ANNUAL 2015-2016 Your destination for the past, present, and future of art. Table of Contents

2 Introduction 1 0 F a c u l t y a n d F i e l d s o f S t u d y 1 6 S p e c i a l A ppointments 1 8 F a c u l t y R e s e a r c h 22 Spotlight on Students and Alumni 34 Excavations 40 Contemporary Art at The Institute 42 Public Programming 5t 6 S t u d y a T h e I n s t i t u t e 60 PhD and MA Graduates 63 Course Offerings 74 Support The Institute

Credits: The text for the 2016 Annual was compiled by Patryk Tomaszewski. Photography was provided by: Lisa Hoang, Kunj Karia, Greg Maka, Nita Lee Roberts, Jenni Rodda, Scott Rudd, Marvin Trachtenberg, and Jason Varone. The 2016 Annual was designed by Jason Varone.

Art History and Archaeology The Conservation Center The James B. Duke House The Stephen Chan House 1 East 78th Street 14 East 78th Street New York, NY 10075 New York, NY 10075 Tel: (212) 992 5800 Tel: (212) 992 5847 [email protected] [email protected]

Inside cover: Installation view of the Great Hall Exhibition featuring Mental Earth by Charles Simonds. Entrance to the James B. Duke House Patricia Rubin Director Judy and Michael Steinhardt The Institute of Fine Arts (Senior Curator of Asian Art and Senior Advisor of of Asian Art and Senior (Senior Curator Museum). at the Solomon R. Guggenheim Global Arts among many from those two projects I have selected the ways that because they represent other activities among and mix and match generations we cross and to work creatively members of The Institute institutions, and across collaboratively in our fields, the art world widely defined. across dedicated to appointing the The autumn will also be will be responsible of The Institute, who next director at a time when NYU forward for taking The Institute to the vision of according will be positioning itself if exciting, That is an uncertain, its new president. The of directing Having had the honor prospect. seven years, I can say with Institute over the past students, faculty, certainty that its outstanding supporters have the Trustees, and staff, alumni, and every gift of energy, resilience, collective strength, and intellectual acumen, deep wisdom, and individual with institutional dedication to engage with that future – all the same distinction that characterizes its past those qualities that have made it The Institute. excavations, faces in two Annual faces in two ach year the looking back Janus-like, directions, and activities the year’s at some of schedule of . Check the schedule of alumni achievements

Welcome from Welcome the Director E achievements and forward to the upcoming year’s year’s to the upcoming and forward achievements gaze, That is a comprehensive program. academic all that has it comprehend but by no means does what we can anticipate. For happened or much of to our on the website. Turn both, keep your eyes of the a selection to view or re-view video archive taken place. that have and conferences lectures , about faculty research Find out about current exhibitions, and students, about and of what is going on. events, and plan to be part of the past year’s one result Note our new look – and profile The Institute’s brainstorming about And take note of its communication strategies. the nickname IFA the fact that we have dropped our identity as The Institute, which and affirmed of is a statement of that identity as a community and a place for advanced study and researchers disciplines of art teaching in our interconnected and conservation. archaeology, history, a Highlighting the past year in this letter is always are too many options. So I have difficult task. There choices decided to leave it to you to make your own what follows. Instead I will point to star as you read the Great out a few things to anticipate. In the autumn its twice- will expand from Hall Exhibition program yearly installations of works by leading contemporary artists to include longer loans of paintings displayed floor. on the ground the public rooms throughout by student curators organized are Both projects working with artists, dealers, galleries, and collectors, who has Robert Slifkin, and faculty coordinator, Valeria member, been joined this year by Board collector, Napoleone (herself a passionate and major and sponsor of works by contemporary promoter, will also be continuing our women artists). We Boundaries conversations, following last Crossing cross-institutional sessions with two more spring’s workshops to examine the terms, the methods, the means, and the actual and historical consequences The the geography of art and art history. of realigning devised by student topics for each conversation are in collaboration with alumna and Board coordinators Alexandra Munroe member, The Institute of Fine Arts Annual 2015-2016 2 The Institute of Fine Arts Annual 2015-2016 3 Anne Poulet Berkley Saunders Lauren Deanie Stein Ex-Officiis Martin Dorph Katherine Fleming Hamilton Andrew Philippe de Montebello Nolan Terrance Patricia Rubin Luke Syson Ann Temkin Marica Vilcek Chairman It is was with great pleasure that we welcomed our that we welcomed our pleasure great It is was with to the Board Napoleone, Valeria newest Trustee, and patron, art collector in 2016. A London-based of contemporary focused on the work is Valeria Development She is head of the women artists. Voltaire; Studio gallery Committee at the non-profit a of the Contemporary Art Society; sits as a Trustee Arts Foundation of the Fashion member of the Board Council; and is a member of of the British Fashion Global Council at NYU. In June 2015 the President’s Napoleone XX,” a new launched “Valeria Valeria that work towards and initiatives platform for projects of female artists in the representation increasing NYU’s a BA from received major museums. Valeria Arthur L. Carter Journalism Institute and an MA in at the Fashion Institute of Art Gallery Administration NYC. Technology, to Hall Exhibitions, to public lectures, our Great From and symposia, The Institute has never conferences a wider array of opportunities for those with provided a passion for art.

