢀ ꢇꢀ ꢀhꢈ Mꢈꢀ- ꢆꢁpꢁlꢂꢀꢇꢄ Musꢈum ꢁf Aꢆꢀ. Iꢄ 2005, shꢈ ꢆꢈcꢈꢂvꢈꢉ ꢀhꢈ Fꢆꢇꢄklꢂꢄ D. Muꢆphy Dꢂsꢃꢄguꢂshꢈꢉ Alumꢄꢂ Awꢇꢆꢉ fꢆꢁm ꢁuꢆ ꢉꢈpꢇꢆꢀmꢈꢄꢀ. Iꢄ 2012 KU hꢁꢄ- ꢁꢆꢈꢉ Mꢇꢆlꢇ wꢂꢀh ꢀhꢈ Cꢁllꢈgꢈ ꢁf Lꢂbꢈꢆꢇl Aꢆꢀs ꢇꢄꢉ Scꢂꢈꢄcꢈs Dꢂsꢃꢄguꢂshꢈꢉ Alumꢄꢂ Awꢇꢆꢉ.
Thꢈ ꢉꢈpꢇꢆꢀmꢈꢄꢀ wꢂshꢈs ꢀꢁ ꢈxꢀꢈꢄꢉ ꢁuꢆ ꢉꢈꢈp ꢇp- pꢆꢈcꢂꢇꢃꢁꢄ ꢀꢁ Randall Griffey (PhD ’99), whꢁsꢈ ꢈsꢀꢇꢀꢈ plꢇꢄs wꢂll pꢆꢁvꢂꢉꢈ gꢂﬅs ꢀꢁ ꢀhꢈ Hꢂsꢀꢁꢆy ꢁf Aꢆꢀ Dꢈpꢇꢆꢀmꢈꢄꢀ ꢇꢄꢉ ꢀhꢈ Spꢈꢄcꢈꢆ Musꢈum ꢁf Aꢆꢀ. Thꢈ ꢈꢄꢉꢁwꢈꢉ fuꢄꢉ ꢂꢄ ꢁuꢆ ꢉꢈpꢇꢆꢀmꢈꢄꢀ wꢂll bꢈ ꢄꢇmꢈꢉ ꢂꢄ hꢁꢄꢁꢆ ꢁf hꢂs mꢈꢄꢀꢁꢆ, Pꢆꢁf. Chꢇꢆlꢈs C. Elꢉꢆꢈꢉgꢈ, Hꢇll Dꢂsꢃꢄguꢂshꢈꢉ Pꢆꢁfꢈssꢁꢆ ꢁf Amꢈꢆꢂcꢇꢄ Aꢆꢀ ꢇꢄꢉ Culꢀuꢆꢈ, ꢇꢄꢉ wꢂll pꢆꢁvꢂꢉꢈ suppꢁꢆꢀ fꢁꢆ gꢆꢇꢉuꢇꢀꢈ sꢀuꢉꢈꢄꢀs ꢂꢄ ꢇꢆꢀ hꢂsꢀꢁꢆy. Rꢇꢄꢉy cuꢆꢆꢈꢄꢀly hꢁlꢉs ꢀhꢈ pꢁsꢂꢃꢁꢄ ꢁf Assꢁcꢂꢇꢀꢈ Cuꢆꢇꢀꢁꢆ ꢂꢄ Mꢁꢉꢈꢆꢄ ꢇꢄꢉ Cꢁꢄꢀꢈmpꢁꢆꢇꢆy Aꢆꢀ ꢇꢀ ꢀhꢈ Mꢈꢀꢆꢁpꢁlꢂꢀꢇꢄ Musꢈum ꢁf Aꢆꢀ.

Spꢈcꢂꢇl ꢀhꢇꢄks ꢀꢁ The Mark and Bette Morris Family Foundation fꢁꢆ ꢂꢀs cꢁꢄꢃꢄuꢈꢉ fuꢄꢉꢂꢄg ꢁf ꢀhꢈ Mꢁꢆꢆꢂs Fꢇmꢂly Schꢁlꢇꢆshꢂp, whꢂch suppꢁꢆꢀs ꢀwꢁ ꢁuꢀsꢀꢇꢄꢉꢂꢄg ꢈꢄꢀꢈꢆꢂꢄg gꢆꢇꢉuꢇꢀꢈ sꢀuꢉꢈꢄꢀs; ꢀꢁ ꢀhꢈ Korea

