ALUMNI NEWSLETTER 2019-2020 Dear Alums

ALUMNI NEWSLETTER 2019-2020 Dear Alums,

The 2019-20 academic year has been an unusual one at the GC, as elsewhere, particularly this spring. We've faced considerable challenges from the coronavirus and the economic difficulties suffered by New York during this time, and it's clear that more are still to come. We've also suffered losses from COVID-19, including alumnus Maurice Berger and Professor Emeritus William Gerdts. At the same time, I have been extraordinarily impressed at how creatively, compassionately, and effectively our faculty and students have risen to the challenges of our current situation. I've seen first-year teachers deal masterfully with the transition to online learn- ing; students and faculty create astonishing shared resources for those taking orals; and our first two 'digital defences' occur in the last few weeks. Even as I rage at the circumstances we face, I feel proud and grateful for our GC community.

This fall, we welcomed our 2019 cohort of nine students and they have settled in nicely. They've bonded over Methods and Peda- gogy, participated very enthusiastically in Rewalds, and even created a weekly check-in, allowing them to stay connected despite being now in multiple time zones and continents. For more details on our 2019 cohort, please see the introduction to them later in this newsletter. We have just finalized our incoming class of 2020. They're a tough-minded and gutsy group, interested in everything from representations of medieval sex workers to diversifying museum collections. We're thrilled to have them, and can't wait to see what they teach us. Stay tuned for our student profiles of them in next year’s alumni newsletter. Our current students have had a busy year — I know, I always say that, but this year, even more so! Courtesy our grant from the Mellon Foundation, student Debra Lennard organized a show this fall at the James Gallery, "Notes on Solidarity: Tricontinentalism in Print." Visually stunning, it was also a fascinating investigation of how self-determination movements represented themselves in works of paper, from Havana to Hanoi.

Also in the fall, we hosted a student-organized conference, "Un-Fair Trades: Artistic Intersections with Social and Environmental Injustices in the Atlantic World." Students Caroline Gillaspie and Alice Walkiewicz and faculty adviser Katherine Manthorne put together two very full and exciting days of talks about how artists have engaged with issues of oppression and exploitation in the transatlantic world; I learned a tremendous amount. Our planned spring conferences were largely postponed, but we did have a very pertinent and fascinating online seminar, "Art Work Place," addressing the current moment as it affects museums and their workers; this was co-organized by student Michelle Millar Fisher and attracted about 350 individuals. Very impressive!

For announcements about these events, and many others, you can follow not only our listserv, but also our Facebook page https://www.facebook.com/GCArtHistory/, our Twitter account (@GCArtHistory), and our Instagram feed (@GCArtHistory). All are maintained by our Social Media Fellow, Kaegan Sparks, who has done an extraordinary job this year. Please follow us online, and also send updates on your own doings to [email protected].

Over the course of the 2019-20 academic year, our students have completed seven dissertations, on topics ranging from performance for camera under the Brazilian dictatorship, to photographs of the tea industry in colonial India and works on paper in postwar Pakistan. We’re going to miss them, but are proud of their accomplishments and of the exciting positions they have landed, including a postdoctoral curatorial fellowship at the Morgan Library and an assistant professorship at California State University at San Francisco.

We’re also extremely proud of the banner year we’ve been having in external fellowships. Samantha Small won a Fulbright to Ger- many for her work on Symbolist Franz von Stuck, and will be heading to Bavaria whenever the State Department lets her. Saskia Verlaan, by contrast, will be a fellow at the Menil Drawing Institute in Houston, studying works on paper in postwar Italy. Janine DeFeo, whose topic is performances dealing with eating and food, will be heading to DC for a Smithsonian Institution Fellowship, while Ana C. Perry will be closer to home with an Inter-University Program in Latino Research Fellowship for her work on Latinx artist Raphael Montañez Ortiz. The number and variety of the fellowships our students have won testifies to the exciting, out-of-the- box work they are doing; we are extremely proud of them all.

We've also been fortunate in receiving several large foundation grants this year. The Mellon Foundation awarded us a $650,000 grant, extending our "New Initiatives in Curatorial Training" program for an additional five years. We've also received a $500,000 endowment from the Helen Frankenthaler Foundation, which will provide a fellowship each year for a student engaged in dissertation research that resonates with the work of Helen Frankenthaler. Our first awardee, Maya Harakawa, starts this fall. Though these grants are considerable, even a small donation can make a great difference to our needy students. Particularly in the current fund- ing climate, with widespread cuts to public higher education, your assistance is very helpful; any amount is welcome.

Best, Rachel Kousser

DEPARTMENT NEWS

DEPARTMENT WELCOMES NEW STUDENTS The Department welcomes our newest cohort of students We would also like to extend a warm welcome to our up- who began their studies at the GC in Fall 2019. coming cohort of students who will begin their studies at the GC this Fall 2020. • Elizabeth Akant (BA, Oberlin College) • Flora Brandl (MA, Goldsmiths/ NYU) • Kiki Barnes (MA, NYU) • Isabel Elson (MA, Courtauld Institute) • Cortney Berg (MA, Arizona State) • Jacqueline Edwards (MA, UT- San Antonio) • Kerry Doran (MA, Courtauld Institute) • Monica Espinel (MA, Hunter College) • Beatrice Grenier (MA, Columbia Univ.) • Alexandra Foradas (MA, Williams College) • Naoimy Guerrero (BA, DePaul Univ.) • Taylor Hartley (MA, Univ. of Iowa) • Cathryn Jijon (BA, Univ. of Chicago) • Khushmi Mehta (BA, Art Instit. Of Chicago) • Emily Mangione (MA, Univ. College London) • Terra Warren (MA, Georgetown Univ.) • Victoria Nerey (MA, University of Houston) • Suzanne Oppenheimer (MA, Courtauld Institute) • Quinn Schoen (BA, Brown University) • Jin Wang (MA, NYU)

RECENT FACULTY AND STUDENT EVENTS Photo taken at the Schomburg Center from Katherine Manthorne’s Fall 2019 class Race, Politics & Ethnography in Photography: The New York Public Li- brary Collection, co-taught with Elizabeth Cronin, Assistant Curator of Pho- tography at the NYPL and Graduate Center Alum.

Students giving presentations at the NYPL on January 30th, 2020 as part of the event “NYPL Hidden Gems: Race, Politics, Photography. Students are (left to right) Anna Orton-Hatzis, Khushmi Mehta, Isabel Elson, and María-Beatriz H. Carrión.