T

o

s I look back on my first year as on my first year as s I look back Arts of The Institute of Fine Chairman with I am filled of Trustees, Board

Marica Vilcek, Chairman Marica Vilcek, Chairman Vice Anne Ehrenkranz, Stephen Lash, Chairman Emeritus Chairman Emeritus Sheldon H. Solow, Chairman Emerita Judy Steinhardt, Suzanne Deal Booth Brodsky Estrellita Gail Engelberg Larry Gagosian Nancy Lee James R. McCredie Alexandra Munroe Napoleone Valeria Boardf rustees

A Message Message from the Chairman members (see page 75). estate plans, also continues to flourish, with 30 estate plans, also continues to flourish, with have made a commitment to The Institute in their have made a commitment to The Institute in Our Legacy Society, which recognizes donors who which recognizes Our Legacy Society, trips are just some of the benefits of membership. trips are studio visits; curator-led exhibition tours; and day exhibition tours; studio visits; curator-led course auditing privileges, private collection and artist course auditing privileges, private collection most vibrant patron programs in New York City: in New York programs most vibrant patron The Connoisseurs Circle continues to be one of the The Connoisseurs Circle

of art history, archaeology, and conservation. archaeology, of art history, retain some of the most talented scholars in the fields some of the most talented scholars in the fields retain campaign, which allows The Institute to attract and campaign, which allows The Institute to attract determined to fulfill our highest ambitions for this determined to fulfill our highest ambitions for this remarkable achievement (see page 80). We are are page 80). We achievement (see this remarkable vital initiative and in so doing, have brought us to doing, have brought vital initiative and in so grateful to the donors who have contributed to this grateful to the donors beginning its final year in 2017. We are enormously We are in 2017. beginning its final year million Momentum Campaign for student support, million Momentum Campaign We have passed the $30 million mark of our $50 passed the $30 million mark of our $50 have We

history, with over $14.5 million raised. history, most successful fundraising year in The Institute’s year in The Institute’s most successful fundraising community. Due to this support, 2016 marks the the Due to this support, 2016 marks community. steadfast generosity of so many members of our members of our of so many steadfast generosity students, and alumni; and gratitude for the and gratitude for the students, and alumni; accomplishments of The Institute’s faculty, faculty, of The Institute’s accomplishments pride and gratitude: pride for the tremendous tremendous pride for the pride and gratitude:

Public Safety (212) 992-5808 James Cook Public Safety Officer Egerton Kelly Public Safety Officer Digital Media and Computer Services (212) 992-5810 Jenni Rodda Department Manager Jason Varone & Electronic Web Media Manager Joe Rosario Computer Services Manager L. Cintron George Computer and Network Support Technician Nita Lee Roberts Photographer Fatima Tanglao and Circulation Assistant Reference Library (212) 992-5825 Amy Lucker Libraries Head, Institute Daniel Biddle Supervisor, Conservation Center Library Michael Hughes Reference and Public Reference Services Librarian Kimberly Hannah Library Assistant Shirin Khaki Library Assistant Gary Speziale Assistant Special Projects Finance Office (212) 992-5895 Jennifer Chung of Budget Director and Planning Lisa McGhie Financial Analyst Building Office (212) 992-5811 Malloy Richard Assistant Director, FCM Operations Manzo Wilfred Facilities Supervisor Nealon Richard Assistant Facilities Supervisor Robert Doucette Building Operator Conservation Center (212) 992-5848 Roemich Hannelore of Chairman and Professor Conservation Science Jessica Cayer Grants Administrator Amelia Catalano Laboratories and Manager, Study Collection Kevin Martin Academic Advisor Shan Kuang (as of 5/2016) Fellow in Samuel H. Kress Painting Conservation (until 1/2016) Rita Berg Fellow in Samuel H. Kress Painting Conservation (until 5/2016) Betty Tsang Academic Advisor Hope Spence Academic Assistant

The The Institute | Staff Lisa Hoang Administrator of Academic Programs Conley Lowrance (as of 8/2016) Academic Advisor Katherine Welch of Masters Studies Director Joseph Moffett Part Time Development Assistant Academic Office (212) 992-5868 Alexander Nagel of Graduate Studies Director Kathryn Falato Development Officer Andrea Yglesias (until 11/2016) Andrea Development Officer Hope O’Reilly (until 9/2016) of Development Director (212) 992-5812 Sarah Higby (as of 11/2016) of Development Director Development and Public Affairs Office Phifer Shrobe Brenda for Assistant to the Director Administration and Human Resources David O’Connor (until 5/2016) for Faculty and Deputy Director Administration Alexander Nagel for Academic Deputy Director Affairs Director’s Office Director’s (212) 992-5806 Patricia Rubin Steinhardt Judy and Michael Director

The Institute of Fine Arts Annual 2015-2016 4 Michele D. Marincola during the 2016 Summer Institute in Technical Art History for Doctoral Students in Art History. The Institute | A Brief History

rt history became a dedicated field of study at New York University in 1922, A when the young scholar-architect Fiske Kimball was appointed the Morse Professor of the Literature of Arts and Design. He laid the foundation for much of what still distinguishes The Institute of Fine Arts: its core faculty of the highest quality, special relationships with New York’s museums, liberal use of the expertise of visiting faculty, and twin commitments to graduate education and advanced research. Richard Krautheimer, 1971. Photograph by Marvin Trachtenberg In 1932, NYU’s graduate program in art history moved to the Upper East Side in order to teach Walter Friedländer, Karl Lehmann, Julius Held, and in the collections of The Metropolitan Museum of Richard Krautheimer set The Institute on its course Art. Under the energetic leadership of its chairman, of rigorous, creative, and pluralistic scholarship Walter W. S. Cook, the program became one of the and strong worldwide connections. The National world’s most distinguished centers for art historical Endowment for the Humanities has commended research and education, and was renamed The The Institute as a national asset for its leadership Institute of Fine Arts in 1937. The Institute was role in art historical scholarship and training. The strengthened greatly by refugee professors from the Endowment is one of numerous institutional and German and Austrian institutions that had given birth private benefactors that continue to support The to the modern discipline of art history. Foundational Institute’s work. art historians such as Erwin Panofsky

The Graduate Department moves to the second floor of the Carlyle The Institute moves to the Paul The Institute moves to Hotel at Madison Avenue and 77th Warburg House at the James B. Duke House Street. 17 East 80th Street. at 1 East 78th Street. c. 1936 1938 1959