Foundation, ꢀhꢈ Fidelity Charitable Gift Fund, ꢀhꢈ State Farm Companies Foundation, ꢀhꢈ Morgan Stanley Foundation, ꢇꢄꢉ ꢀhꢈ Terra Foundation for American Art fꢁꢆ fuꢆꢀhꢈꢆꢂꢄg ꢀhꢈ ꢀꢈꢇchꢂꢄg ꢇꢄꢉ

ꢆꢈsꢈꢇꢆch mꢂssꢂꢁꢄs ꢁf ꢀhꢈ ꢉꢈpꢇꢆꢀmꢈꢄꢀ; ꢇꢄꢉ ꢀꢁ ꢀhꢈ Yale University Press fꢁꢆ ﬁꢄꢈ ꢇꢆꢀ bꢁꢁks ꢀhꢇꢀ wꢈꢆꢈ gꢂvꢈꢄ ꢀꢁ ꢁuꢀsꢀꢇꢄꢉꢂꢄg uꢄꢉꢈꢆgꢆꢇꢉuꢇꢀꢈs ꢇꢀ ꢁuꢆ ꢇꢄꢄuꢇl Amsꢉꢈꢄ Awꢇꢆꢉs Cꢈꢆꢈmꢁꢄy.

2014 Franklin D. Murphy Lecture Series

Iꢄ 2014, ꢀhꢈ Fꢆꢇꢄklꢂꢄ D. Muꢆphy Lꢈcꢀuꢆꢈ Fuꢄꢉ spꢁꢄsꢁꢆꢈꢉ ꢀhꢈ fꢁllꢁwꢂꢄg pꢆꢈsꢈꢄꢀꢇꢃꢁꢄs:

Elizabeth Morrison

Senior Curator of Manuscripts, J. Paul Geꢁy Museum

Chin-Sung Chang

Associate Professor, Seoul Naꢀonal University

Iꢄ ꢇꢉꢉꢂꢃꢁꢄ ꢀꢁ ꢀhꢈ fꢁꢄꢉly ꢄꢇmꢈꢉ “Mꢂꢄꢂ-Muꢆphy” lꢈcꢀuꢆꢈs, Pꢆꢁfꢈssꢁꢆs Dꢇvꢂꢉ Cꢇꢀꢈfꢁꢆꢂs ꢇꢄꢉ Chꢇꢆlꢈs Elꢉꢆꢈꢉgꢈ wꢈꢆꢈ ꢇblꢈ ꢀꢁ ꢂꢄvꢂꢀꢈ guꢈsꢀ spꢈꢇkꢈꢆs ꢀꢁ ꢀhꢈꢂꢆ spꢆꢂꢄg 2014 cꢁuꢆsꢈs ꢀhꢇꢄks ꢀꢁ ꢀhꢈ Fꢆꢇꢄklꢂꢄ D. Muꢆphy Lꢈcꢀuꢆꢈ Fuꢄꢉ.

Visitors to Professor Cateforis’ HA 505: The Business of Art:

Bill Haw, Jr., Art Dealer; Hong Zhang, Arꢀst; Alice Thorson, Art Criꢀc, Kꢇꢄsꢇs Cꢂꢀy Sꢀꢇꢆ; Dr. Kris Ercums, Curator, Spencer Museum of Art; Prof. Chris Anderson, KU School of Business; Dr. Patricia Graham, Appraiser

Visitors to Professor Eldredge’s HA 584: Kansas Art, History, and Popular Culture:

Barbara Brackman, Quilter & Quilt Historian; Cynthia Haines, Film Criꢀc; Dr. Jack Wright, Theatre Studies Professor Emeritus, KU; Hilary Brown, Founder & CEO, Hilary’s Eat Well; Larry Schwarm, Disꢀnguished Professor of Photography, Wichita State University; Lisa Grossman, Arꢀst; Stan Herd, Arꢀst; Dr. William Tuꢁle, American Studies Professor Emeritus, KU

Fꢃr liꢂꢀꢁgꢂ ꢃꢄ ꢄꢃrmer aꢁd upcꢃmiꢁg Fraꢁkliꢁ D. Murphy Lectureꢂ, ꢂee ꢃur webꢂite: arthiꢂtꢃry.ku.edu

2014 Franklin D. Murphy Seminar

Thꢈ bꢂꢈꢄꢄꢂꢇl vꢂsꢂꢀ by ꢇ Fꢆꢇꢄklꢂꢄ D. Muꢆphy Lꢈcꢀuꢆꢈꢆ ꢂꢄcluꢉꢈs pꢆꢈsꢈꢄꢃꢁꢄs ꢇꢀ ꢀhꢈ Spꢈꢄcꢈꢆ Musꢈum ꢁf Aꢆꢀ, ꢀhꢈ Nꢈlsꢁꢄ-Aꢀkꢂꢄs Musꢈum ꢁf Aꢆꢀ, ꢇꢄꢉ cꢁ-ꢀꢈꢇchꢂꢄg ꢇ gꢆꢇꢉuꢇꢀꢈ sꢈmꢂꢄꢇꢆ.