Students organize Sessions in Art and Practice: Writing in Tempo series

Sessions in Art and Practice is an annual series of workshops and talks led by artists, curators, scholars, and writers on topics in art, research, and writing. In 2020, the program developed the theme of “Writing in Tempo” to explore how writing might keep pace with its objects through interpretive, descriptive, and critical approaches to historicity, working within and against the grain of the rhythms and urgencies of the present. This program is organized by Jack Crawford, Mia Curran, Kirsten Gill, and Rachel Valinsky, and co-sponsored by the Ph.D. Program in Art History and the James Gal- lery / The Center for Humanities, with support from the John Rewald Endowment of the Ph.D. Program in Art History and the Doctoral Students ’Council at The Graduate Center, City University of New York. Further sessions including Renée Green and Claudia Rankine were planned, but postponed as a result of COVID-19. Jennifer Doyle: America Out of Iraq

Graduate Student Workshop: For this workshop, Jennifer Talk: As we move towards the summer Olympics in Tokyo, Doyle took the publication of Anti-fascism/Art/Theory, a the IOC issued the latest of its directives to athletes con- special issue of Third Text, to stage a conversation about sidering making gestures of protest within the space of critical practice in our contemporary political moment. the sport spectacle. Sports, they claim, are neutral. Politi- Participants read Angela Dimitrikaki and Harry Weeks's cal gestures are banned and protesting athletes, they "Introduction to What Hurts Us" and explored the articles promise, will be disciplined. In this talk, Jennifer Doyle in the issue. Participants explored different modalities and drew from theorizations of war to reconsider the iconicity expressions of racism in contemporary art practice, and of the figure of the resistant athlete. Drawing from the institutional responses and non-responses to that racism. work of contemporary artists inspired by Tommie Smith In addition, they explored the relationship between liberal, and John Carlos (who raised their fists in protest at the inferential racism (as manifested in work by white artists 1968 Olympics) and by Younis Mahmoud (the Iraqi na- which have become art "controversies") and the overt rac- tional soccer team captain who, on winning the 2007 Asia ism of the far right, as encountered in and around art (and Cup told media "I want America out of Iraq now"), Doyle about which relatively little is said in art criticism). They offered a reading of the global sport spectacle as a dis- also explored the ecologies of harassment which flourish tinct, intimate form of warfare practiced on and through around us and which are engaged (resisted and repro- the athlete's body. duced) by artists. Conversation centered on the challenge of writing about specific cases — for example: the mobili- zation of anti-semitic tropes in the harassment of the artist Luke Turner, and the harassment ecology which grew around hewillnotdivide.us, an ongoing installation marking the duration of the Trump presidency, the substantial body of work which confronts the nature and history of racial- ized forms of violence (e.g. Kerry James Marshall's Heir- looms and Accessories), and other contemporary projects which spotlight the spooky resemblances between our moment and the phenomena the mainstream public filed away in a drawer marked "Never Again" (e.g. Susan Silton's "A potentiality long after its actuality has become a thing of the past" (2018- ).

Student Organized Programs

Un-Fair Trades Artistic Intersections with Social and Environmental Injustices in the Atlantic World: Took place on October 10th and 11th 2019, organized by graduate students Caroline Gillaspie and Alice Walkiewicz with Keynote Addresses by Dr. Alan C. Braddock and Dr. Charmaine A. Nelson. This conference was hosted by the Art History Department and co-sponsored by the John Rewald Endowment, the Center for the Humanities, the Advanced Research Collaborative (ARC), the Institute for Research on the African Diaspora in the Americas and the Caribbean (IRADAC), the Stone Center on Socio-Economic Ine- quality, and the Center for Place, Culture, and Politics (CPCP) at the Graduate Center, CUNY, and Pratt Insti- tute.

Art Work Place: Emergency Sessions: Art • Work • Place was originally planned as a two-day summit on efforts to create a just and equitable workplace in the art world—union organizing at museums, pro- tests against toxic philanthropy, challenges to institutional racism, and lawsuits against sexual harassment and gender discrimination. But the current health emergency has drastically changed our current conversations and needs. This online forum will instead focus on the immediate moment, sharing concrete information and ideas: What is happening to workers at art institutions across the country? What coalition groups have been formed for solidarity and support? What are our strategies going forward? Organized by Nikki Columbus and Michelle Millar Fisher, with the PhD Program in Art History (CUNY Graduate Center), in collaboration with the James Gallery/Center for the Humanities (CUNY Graduate Center) and the Vera List Center for Art and Politics (The New School), where it is sponsored in part by the Helen Shapiro Lectureship. Two sessions have taken place on April 7th and May 6th 2020, with one forthcoming on June 16th 2020. For more information on the many speakers at these events, please visit https://www.centerforthehumanities.org/programmi ng/art-work-place.

STUDENT FELLOWSHIPS EXTERNAL AWARDS Erika Nelson Pazian: short-term research fellowship at the Gilcrease Saskia Verlaan: Pre-doctoral fellowship, Menil Foundation Drawing Museum in Tulsa, two-month curatorial fellowship at The Johnson Col- Institute lection in Spartanburg, SC

Samantha Small: Fulbright travel fellowship to Germany Alice Walkiewicz: Jay and Deborah Last Short-Term Fellowship from the American Antiquarian Society. Caroline Gillaspie: Dissertation Fellowship for 2020-2021 from Winter- thur Museum, Garden & Library INTERNAL AWARDS Art and Science Connect Research Fellowship: Rachel Spaulding Carty Jessy Larson: Short-term Fellowship with the New York Public Library; and Aubrey Knox Fellowship to attend Library Company of Philadelphia’s Urban In-sights: A Workshop in American Visual Culture and Literacy Center for Latin American, Caribbean, and Latino Studies Summer Travel Fellowship: Sonja Gandert Lauren Rosenblum: Gotham/New York Public Library short-term fellowship Connect NY Award: Jessica Larson, Kaegan Sparks