1932 1937 1958

A Graduate Department The name is changed to the Curatorial Studies program in Fine Arts is founded Institute of Fine Arts. established. separate from Washington Square and moves uptown to Munn House, opposite the Plaza Hotel. Directors of The Institute of Fine Arts 1931 Walter W. S. Cook 1951 Craig Hugh Smyth 1973 Jonathan Brown 1979 A. Richard Turner 1983 James R. McCredie 2002 Mariët Westermann 2008 Michele D. Marincola, Interim Director 2009 Patricia Rubin The Institute | A Brief History

The curriculum was designed as a “three-legged stool” by which the conservator is supported in equal measure by art historical study, scientific training, and practical experience—an interdisciplinary approach that still forms the core of the program. Initially located in the former kitchen of the Duke House, the Conservation Center has been housed in the Stephen Chan House across the street since 1983.

Almost from its inception, The Institute has The Conservation Center in the James B. Duke House,1960s. conducted significant archaeological projects staffed by its faculty and students. Excavations are currently

thriving at Aphrodisias, Turkey (conducted jointly with In 1958, Nanaline Duke and her daughter Doris Duke NYU’s Faculty of Arts and Science); at the Sanctuary presented The Institute with the James B. Duke of the Great Gods in Samothrace; at Abydos, Egypt; House at 1 East 78th Street. By the end of the year, and at Selinunte, Sicily. In the course of its history, Robert Venturi had completed the remodeling of The Institute of Fine Arts has conferred over 2,400 the house for The Institute’s use. Two years later, advanced degrees and trained a high number of the The Institute became the first graduate program in world’s most distinguished art history professors, the United States to offer an advanced degree in curators, museum administrators, and conservators. conservation. There was the conviction that a new kind of conservator would be trained at the Center, an alternative to the artist-technician.

The Stephen Chan House opens The Institute of Fine Arts The Duke House as the Conservation Center’s new celebrates its marks its 100th home. 75th anniversary. anniversary.

1983 2007-08 2012

1960 2004 2010

Conservation Center Faculty expansion initiative The Conservation Center celebrates its founded. begins with NYU funding. 50th anniversary. The Institute welcomes its first entering class of the new M.A. program.

Chairmen of the Conservation Center 1961 Sheldon Keck 1967 Lawrence J. Majewski 1975 Norbert S. Baer and Lawrence J. Majewski, Co-Chairmen 1987 Margaret Holben Ellis 2002 Michele D. Marincola 2008 Hannelore Roemich, Acting Chair 2011 Michele D. Marincola 2014 Hannelore Roemich In this Section

SPOTLIGHT ON FACULTY AND STUDENT RESEARCH IN THE FOREFRONT

Mia M. Mochizuki of the History Associate Professor of Art, NYU Abu Dhabi and The Institute of Fine Arts of Iconoclasms and the recycling of Renaissance art; material cultures and Reformation; early modern art networks and the poetics of place; global methods of art history; constructions of the Baroque Clemente Marconi Professor James R. McCredie Art and in the History of Greek Archaeology; University Professor art and and Classical Greek Archaic and the the reception architecture; historiography of ancient art and of the archaeology architecture; ancient Sicily Robert Maxwell in the Associate Professor European History of Western Medieval Art Early Christian, Byzantine, and Medieval Art Western Kent Minturn of Assistant Professor Visiting Günter H. Kopcke Günter H. in Professor Foundation Avalon the Humanities second millennium BCE; Art and the art integration: Crete; Mediterranean infiltration from progress and Greek first statehood, second to to Greek origin and millennium BCE; political of Classical art role Robert S. Lubar of Fine Arts Associate Professor art European Twentieth-century since 1945 in (France and Spain); art and America; critical theory Europe Fine Arts and American Modernism;European History of Photography and Cinema Finbarr Barry Flood of Professor William R. Kenan Jr. the Humanities, The Institute of Fine Arts and College of Arts and Science of the Islamic Art and architecture dimensions world; cross-cultural theories of Islamic material culture; and practices of image-making; technologies of representation; art historical historiography, and theory; methodology, Orientalism Thomas Crow of Rosalie Solow Professor Modern Art; Associate Provost for the Arts Seventeenth- and eighteenth- century art; nineteenth- and twentieth-century art; contemporary art Colin Eisler of Robert Lehman Professor Fine Arts and Early Netherlandish, French, art; German art; Quattrocento graphic arts; history of collecting; Jewish art issues Jean-Louis Cohen in Sheldon H. Solow Professor the History of Architecture Nineteenth- and twentieth-century and urbanism in architecture Russia, France, Italy, Germany, and North America; contemporary town issues in architecture, planning, and landscape design Faculty in the History of Faculty in Art and Archaeology Brown Jonathan and Milton Petrie Carroll of Fine Arts Professor painting, Spanish and new Spanish collecting; art 1500-1800; history of courts, seventeenth at European century