Dr. Cynthia Hahn, Professor of Art History at Hunter College and CUNY in New York, served as the 2014 Franklin Murphy Lecturer and the visiꢀng Murphy Professor in the seminar enꢀtled “Framing the Sacred in Medieval and Early Modern Europe,” team taught by Professors Sally Cornelison and Anne D. Hedeman.

Prof. Hahn has made a signiﬁcant contribuꢀon to medieval art history through her theoreꢀcally rich studies of hagiography, relics, and reliquaries. She published her dissertaꢀon in the form of a commentary volume (1988) to a Graz facsimile of one of the earliest surviving illuminated hagiographic texts, the lives of Saints

Killian and Margaret. Her second book, Pꢁꢆꢀꢆꢇyꢈꢉ ꢁꢄ ꢀhꢈ Hꢈꢇꢆꢀ: Nꢇꢆꢆꢇꢃvꢈ Eﬀꢈcꢀ ꢂꢄ Pꢂcꢀꢁꢆꢂꢇl Lꢂvꢈs ꢁf ꢀhꢈ Sꢇꢂꢄꢀs fꢆꢁm ꢀhꢈ Tꢈꢄꢀh ꢀhꢆꢁugh ꢀhꢈ Thꢂꢆꢀꢈꢈꢄꢀh Cꢈꢄꢀuꢆy (2001)

broadened and deepened her focus. In it she successfully reframed discussion of pictorial hagiography, which had largely been considered within historical and

poliꢀcal frames of reference, to concentrate on the ways in which narraꢀve structures enabled hagiographic texts to be received and embodied—to be “portrayed on the heart.” Subsequently, she turned her aꢁenꢀon to the material remains of

saints, their relics, and the liturgical and physical means of their display. Her work

on this topic resulted in a series of arꢀcles, contribuꢀons to exhibiꢀon catalogues,

and a recent book, Sꢀꢆꢇꢄgꢈ Bꢈꢇuꢀy: Issuꢈs ꢂꢄ ꢀhꢈ Mꢇkꢂꢄg ꢇꢄꢉ Mꢈꢇꢄꢂꢄg ꢁf Rꢈlꢂquꢇꢆꢂꢈs, 400–cꢂꢆcꢇ 1204 (2012) that both

examined case studies and developed theoreꢀcal frames for analyzing these objects. Sꢀꢆꢇꢄgꢈ Bꢈꢇuꢀy was a ﬁnalist for the 2012 Charles Rufus Morey Book Award from the College Art Associaꢀon.

This seminar responded to Cynthia Hahn’s work by considering arꢀsꢀc contribuꢀons and responses to the development of hagiography, of civic and religious ritual pracꢀces surrounding the cult of saints, and of the containers for relics, ranging from small reliquaries to large architectural complexes in the medieval and early modern periods. Some of the quesꢀons explored with students included: how did literary and arꢀsꢀc images of sancꢀty change over this period and in diﬀerent geographic seꢂngs? How do secular and sacred concerns intermingle in the display and handling of relics and the construcꢀon of the saints’ lives? What is the role of ritual in acꢀvaꢀng relaꢀonships between the living and the dead?

Dr. Hahn was in residency at the University of Kansas January 20-25th and April 12th-18th. During those periods she met with the seminar six ꢀmes as a group

and individually with each student as they developed, researched, and presented their research projects. The projects ranged from the medieval to the modern

period. They included: Emily Beran’s examinaꢀon of diﬀering narraꢀve cycles of Thomas Becket at Canterbury, where his body was preserved, and York; Crisꢀ Slocum’s contextualizaꢀon of two standing ﬁgural reliquaries of Saints Barbara preserved at the Walters Art Museum; Sadie Shillieto’s study of the

unique metal cut of the Virgin of Aachen in

relaꢀon to cult pracꢀces

at that famous pilgrim-

age site; Ashley Oﬃll’s

analysis of the relics and

chapel of St. Andrea
Corsini in Florence; and Sean Kramer’s consideraꢀon of the sacralizing of the secular with regard to replicas of the Basꢀlle in post-revoluꢀonary France.