Dana Liljegren: West African Research Association fellowship in Dakar Dissertation Year Fellowship: Luisa Valle, Caroline Gillaspie, Maya Hara- kawa Kristen Racaniello: 2020 Delaware Valley Medieval Association travel fellowship Early Research Initiative Archival Award in African-American and Afri- can Diaspora: Kirsten Gill, Maya Harakawa, Joseph Henry, Maria Quina- Jess Fletcher: Fellowship to attend Garden and Landscape Studies ta Graduate Workshop run by Dumbarton Oaks and the Mellon Initiative in Urban Landscape Studies Early Research Initiative Archival Award in American Studies: Maria Beatriz Haro-Carrion, Samantha Small Joseph Henry: scholar-in-residence, German Expressionist center, LACMA Helen Frankenthaler Foundation Fellowship: Maya Harakawa

Drew Bucilla and Chris Green: Robert Rauschenberg Foundation Scho- IRADAC Dissertation Fellowship: Maria Quinata lars-in-Residence program Kristie Jayne Fellowship: Kirsten Gill Blair Brooks: Short-term Junior Fellowship at the Center for the History of Collecting, Frick Reference Library; Getty Library Research Grant Lost and Found Award: Maya Harakawa

Anna Ficek: Shorrock Travel Award from the French Colonial Historical Mellon Curatorial Fellowship at Dia (2019-20): Kirsten Gill Society Mellon Curatorial Fellowship at Dia Foundation (2020-21): Ian Wallace Sonja Gandert: Honorable Mention in the 2019 Marzio Award for Out- standing Research in 20th-Century Latin American and Latino Art from Mellon Curatorial Fellowship at Newark (2019-20): Gwen Shaw the International Center for Art of the Americas at the Museum of Fine Arts, Houston Mellon Curatorial Fellowship at the Queens Museum (2020-21): Elizabeth Akant Luisa Valle: proposal selected for 2020 Mark Coaster Mamolen Disser- tation Workshop at Harvard University's Afro-Latin American Research Mellon Global Programming Fellowship: Maria Beatriz Haro Carrión Institute Mellon James Gallery Exhibition Fellowship: Anna Orton-Hatzis Janine DeFeo: Smithsonian Institution Fellowship (with the Smithson- ian American Art Museum and and the National Museum of American New York Botanical Gardens Summer Fellowship: Caroline Gillaspie History, accepted) and a Crystal Bridges Tyson Scholars Fellowship (declined) Peer Mentoring Grad B Assistantship: Maya Harakawa

Rebecca Pollack: dissertation completion fellowship from the Associa- Pre-Dissertation Research Award: Molly Bauer, Rachel Carty, Mia Cur- tion for Jewish Studies ran, Caroline House, Anna Orton-Hatzis

Ana C. Perry: Inter-University Program in Latino Research (IUPLR) Ricki Long Travel Fellowship: Anna Orton-Hatzis and Molly Bauer Mellon Fellowship (accepted) and ACLS Luce fellowship (declined) Social Media Grad B Assistantship: Kaegan Sparks Stephanie Huber: Mellon Council for European Studies Dissertation Completion Fellowship

FACULTY ACCOMPLISHMENTS Professor Jennifer Ball published an article “Rich Interiors: Professor Romy Golan published “The mural and the « art The Remnant of a Hanging from Late Antique Egypt in the de la rue» in Charlotte Perriand: Inventing a New World, Collection of Dumbarton Oaks” Dumbarton Oaks Pa- Fondation Louis Vuitton, Paris, 2019. She worked on the pers 73 (2019). She was awarded three grants to support forthcoming articles: “Is Fascist Realism a Magic Realism?” the completion of research and travel for her book pro- RES: Anthropology and Aesthetics (Fall 2020); “Renato Gut- ject Byzantine Silk in the World, co-authored with Thelma tuso’s Boogie Woogie in Rome (1954), A Geopolitical Tab- Thomas (ARC-Humanities Press, expected 2022). Also in leau,” Art History (Spring 2021); “Fiction dans l’art italien, the past year, she spoke at the Byzantine Studies Confer- 1967-1970 : trois expositions,” in L’espace des images. Art ence in Madison, WI and The Textile Museum in Washing- et culture visuelle en Italie 1960-1975 (Paris: Editions Ma- ton, D.C. among other places. nuella, 2021). Her lectures were“ Charlotte Perriand et le photomontage mural ou l’architecture par d’autres Professor Claire Bishop’s has had a quiet year and de- moyens,” at the symposium Le monde nouveau de Char- clined a lot of interesting international invitations (such as lotte Perriand, Fondation Louis Vuitton, 2019 and “’ Make- the Ingmar Bergman Chair of Theatre and Film at UNAM, believe’: far finta nell’arte Italiana degli anni sessanta,” at Mexico). She reviewed the Venice Biennale for Artforum, Lo Spazio delle immagini, arte e cultura visiva in Italia, and got made a Contributing Editor of the magazine. She 1960-1975, Villa Medici, Rome, 2019. co-authored a speculative review of the new MoMA with Nikki Columbus, published online at n+1. Her books Artifi- Professor Marta cial Hells and Radical Museology were published in Chi- Gutman has accepted nese. a new leadership role as the president-elect This spring Distinguished Professor of the Society for Emily Braun served as the 2020 American City and Re- Edmond J Safra Professor at gional Planning Histo- CASVA, at the National Gallery of ry. The society is an Art, Washington DC. The Fellow- interdisciplinary organization dedicated to promoting ship residency was cut short in scholarship on the planning of cities and metropolitan re- mid-March due to the COVID-10 gions over time bridging the gap between scholarly study Pandemic, though members con- of cities and the practice of urban planning. Gutman re- tinued to participate in remote cently contributed to the new book “Educating Harlem: A research presentations. Her essay, Century of School and Resistance in a Black Community” “Il ragionamento del ragioniere: Presenza e assenza (Columbia University Press, 2019) with a chapter titled “In- dell’arte italiana del primo Novecento nella Collezione termediate School 201: Race, Space, and Modern Architec- Cerruti” for La Collezione Cerruti. Catalogo generale, ed. ture in Harlem.” She was also a 2018 Distinguished CUNY Carolyn Christov-Bakargiev, (Turin: Allemandi, 2020), de- Fellow where she took up a semester-long appointment at layed for similar reasons, is in production. The catalogue the Advanced Research Collaborative (ARC), a program of for the exhibition on Robert Rauschenberg’s series, Night the Graduate Center, CUNY. Prof. Gutman is also a found- Shades and Phantoms, which Braun organized with her ing editor of PLATFORM (launched in June 2019) – the new Hunter MA Curatorial Practicum course for the Robert digital forum for conversations about buildings, spaces, Rauschenberg Foundation, was published in April. and landscapes, and the critical role of architecture, plan- https://www.rauschenbergfoundation.org/sites/default/fi ning, and urbanism in today’s world, globally. les/Rauschenberg_NightShadesandPhantoms.pdf