Chair of the Conservation of Conservation Center; Professor Science Light and color; non-destructive testing of art objects; indoor glass and enamels, environment; conservation active and preventive issues Hannelore Roemich Hannelore Marvin Trachtenberg of Masters Studies; Director of the Edith Kitzmiller Professor History of Fine Arts Early Christian, Architecture; Medieval Byzantine, and Western Art; Renaissance Art Alexander Nagel for Academic Deputy Director of Graduate Affairs; Director of Fine Arts Studies; Professor Renaissance art; the history of the between history of art; relations artistic practice and art theory David O’Connor for Faculty and Deputy Director Administration; Lila Acheson of Ancient Professor Wallace Egyptian Art; Co-Director, of University-University Yale of Fine Arts, Pennsylvania-Institute NYU Excavations at Abydos Ancient Aegean, Egyptian, Greek and Roman Art; Archaeology Judy and Michael Steinhardt Steinhardt Judy and Michael of Fine Arts Professor Director; museums, Italian Renaissance art; patrimony; collecting, and cultural graphic historiography; portraiture; arts Administrators Patricia Rubin Faculty Faculty and Fields of Study

The Institute of Fine Arts Annual 2015-2016 10 The Institute of Fine Arts Annual 2015-2016 11 Dianne Dwyer Modestini in Programs Kress Professor, Research Paintings Conservation of Art and Artifacts Conservation of Works Conservation Center Faculty Conservation Center Norbert S. Baer of Hagop Kevorkian Professor Conservation, Conservation Center Application of physiochemical methods of cultural to the study and preservation policy and environmental property; damage to materials; application of risk assessment and risk management to the of cultural property preservation Holben Ellis Margaret of Paper Eugene Thaw Professor Thaw Conservation; Director, Library The Morgan Conservation Center, & Museum (part-time); Conservation La Pietra Consultant, Villa connoisseurship of works of art Technical of prints on paper; conservation treatment and drawings; twentieth-century materials and techniques of works of art on paper; ethical issues in art conservation Michele D. Marincola Distinguished Sherman Fairchild of Conservation; Conservation Professor La Pietra Consultant, Villa Conservation and technical art history decoration of late of medieval sculpture; conservation medieval German sculpture; of modern sculpture Thelma K. Thomas of Fine Arts Associate Professor Late Antique, Byzantine, and Eastern Christian art and architecture Brandt Kathleen Weil-Garris of Fine Arts, The Professor Institute of Fine Arts and College of Arts and Science Italian Renaissance art and culture Edward J. Sullivan Edward Professor Helen Gould Sheppard in the History of Art; The Institute of Fine Arts and College of Arts and Science Latin American art, colonial and modern periods; Iberian art; art of the Caribbean; Brazilian art Roland R. R. Smith of Classical Lincoln Professor University of Archaeology, Excavations at Director, Oxford; Aphrodisias of the Art and visual cultures ancient Mediterranean world; of ancient historical interpretation and its relationship representation with social and political culture; cities of of Greek archaeology Eastern Roman Empire Jennifer Field after defending her dissertation in September, 2016. her dissertation in September, Jennifer Field after defending history of collecting manuscripts; portraiture; manuscripts; portraiture; Persian and Arabic