Aꢄꢄꢈ D. Hꢈꢉꢈmꢇꢄ, Cyꢄꢀhꢂꢇ Hꢇhꢄ, Emꢂly Bꢈꢆꢇꢄ, Sꢇlly
Cꢁꢆꢄꢈlꢂsꢁꢄ, Sꢇꢉꢂꢈ Shꢂllꢂꢈꢀꢁ, Sꢈꢇꢄ Kꢆꢇmꢈꢆ, Ashlꢈy Oﬃll, ꢇꢄꢉ Cꢆꢂsꢃ Slꢁcum ꢇꢀ ꢀhꢈ Muꢆphy Dꢂꢄꢄꢈꢆ ꢀꢁ hꢁꢄꢁꢆ Cyꢄꢀhꢂꢇ Hꢇhꢄ. Thꢈ ꢉꢂꢄꢄꢈꢆ wꢇs hꢈlꢉ ꢇꢀ ꢀhꢈ Lꢇwꢆꢈꢄcꢈ Tꢆꢇꢂꢄ Dꢈpꢁꢀ ꢂꢄ Apꢆꢂl 2014.

Meet Our Newest Faculty Member

Heba Mostafa [pronounced Heh-bah] joined the Kress Foundaꢀon Department of Art History in August 2014 as Assistant Professor of Islamic Art and Architecture. She received her Bachelor of Science degree in architectural engineering from Cairo University and later her Master’s in Islamic art and architecture from the American University in Cairo. In 2012
Heba completed her PhD in Islamic Architecture at the Department of Architecture at the University of Cambridge, King’s College. Prior to her KU appointment, Heba was the Sultan Post-Doctoral Teaching Fellow and Visiꢀng Assistant Professor at UC

Berkeley. We are thrilled to welcome her to the department. Heba was kind enough to

answer a few quesꢀons about herself.

Whꢇꢀ ꢇꢆꢈ yꢁuꢆ pꢆꢂmꢇꢆy ꢆꢈsꢈꢇꢆch/ꢀꢈꢇchꢂꢄg ﬁꢈlꢉs?

I am primarily interested in the role that architecture and urbanism play in

the mediaꢀon of authority during the Islamic period. I focus mainly upon the early mosque, palace, and shrine in early Islam in this context. My teaching interests extend to architectural and urban history of the Islamic world from the 7th-13th centuries, parꢀcularly transformaꢀons from late anꢀquity to Islam and areas of contact within

the Mediterranean world.

Why ꢉꢂꢉ yꢁu bꢈcꢁmꢈ ꢂꢄꢀꢈꢆꢈsꢀꢈꢉ ꢂꢄ yꢁuꢆ ﬁꢈlꢉ?

During my training as an architect in Cairo, Egypt I became fascinated with the medieval city. In a sense by the
ꢀme I had graduated university the city had become my playground. I felt compelled to gain a deeper understanding of the history of Cairo and was fortunate that one of the foremost Islamic architectural programs in the Middle East was

based in Cairo.

Whꢈꢆꢈ ꢉꢁ yꢁu sꢈꢈ ꢀhꢈ ﬁꢈlꢉ ꢁf Islꢇmꢂc ꢇꢆꢀ ꢇꢄꢉ ꢇꢆchꢂꢀꢈcꢀuꢆꢈ sꢀuꢉꢂꢈs gꢁꢂꢄg ꢂꢄ ꢀhꢈ fuꢀuꢆꢈ?

I see new areas opening up in the coming decade, despite prob-

lems of access in the Middle East, parꢀcularly in the Arabian Peninsula. As communiꢀes become more aware of the role that culture plays in engaging with others, parꢀcularly in Europe and North America, I see the ﬁeld rising

to that occasion. On the heritage side there is a big responsibility, as parts

of the Middle East begin to rebuild and restore what has been damaged

through years of warfare and neglect.

Whꢇꢀ wꢇs ꢀhꢈ mꢁsꢀ chꢇllꢈꢄgꢂꢄg ꢁꢆ ꢀhꢈ sꢀꢆꢇꢄgꢈsꢀ ꢈxpꢈꢆꢂꢈꢄcꢈ yꢁu hꢇvꢈ hꢇꢉ whꢂlꢈ ꢉꢁꢂꢄg ꢆꢈsꢈꢇꢆch?

The strangest experience was probably visiꢀng the site of the
Dome of the Rock in Jerusalem for the ﬁrst ꢀme. Having studied it intensively for about seven years, the experience of walking around the site and having all that understanding coalesce around a single lived experience was profound and strangely surreal, almost like ꢀme travel!

Pꢁsꢀꢈꢆ ꢇꢉvꢈꢆꢃsꢂꢄg Dꢆ. Mꢁsꢀꢇfꢇ’s ꢂꢄꢂꢃꢇl lꢈcꢀuꢆꢈ ꢇꢀ KU.