Professor Cynthia Hahn has had three publications appear Professor Katherine Manthorne’s book Restless Enter- this academic year--the edited volume (with Avinoam prise: The Art and Life of Eliza Pratt Greatorex (U. of Cali- Shalem) on Rock Crystal, Seeking Transparency (Reimer fornia Press) appears Fall 2020 along with Women in the Verlag); her monograph, Passion Relics and the Medieval Dark: Female Photographers in the United Statess, 1850- Imagination (UCal); and the publication by the museum of 1900 (Schiffer Publishing). Her exhibition Transitional Na- the 2018 Watson Gordon lecture delivered at the National ture, an ecocritical look at Hudson River landscapes, Gallery of Scotland in Edinburgh, Heart's Desire,The Darn- opened at FIU’s Frost Museum, Miami on Jan. 25 but ley Jewel. She was to enjoy a Clark fellowship and a sab- closed in March and became a virtual exhibition. With batical in Fall 2020 but Covid 19 has delayed that pleasure generous support from Terra Foundation she co-organized until 2021. the conference Landscape Art of the Americas for this spring, now postponed until May 2021 when several Grad- uate Center faculty and students will join her in Bogotá, Colombia.

Distinguished Professor Gail Professor Harriet Senie received the 2020 CAA Award for Levin has received several the distinguished Teaching of Art History as well as the grants this year, including: 2019 City College Rifkind Scholars Award. She was invited February -June 2019, Leon to give several lectures in 2019, and they are as follows: Levy Scholar, Center for the Keynote Address, Culture Montreal, ”Monumental Contro- History of Collecting, Frick, versies: Public Art in the Aftermath of the Revisited Com- NYC; Fulbright Specialist, cu- memoration Process;” Colgate University, “The Mayor’s ratorial advisor to Zanabazar Commission, She Built New York, and the Vagaries of Pub- Museum of Fine Arts, Ulaan lic Art Controversies;” Rubin Foundation, “A Dangerous Baator, Mongolia, June-July, 2019. She has published Lee Conflation: 9/11, the Bodies and the Nation;” The Hague, Krasner: A Biography, London: Thames & Hudson, 2019, Organization for Security and Cooperation in Europe chosen by Financial Times 1 of the 5 best art books in (OSCE), “Best Practices in Setting Up Memorial Commis- 2019, a 1971 interview with Krasner in touring Krasner sions” retrospective catalogue, Barbican, London; Bilbao Gug- genheim, etc, "Breakthrough: Krasner turns the tables," RA Royal Academy of the Arts Magazine, no. 143, London, Summer 2019, an essay on Claudia DeMonte, Lowe Art Museum, Miami, and ”South India to Germany: Sajitha Shankhar's Engagement with European Art and Culture," The Journal of Asian Arts & Aesthetics, May 2020. She has also lectured at the Barbican, Courtauld Institute on June 18 & 19, 2019. In 2020 at the Universidad Nacional Autó- noma de México (UNAM), Mexico City onJanuary 23, in February at the VA Museum of Fine Arts in Richmond and at the Ringling Museum of Arts, Sarasota.

STUDENT UPDATES

Michelle Millar Fisher’s book, Designing Motherhood, will be published by MIT Press in January 2021.

Chelsea Haines is defending her dissertation "Staging the Modern, Building the Nation: Exhibiting Israeli Art, 1939–1965" in June. She will take up a position as Visiting Assistant Professor at Purchase College, State University of New York, in the Fall.

Debra Lennard, as the James Gallery Mellon Curatorial Fellow 2018–19, organized the exhibition Notes on Solidarity. The exhibition took a close look at the role of printed materials in Tricontinentalism: a political movement of the 1960s that sought to establish a powerful, unifying alliance between anticolonial efforts underway across Asia, Africa, and Latin America. The exhibition presented a selection of the vibrant graphic production which developed around this movement during the late 1960s and early 1970s in centers of dissent from Cuba to Palestine. Highlighting the creative and unexpected ways in which the reproducible print was har- nessed in support of Tricontinentalism and its central idea of creating solidarity, the exhibition sought to bring into focus the print as an agential, affective object: capable of transforming solidarity from an abstract idea to a tactile object that could be held in the hand.

Sarah Mills accepted a tenure-track teaching position in the Art and Design Department at Westchester Community College, SUNY in the fall 2019 and in spring 2020 was appointed the school's Art Gallery director.

Exhibition at the James Gallery organized by student Debra Lennard “Notes on Solidarity: Tricontinentalism in Print” September 12th - November 2nd 2019

Bringing together loans from international and domestic collections of graphic work, Notes on Solidarity featured examples of work by artists and organizations including OSPAAAL (the Organization of Solidarity of the People of Africa, Asia, and Latin America), René Mederos, Jane Norling, Emory Douglas, Malaquías Montoya, Rupert García, the Comité des trois continents, Ismail Shammout, and Kameel Hawa.

ALUMNI NEWS

Ananda Cohen-Aponte (2012) welcomed a new addition to her family: Milagros Vera Inés Aponte, born on April 13.

Suzaan Boettger (1998) is continuing her series of talks on Robert Smithson's unknown work made prior to 1965 (earli- er in 2019 at NYU and the British conference of the Association for Art History). In November Dr. Boettger spoke on "Contextualizing the Confounding: Robert Smithson’s “Don’t be afraid of the word ‘religion’” at a seminar on American Art at the Newberry Library, Chicago. Her talk on "The Angel's Advocate: Robert Smithson's Drawings of Erotes (1961- 64)" at the Menil Collection in March was virus-cancelled along with the presenting conference of Midwest Art History Society. Recently designated Professor Emerita at Bergen Community College, New Jersey, from which she retired in summer 2019, her work continues on the manuscript The Passions of Robert Smithson. Instagram @NatrCultr and #un- knownSmithson

M. Elizabeth (Betsy) Boone (1996) recently published her new book "The Spanish Element in Our Na- tionality: Spain and America at the World's Fairs and Centennial Celebrations, 1876-914 with Pennsylva- nia State University Press. Bringing attention to the rich and understudied history of Spanish artistic production in the United States, Boone recovers the “Spanishness” of US national identity and explores the means by which Americans from Santiago to San Diego used Spain to mold their own modern self- image.