Professor in the History of Art Professor twentieth-century American art John Langeloth Loeb photography; nineteenth- and Soucek Priscilla P. Road Contemporary art; history of culture along the ancient Silk culture Fine Arts East Asia; art and material of Associate Professor culture of culture Robert Slifkin word and image in the visual word practices in pre-modern China; Funerary and religious Funerary and religious Art in World patrimony Chair Fine Arts; Ehrenkranz museums; issues of cultural Hsueh-man Shen of Assistant Professor history of collecting; history of Early Netherlandish art; Museums History and Culture of History and Culture Philippe de Montebello in the Fiske Kimball Professor Brigitte Miriam Bedos- Rezak of History, Department Professor, University New York Barbara Boehm Curator of Medieval Art and The Cloisters, The Metropolitan Museum of Art; Coordinating Curatorial Studies Curator, Joint Member, Program; Committee on Curatorial Studies Campbell Thomas P. The Metropolitan Director, Joint Museum of Art; Co-Chair, Committee on Curatorial Studies; Joint Committee on Member, Curatorial Studies Affiliated Faculty in Faculty Affiliated Art and of the History Archaeology Barratt Carrie Rebora Collections for Associate Director The and Administration, of Art; Museum Metropolitan Joint Committee on Member, Curatorial Studies Bayer Andrea Paintings, European Curator, Museum of Art; The Metropolitan Joint Committee on Member, Curatorial Studies Michele Matteini of Art History, Assistant Professor The Institute of Fine Arts Late Imperial Chinese painting and material culture; antiquarianism and collecting Qing history; artistic culture; exchanges; eighteenth- century art and globalism; craft and embodied knowledge; and art history; anthropology historiography. Meredith Martin Meredith of Art Associate Professor The Institute of Fine Arts History, Eighteenth- and nineteenth- and British art, century French and material culture, architecture, landscape design; art and gender encounters politics, cross-cultural art; interiors and in European and identity; historical revivalism contemporary art Associate Faculty Associate Dipti Khera of Art History, Assistant Professor of Fine Arts The Institute of South Art and architecture cultures, Asia; cartographic topography; art, and urban and global art histories, theory, methodology; historiography encounters; of cross-cultural and collecting, museums, contemporary heritage studies landscapes; postcolonial

The Conservation Center’s 2015 entering class. 2015 entering The Conservation Center’s

Lila Acheson Wallace Professor Professor Lila Acheson Wallace Emerita of Modern Art Nineteenth- and twentieth- century painting and sculpture; contemporary art and theory; women and art Linda Nochlin James R. McCredie Professor Sherman Fairchild Emeritus of Fine Arts; Director, Excavations in Samothrace, Greece and architecture archaeology Greek Thomas F. Mathews Thomas F. Professor John Langeloth Loeb Emeritus in the History of Art Early Christian and Byzantine art and architecture Egbert Haverkamp-Begemann Professor John Langeloth Loeb of Art; Emeritus in the History of Fine Arts; Adjunct Professor Robert Scholar, Coordinating Lehman Collection Scholarly Catalogue history of Dutch and Flemish art prints and drawings Jonathan J. G. Alexander Jonathan Professor Sherman Fairchild Fine Arts Emeritus of art, especially Medieval European illumination manuscript Emeritus Faculty Emeritus