Virginia Fabbri Butera just completed her 21st year as Chair of the Art Department at the College of Saint Elizabeth in Morristown, NJ, and my 14th year as Director of the Therese A. Maloney Art Gallery (MAG) there. In Fall 2019, she co- curated, Expresiones Latinx II at MAG with a sister show, Expresiones Latinx I at Morris Arts. This spring, for her 40th show at MAG and to mark the 50th anniversary of Earth Day, she curated The Material World, highlighting assemblage works and paintings about pollution. Her daughter, Alanna, now 33, runs Butera Art Advisory & Management, LLC (BAAM), an appraisal and auction advisory firm.

Peter Chametzky (1991): Turks, Jews, and Other Germans in Contemporary Art will be published by MIT press in fall 2021. He presented this topic at the 2016 GSUC symposium honoring Professor Rose-Carol Washton Long. In 2019 he published on that in The Massachusetts Review, and “From Anti-Nazi Postcards to Anti-Trump Social Media” in Art and Resistance in Germany. His online symposium text, “Living and Dying and Resisting Montage,” is at John Heartfield. Photography Plus Dynamite, Berlin, Akademie der Künste, summer 2020. “Paul Westheim in Mexico,” Oxford Art Jour- nal, 2001, will appear revised in From Posada to Isotype, Reina Sofía Museum, Madrid, 2022. He spoke about his mother, Anne Halley, on the podcast “Our Mothers Ourselves,” May 2020.

Gabrielle Esperdy (1999) published American Autopia (University of Virginia Press, 2019) and was promoted to full Professor in the Hillier College of Architecture & Design at the New Jersey Institute of Technology. She is a researcher for the Getty’s Ed Ruscha Streets of Los Angeles project and she continues to edit SAH Archipedia a peer reviewed open access publication on the history of the built environment.

Beth S. Gersh-Nešić, Ph.D (1989) is pleased to announce the publication of Pablo Picasso and André Salmon: The Paint- er, the Poet and the Portraits (Za Mir Press, 2019), the first book dedicated to the friendship between the Spanish artist and French poet/art critic. Salmon is best known for his support of Cubism, especially Picasso’s Les Demoiselles d’Avi- gnon. This book features an essay by Jacqueline Gojard, University of Paris III (Sorbonne Nouvelle), in French and in English. Both Salmon scholars translated the text into English and wrote the chronology of the Picasso-Salmon relationship in English. The book also features Picasso’s portraits of Salmon and Salmon’s portraits of Picasso.

In 2020 Vivien Greene edited the catalogue, Migrating Objects: Arts of Africa, Oceania, and the Americas in the Peggy Guggenheim Collection, as well as cocurating the exhibition. This book and exhibition examine Guggenheim’s African, Oceanic, and indigenous Americas objects, enabling an exploration of the flawed narratives that Western culture im- posed on displaced objects of this kind during their new histories of ownership as a way to begin tracing their many lives, from maker, to market, to museum.

Julia Herzberg (1998) curated the exhibtion Padece: Máximo Corválan-Pincheira at ARTESPACIO Galeria in Santiago, Chile from Sept. 26 – Oct. 20, 2019. She published several essays, namely: “Máximo Corvalán-Pinchera: Padece,” in Padece, ARTESPACIO, Santiago, Chile, 20; “A Conversation with María Elena González: A Trajectory of Sound,” in María Elena González: Tree Talk, Mills College Art Museum, Oakland CA,2019 (pp. 30-55); “Carlos Alfonzo: Trans- formative Work from Cuba to Miami and the U.S.,” in Carlos Alfonzo: Witnessing Perpetuity, Miami: LnS GALLERY, 2020 (pp. 8-23); “María Martínez-Cañas: Black Totems and Imágen Escrita,” exhibition entry for Art_ Latin_America: Against the Survey, Davis Museum, Wellesley College, Wellesley, MA 2018 (pp. 42, 43, 168, 169), Austin: University of Texas Press, 2019, Edited by James Oles with Lisa Fischman; “An Overview / Um perfil,” Josely Carvalho: Diário de Imagens / Diary of Images (ed. Luiz Eduardo Meira de Basconcellos) Río de Janeiro: Contra: Capa, 2018 (pp. 35-64), co-essayists, Lucy R. Lippard, Katia Canton, Ana Mae Barbosa, Paulo Herkenhoff, Ivo Mesquita, Arlndo Machado. She has also served as the chair of the jury committee along with Dr. Carol Damian and Dr. Mark Castro for 2020 Thoma Award Exhibition Catalogue from The Association for Latin American Art (ALAA), and as juror for the Arvey Foundation Exhibition Cata- logue Award Committee 2018-2020 (co-members Drs. Diana Magaloni Kerpel Julia P. Herzberg, James Oles, Dia- na Magaloni (Chair), 2018-19. She has been a board member at ArtTable from 2019-2021.

In October, Sharon Jordan's essay “He is a Bridge: The Importance of Friedrich Nietzsche for Ernst Ludwig Kirchner” was published in the Neue Galerie's exhibition catalogue Ernst Ludwig Kirchner (New York: Prestel Verlag, 2019).

Margaret R. Laster (2013) has served as a consultant for the Center for the History of Collecting at The Frick Collec- tion/Frick Art Reference Library since February 2019, and was a research consultant/contributor to such exhibitions as The American Pre-Raphaelites: Radical Realists (National Gallery of Art, 2019), and Natural Forces: Winslow Homer and Frederic Remington (Denver Art Museum, 2020). She was also a Guest Scholar at the Getty Research Institute in Fall 2019, as part of their “Knoedler’s and the American Art Market” project.

Valerie Ann Leeds, (2000), has contributed an essay on Robert Henri, and the importance of Spain, the Prado, and Ve- lazquez to the forthcoming publication accompanying the traveling exhibition organized by the Milwaukee Art Muse- um, Americans in Spain: Painting and Travel, 1820-1920, slated to open in October 2020. She also contributed catalogue entries on the Pennsylvania Impressionist artists for the forthcoming permanent collection catalogue for the Palmer Museum of Art at Penn State. And, also continued ongoing editorial work for the biannual online journal, Panorama: Journal of the Association of Historians of American Art.

Diana L. Linden (1997) was the recipient of the Smithsonian American Art Museum's prestigious Patricia and Phillip Frost Essay Award for her article "'In Honor of Dr. Martin Luther King': White Privilege and White Masks in William Christopher's Paintings of 1963," which appeared in the fall 2019 issue (vol. 33, no. 3) of American Art. Linden examines a series of paintings by artist William R. Christopher (1924 - 1973). The suite of paintings dedicated to King demon- strates Christopher's complex racial awareness as a white, gay, Christian, civil-rights activist from the South. The jurors praised Linden for "integrating the methodology of social art history with a socially conscious concern to bring the in-

sights of intersectional analysis to the practice of American art history."

Anna Mecugni (2013) worked with artist and activist Dread Scott to support the large-scale, community-engaged reenactment of the 1811 Louisiana slave rebellion. She curated Scott’s first solo exhibition in New Orleans and a post- reenactment forum at the University of New Orleans. She presented two papers: “Slave Rebellion Reenactment (2013– 9): Counter-Memory, Affect, and the Question of Identity Politics” at CAA and “Queer and Feminist: Ida Rubinstein as Saint Sebastian” at the STPA Conference in New Orleans. She secured a Harpo Foundation New Work Project Grant and, in partnership with other Italian and Canadian institutions, an Italian Council Project Grant.

Rosemary O'Neill (2003) presented "Chris Marker: A Bestiary, Cinematic Essay," on the panel À la croisée des Chemins: réflexions sur les relations interèspeces en art,” Universities Art Association of Canada, Quebec City (October 2019) and "Resistance and the practices of painting," on the panel Painting/Pictures/Spaces in the 1950s and 1960s at CAA NYC (2019). As a media specialist, she was featured in Culture Trip (February 2020), "The Best Museums in Nice and the French Riviera, according to Art Historian Rosemary O'Neill."

Tetsuya Oshima (2008) has been an associate professor at Tama Art University in Tokyo since April 2019.

Vanessa Rocco is Associate Professor of Humanities and Fine Arts at Southern New Hampshire University, Manchester. Her Fall 2019 sabbatical project, “Generation Z Responses to Political Propaganda,” was a collaborative research project with a specialist in Neuroscience, Dr. Vincent Corbo (also at SNHU). The images she curated and the resulting data analysis were accepted as a Poster Presentation for the annual conference of the Association for Psychological Science in Chicago, in May 2020. Although the conference was cancelled due to COVID, the poster will still be featured as part of the APS Virtual Poster Showcase throughout the summer of 2020.

Naomi Rosenblum (1978): A fifth edition of A World History of Photography, updated and with additions by Diana C. Stoll, appeared in 2019. First issued by Abbeville Press in 1984, over the years her book has been translated into French, Polish, Chinese and Japanese.

Britany Salsbury (2015) co-edited the book Collecting Prints, Posters, and Ephemera: Perspectives in a Global World (Bloomsbury Academic, 2019) with Ruth E. Iskin, to which she contributed an introduction and an essay titled “Loys Del- teil: Collecting and the Network of Prints in Fin-de-Siècle Paris.” At the Cleveland Museum of Art, where she serves as Associate Curator of Prints and Drawings, she was awarded grants from the Getty Foundation's Paper Project and the Wolfgang Ratjen Foundation for a forthcoming exhibition and publication on the institution's collection of 19th-century French drawings.

In fall 2018, Beth Saunders (2016) started a new position as Curator and Head of Special Collections at the Albin O. Kuhn Library, University of Maryland Baltimore County. She was contributing curator and co-author of the catalogue for the 2019 exhibition Apollo’s Muse: The Moon in the Age of Photography at The Met, where she was previously Assistant Curator. Recently, her writing has appeared in CAA Reviews, Journal of the American Institute for Conservation, Rivista di Studi di Fotografia, and the exhibition catalogue Everything is Connected: Art and Conspiracy.

Gillian Sneed completed her Ph.D. in September 2019. Several articles based on her dissertation will be released this summer, including: “Anthropophagic Subjectivities: Gender and Iden- tity in Anna Maria Maiolino’s In-Out (Antropofagia), 1973–1974,” in Vistas: Critical Approaches to Modern and Contemporary Latin American Art (May 2020); “Sex, Satire, and Censorship: Lygia Pape’s Eat Me: Gluttony or Lust, 1975–1976,” in Revista de História da Arte, (summer 2020); and “The Disciplinary and the Domestic: Household Images in the Video Performances of Leticia Parente, 1975–1982,” in Diacrítica (summer 2020). She is also a recipient of Smarthistory’s honorarium for art historians impacted by COVID-19.

Michelle Vangen served as a scholar-advisor for the exhibition, “With Child: Otto Dix/Carmen Winant” (September 21- December 15, 2019) at the Worcester Art Museum. The exhibition was the first in the world to focus on the maternal works of Otto Dix. In addition to researching and creating written materials for the exhibition, she also delivered a lecture, "Images of Maternity in the Art of Otto Dix" as part of the Museum's Master Series program and gave a talk, "The Politics of Pregnancy and Its Representation: Why Are There So Few Images of Pregnant Women in Art?" at the Muse- um's Forum on Art and Reproduction.

Midori Yamamura received the 2020-21 Mellon/ACLS Community College Faculty Fellowship for her book, Japanese Contemporary Art Since 1989: Emergence of the Local in the Age of Globalization. The University of Florida Press will publish part of her research, "超少女 (Chō Shō Jo): Economic Bubble, Consumer Culture, and New Women’s Art, 1986- 1996." She has been expanding her research into postcolonialism, co-editing a volume, Visual Representations of the Cold War, and Postcolonial Struggles: Art in East and Southeast Asia (Routledge, 2021). Aside from teaching at KBCC, she is a consultant for Picasso’s ceramic art museum in Japan.