The Institute of Fine Arts Annual 2015-2016 12 The Institute of Fine Arts Annual 2015-2016 13 Linda Wolk-Simon The Institute of Professor, Visiting and Chief Curator, Fine Arts; Director Bellarmine Museum, Fairfield University Adrian Sudhalter of The Institute Professor, Visiting Fine Arts Luke Syson Iris and B. Gerald Cantor Curator in Department of European Charge, and Decorative Arts, The Sculpture Museum of Art; Metropolitan Joint Committee on Member, Curatorial Studies Ann Temkin The Institute of Professor, Visiting Fine Arts; Marie-Josée and Henry Kravis Chief Curator of Painting and Museum of ModernSculpture, Art Lillian Tseng of East Asian Associate Professor for the Institute Art and Archaeology, - NYU Study of the Ancient World Weiss Jeffrey Guggenheim Senior Curator, Museum, New York Eve Meltzer of Visual Associate Professor Studies, NYU Rebecca Rabinow Department of Modern Curator, and Contemporary Art, The Museum of Art; Metropolitan Joint Committee on Member, Curatorial Studies Robert Storr University Dean, School of Art, Yale Denise Leidy Department of Asian Curator, Museum of Art, The Metropolitan on Joint Committee Art; Member, Curatorial Studies Jacqueline Lichtenstein Professor Visiting Kirk Varnedoe of (Spring 2016); Professor Aesthetics and the Philosophy of Art, University of Paris IV—Paris- Sorbonne William Hood of The Institute Professor, Visiting C. Jay Professor Fine Arts; Mildred Emeritus, Oberlin College Johanna Hecker after defending her dissertation in September, 2016. her dissertation in September, Johanna Hecker after defending

Committee on Curatorial Studies Museum of Art; Member, Joint Museum of Art; Member, Conservation, The Metropolitan Conservation, The Metropolitan Paintings in Charge, Abu Dhabi Michael Gallagher Conservator Sherman Fairchild Director of the Institute, NYU Director and Cultural Outreach, Faculty and Cultural Outreach, for Intellectual Provost Vice Committee on Curatorial Studies Reindert Falkenburg Dean of Arts and Humanities, Museum of Art; Member, Joint Joint Museum of Art; Member, Photographs, The Metropolitan Photographs, The Metropolitan of Department Senior Curator, Modern Art Malcolm Daniel University of Museum Chief Conservator, the Humanities, Northwestern Jim Coddington Honorary Fellow; 2015-2016 IFA Bergen Evans Professor in Evans Professor Bergen Professor of Art History and Professor of Modern Art (Fall 2015); Kirk Varnedoe Visiting Professor Professor Visiting Kirk Varnedoe S. Hollis Clayson

Noémie Etienne Finegold Andrew Mellon Foundation W. Andrew 2015-2016 Postdoctoral Fellow, Jack A. Josephson Associate in Research Egyptian Art Stephen Koob Excavations Consulting Conservator, in Samothrace Anna Serotta Consulting Conservator, Selinunte Excavations Alexander Sokolicek NYU Excavations Field Director, at Aphrodisias The Institute of Fine Arts Fine Arts of The Institute Associates Research Adams Matthew Scholar; Senior Research Associate Director, of University-University Yale of Pennsylvania-Institute at Fine Arts, NYU Excavations Abydos Brian Castriota Supervising Conservator, Excavations at Aphrodisias Andrew W. Mellon Foundation W. Andrew 2013-2015 Postdoctoral Fellow, Deborah Trupin New York Conservator, Textile of Historic Sites State Bureau Wheeler George of Conservation Director Graduate School Research, Planning of Architecture, Columbia and Preservation, Scientist, University; Research Museum of Art The Metropolitan Conservation Scientist Emerita, Cultural Heritage Agency of the Netherlands Additional Conservation la Pietra Consultants Villa Pam Hatchfield Henderson T. and Carol Robert P. Head of Objects Conservation, Museum of Fine Arts, Boston Jack Soultanian, Jr. The Metropolitan Conservator, Museum of Art Conservator Judith Praska Distinguished in Professor Visiting Technical Conservation and Studies Becker Lawrence Sherman Senior Conservator, Department for Objects Fairchild Conservation, The Metropolitan Museum of Art, New York Thea B. van Oosten Suzanne Siano Suzanne Conservator Paintings Stamm Karen Metropolitan The Conservator, Art Museum of Steven Weintraub