IN MEMORIAM We mourn the death of Professor Emeritus William H. Gerdts, who taught in the Ph.D. Program in Art History at the CUNY Graduate Center from 1971-1999. Professor Gerdts began teaching at the GC at the time of our program’s incep- tion, and his pioneering work on American art — including twenty-five books on topics ranging from Neo-Classical sculpture to Impressionist painting and still life — was formative for the GC and the field of art history as a whole. I would like to add the following recollection from one of his students, Dr. Bruce Weber: “I was very fortunate to have studied with Professor William H. Gerdts, from my junior year as an art history major at Brooklyn College in 1972, through receiving my doctorate in the History of Art from the Graduate School of the City University of New York in 1985. Following graduation he continued to enrich and impact my devotion to the history of American art, and to be a tremendous influence on my life and career. Professor Gerdts was a devoted friend, ally and supporter of many of his students, and we will greatly miss his warmth, good humor and deeply caring spirit. Professor Gerdts ’accomplishments as a scholar and teacher in the field of American art are unrivalled, and his voluminous writings on a remarking range of artists, subjects and media will continue to educate and entice the minds of the art interested public for well into the future, and inspire scores of current and future scholars in the field. We will miss him dearly.” -Professor Rachel Kousser

We mourn the death of GC alumnus Maurice Berger, chief curator at the Center for Art, Design, and Visual Culture at the University of Maryland, Baltimore County, who passed away last week while suffering from COVID-19 symp- toms. Dr. Berger, whose publications included the prescient 1999 White Lies: Race and the Myths of Whiteness, was a critic, curator, and historian who focused on race relations and contemporary art. Faculty and fellow alumni remember him as, in the words of Professor Emerita Ricki Long, “very lovely, kind and bril- liant.” In this, as in his research, he exemplified the best traditions of our program and the GC. At this difficult time, we can ill spare such a person; we mourn his passing.

-Professor Rachel Kousser

REWALD SEMIARS

Fall 2019

October 15 - Joan Kee, University of Michigan, Afro-Asia: Frames, Boundaries, Geometries

October 29 - Jonah Westerman, SUNY Purchase, Performance ca. 1979: The Invention of a Medium and Some Consequences

November 5 - John Hopkins, Institute of Fine Arts, New York University, Sculptural Encrustation, Architectural Accretion and the Visual Semantics of the Early Roman Cityscape

November 12 - Ana María Reyes, Boston University, To Weave and Repair: on Symbolic Reparations and Reconstructing the Social Fabric in Latin America

November 19 - Romy Golan, Graduate Center, CUNY, Is Fascist Realism a Magic Realism?

Spring 2020

May 5 - Huey Copeland, Northwestern University, Touched by the Mother

DONATION BOX

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Next, at the Designation menu, select “Art History.”

Complete the Billing and Payment Information sections.

Click “Donate Now” to complete.You will receive an immediate e-mail verifying your gift. A tax receipt (including the amount and the fund designation) will follow in the mail to the address you provide. Please call the Graduate Center's Development Of- fice if you require any assistance or would like to make your gift over the phone: 212-817-8670.

DISSERTATIONS IN PROGRESS 2019-2020

Bacall, Analisa Coats, “Half-Life: postwar U.S. Fiber Art and the Bauhaus Legacy” (M. Hadler)

Barrow, Theodore, “ ‘Gilded Tropics’: Winslow Homer and John Singer Sargent in Florida, 1885-1917” (J. Sund)

Bellucci, Matteo, “Pietro Dura/Parchin Kari: Mediations between Florence and Mughal India” (M. Aitken)

Brooks, Blair, “Heinz Berggruen: Dealing and Collecting Modern Art in the Shadow of World War II” (E. Braun)

Bucarelli, Viviana, “Awe in Quietude: Transcendentalist Magic Realism” (E. Braun)

Bucilla, Drew, “Europ: Expanded Cinema, Projection and the Film Co-op in Western Europe, 1966-1979” (D. Joselit)

Campbell, Andrianna, "Norman Lewis: Linearity, Pedagogy and Activism in his Abstract Expressionism, 1946-1964" (D. Joselit)

Cannizzo, Alicia, “Matter En Transir: The Transi Tomb and Theories of Matter in the Late Middle Ages” (C. Hahn)

Cappetta, Andrew, “Pop/Art: The Birth of Underground Music and the British Art School, 1960-1980" (C. Bishop)

Cardon, Alexandra, “Circa 1700: Royal Retreats, Academic Unrest and the Roots of Rococo” (J. Sund)

Crawford, Jack “Flamboyant Abundance: Performing Queer Maximalism, 1960-1990” (C. Bishop)

Defeo, Janine, “Food, Eating, and the Social Body in American Art, 1962-1983” (S. Wilson)

DeRose, Elizabeth, “Defying Graphic Tradition: Printmaking Strategies of Latin American Conceptualists (1963-1984)” (A. Indych-López)

Diamond, Robert, “The Homoerotic in Neoclassicisms, 1760-1825: Infiltration of a Subcultural Aesthetic” (J. Sund)

Farrelly, Gwen “A Broad World View: MoMA’s Exhibitions of Art beyond Western Europe and the United States, 1929-1952” (A. Indych-López)

Ficek, Anna “From Allegory to Revolution: The Inca Empire in the Eighteenth-Century French Imagination” (J. Sund)

Fisher, Michelle Millar, “Nothing is Transmissible but Thought: Le Corbusier’s Radiant City in Diaspora” (K. Murphy)

Fletcher, Jessica “Accumulative Modernity: Architecture, Gender, and the Welfare State in New York City and London, 1930-1950” (M. Gutman)

Gillaspie, Caroline, “‘Delicious Libations’: Slavery and Environment in the Visual Culture of the Brazil-U.S. Coffee Trade” (K. Manthorne)

Green, Christopher, “Masked Moderns: Northwest Coast Native Art Beyond Revival” (D. Joselit)

Guidelli-Guidi, Matilde, “Archipelagos of Knowledge: Le Corbusier’s Unrealized museum projects, 1919-1965” (R. Golan)

Harakawa, Maya, “After the Renaissance: Art and Harlem in the 1960s” (S. Wilson)

Henry, Joseph, “The Spiritualized Machine: Die Brücke, Expressionism, and Wilhelmine Capitalism.” (R. Golan)

Hirsch, Elizabeth, “Inevitable Associations: Art, Institution, and Cultural Intersection in Los Angeles, 1973-1988” (D. Joselit)

Huber, Stephanie, “Cultural Predicaments: Neorealism in The Netherlands 1927–1945” (E. Braun)

Karras Olga Zaferatos “Constructing Greek Genre Painting, Visualizing National Identity, 1850-1900” (A. Pelizzari)

Larson, Jessica “Building Black Manhattan: Architecture and the Politics of Respectability, 1857-1914” (M. Gutman)

Lehman, Bree, “Ancestors and Heirlooms: The Reception, Collection, and Display of Early American Portraiture, 1876-1941” (K. Manthorne)

Liljegren, Dana, “L’art de la poubelle: Récupéraction and Politics of Trash in Senegalese Art, 1970-2010” (C. Bishop)

Lo, Siwin, “Derivations: Appropriating Abstraction before and after Pictures; 1965-2015” (D. Joselit)

Lucca, Maria, “Renaissance Siena as a Case Study of Cross-Cultural Exchange in Central Italy” (J. Saslow)

McGraw, Eva, "Xanthus Smith: Marine Painting and Nationhood" (K. Manthorne)

McKee, Yates “The Work of Art in the Age of Fossil Capital: Re-Tracing the Anthropocene in the Turner, Vertov, and Smithson” (C. Bishop)

Mowder, Meredith, “Art after Dark: Performance in Downtown New York, 1978-1988” (C. Bishop)

Nicholas, Sasha, “Portraiture and the Making of the Modern American Artist, 1918-1929” (K. Manthorne)

Palmer, Daniel S., “The Integration of Art, Architecture, and Identity: Alfred Kasatner, Louis Kahn, and Ben Shahn at the Jersey Homesteads” (K. Murphy)

Park, Haeyun, “Electronic Esperanto: Trans-Pacific Development of Video Art, 1969-1991” (D. Joselit)

Pazian, Erika Nelson, "Visual Culture and the Formation of National Identity during the U.S.-Mexican War" (K. Manthorne)

Perry, Ana, “Raphael Montañez Ortiz and Affect as Institutional Critique from 1966-1972” (A. Indych-López)

Perucic, Nadia, “From Fiction to Fact: The Need to Document in Post-Yugoslav Visual Art from 1991 to the Present” (C. Bishop)

Poindexter, Remi, “Exotic and Familiar Constructing Martinique in the Long Nineteenth Century” (J. Sund)

Pollack, Rebecca, “Contextualizing British Holocaust Memorials and Museums: Form, Content, and Politics” (H. Senie)

Quinata, Maria,“ Black Networks in Postcolonial Britain, 1966-1990” (S. Wilson)

Ramos, Horacio“ Performances of Race: The Making of an Experimental arte popular in Peru, 1979-1990” (A. Indych-López)

Roje, Natasha,“ After Abstract Expressionism: Revisiting the ‘Death of Painting ’Problematic” (D. Joselit)

Rudnick, Allison, “The Politics of Technique and the Art of the New Deal, 1935-1943” (M. Lobel)

Sarathy, Jennifer“ Expanded Cartographies: Postwar British Land Art 1966-79” (S. Wilson)

Shaskevich, Helena, “Specular Networks: Biopolitics and Feminist Video in 1970s America” (S. Wilson)

Slodounik, Aaron, “The Painter and his Poets: Paul Gauguin and Interartistic Exchange” (K. Manthorne)

Small, Samantha, “Franz von Stuck, Painter Provocateur” (E. Braun)

Sparks, Kaegan, “Mierle Laderman Ukeles: Art and the Politics of Social Reproduction, 1969-present” (S. Wilson)

Steverlynck, María-Laura, “The School of the South Experiment: The Pedagogy and Legacy of a New World Modernism” (A. Indych-López)

Stritzler, Nina, “Alfred H. Barr Jr. and Architecture at MoMA: Defining a New Curatorial Practice” (R. Bletter)

Tomaszewski, Patryk Pawel “Socialist Realism on Display: State-Sponsored Exhibitions of Art in Poland, Czechoslovakia, and East Germany, 1949- 1959” (R. Golan)

Truxes, Anna, "Willem de Kooning and the Cinema" (G. Levin)

Valle, Luisa“ One Modern Centro: Race, Space, and Architecture in Rio de Janeiro, 1885 to 1945” (M. Gutman)

Verlaan, Saskia, “Disegno Aperto: Drawing in Italy, 1959-1979.” (E. Braun)

Walkiewicz, Alice J., “From the 'Song of the Shirt' to the Call to Organize: The Seamstress in Late-19th-Century Art in Europe and the United States” (J. Sund)

Wallace, Ian, “Compromised Values: Charlotte Posenenske, 1960-present” (D. Joselit)

Wei, Chu-Chiun, “Globalism and Identity in Taiwanese Contemporary Art, 1978-2009” (C. Bishop)

Wyma, Chloe, “Labor and Pleasure in the Art of the Kirstein Circle, 1932-1956” (M. Lobel)

DISSERTATIONS DEFENDED 2019-2020

Aguilar, Margarita, “Traditions and Transformations in the Work of Adal: Surrealism, El Sainete, and Spanglish” (Katherine Manthorne)

Donato, Elizabeth, “A Series of Acts that Disappear: The Valparaiso School’s Ephemeral Architectures, 1952-1982” (Anna Indych-Lopéz)

Farzin-Rad, Media, “The Art of Opacity: Guy de Cointet in L.A.” (Siona Wilson)

Favorite, Jennifer, “Added Interpretive Centers at U.S. War Memorials and the Reframing of National History” (Harriet Senie)

Haines, Chelsea, “Staging the Modern, Building the Nation: Israeli Exhibitions, 1948-1965" (Romy Golan)

Harris, Leila, “Labor and the Picturesque: Photography, Propaganda, and the Tea Industry in Colonial India and Sri Lanka, 1880-1914” (Antonella Pelizzari)

Isotani, Yusuke, “Arts et Métiers PHOTO-Graphiques: The Quest for Identity in French Photography between the Two World Wars” (Romy Golan)

Lapin, Abigail, “The International Rise of Afro-Brazilian Modernism in the Age of African Decolonization and Black Power” (Anna Indych-Lopéz)

Mills, Sarah, "Weaving Modern Forms: Fiber Design in the United States, 1939-1959" (Rosemarie Bletter)

Sharpe, Gemma, “Minor Forms, Dismantled Norms: Mediums of Modernism in Pakistan” (Claire Bishop)

Sneed, Gillian, “Gendered Subjectivity and Resistance: Brazilian Women’s Performance-for-Camera, 1974-1982” (Anna Indych-Lopéz)

Stutterheim, Sydney, “Accomplices in Art: The Expansion of Authorship in the 1970s and 80s” (David Joselit)

Tifentale, Alise, “The ‘Olympiad of Photography,’: FIAP and the Global Photo-Club Culture, 1950-1965” (Siona Wilson)