Assistant Photograph The Metropolitan Conservator, Museum of Art Head Scientist, The Metropolitan Head Scientist, The Metropolitan Museum of Art Katherine Sanderson Marco Leona Marco Nora Kennedy Conservator Sherman Fairchild of Photographs, The Museum of Art Metropolitan Head of Conservation, Columbia University Libraries, Columbia University Conservator of Contemporary Art, Modern Materials and Media Alexis Hagadorn Christine Frohnert Maria Fredericks Drue Heinz Book Conservator, Library & Museum; The Morgan Conservation Consultant, Villa La Pietra Jean Dommermuth Paintings Conservator; Conservation Consultant, La Pietra Villa John Childs Services, Head of Conservation National September 11 Memorial & Museum Sarah Barack Objects Conservator Anderson Drew Metropolitan The Conservator, Art Museum of Institute Lecturers for the for Lecturers Institute Center Conservation

The Institute of Fine Arts Annual 2015-2016 14 The Institute of Fine Arts Annual 2015-2016 15

Professor

Studies

isiting V

2011 Mancusi-Ungaro Carol and Research, for Conservation Associate Director Art Whitney Museum of American 2013 J. Winter Irene of Fine Arts Emerita, Professor Board William Dorr University Harvard 2012 Ann Temkin Curator of and Henry Kravis Chief Marie-Josée Painting and Sculpture, Museum of Modern Art echnical T

and

Distinguished

Praska

awrence Becker received a master’s degree in art history and an advanced in art history and an advanced degree a master’s Becker received awrence Arts in 1982 and has been a the Institute of Fine certificate in conservation from years. Initially concentrating primarily on practicing conservator for over thirty-five hea B. van Oosten received a master’s in analytical chemistry from the University of the University of in analytical chemistry from a master’s hea B. van Oosten received Dutch Graduate School of and specialized in polymers at the National Amsterdam scientist For 36 years, Thea was a conservation Polymer Science and Technology. Conservation

T L in Judith at the Cultural Heritage Agency of the Netherlands (RCE, former ICN) in Amsterdam before before (RCE, former ICN) in Amsterdam at the Cultural Heritage Agency of the Netherlands comes to us with experience, Thea in 2011. In addition to her professional she retired of modern expert in the conservation and As a recognized an extensive teaching record. has contributed to several publications and contemporary art and design objects, she Collecting and Conserving, Plastics in Art books, such as Modern Plastics, Cares, Art, who topics of Plastic Artefacts in Museum Collections. One of her research and Preservation in a book published in May foams, which resulted was the consolidation of polyurethane foam in Art and Design. In spring 2011, called PUR Facts, Conservation of Polyurethane a stipend as Independent Scholar at the Getty Conservation Institute 2016, Thea received of Plastics for book titled A Matter of Choice: Properties to complete her most recent Conservation. the conservation of archaeological sculpture and objects from Egypt, West Asia, and the Asia, and the West Egypt, from and objects sculpture the conservation of archaeological the arts of South, toward during his career world, his focus gradually shifted Greco-Roman has been spent at The Metropolitan his career Southeast, and East Asia. The majority of of the Objects in Charge Conservator he was Sherman Fairchild Museum of Art, where 2014 - 2016. Senior Conservator from 2003 - 2014 and Conservation Department from working with Fellowship Program, in the Indian Conservation He has played a leading role development India to enhance the professional colleagues in the U.S., the Netherlands and collection needs at Indian museums, address of younger Indian conservators and help sites. monuments, and archaeological Princeton University Leonard Barkan Leonard Professor, Class of 1943 University 2014 Museum of Modern Art Jim Coddington Chief Conservator, 2015 The Metropolitan Museum of Art Museum The Metropolitan Navina Najat Haidar Navina Najat of Islamic Art, Department Curator, 2016 Institute of Fine Arts Honorary Fellows Fellows Arts Honorary of Fine Institute

worked on Finegold worked on (2015–2016), Andrew s a Mellon Postdoctoral Fellow at The Institute Nothingness in Ancient Cavities, Holes, and the Philosophy of Voids: Vital his book project, centers on a close analysis of a single Classic Maya dish, which Mesoamerica. This study,

2015-2016 ANDREW W. MELLON FOUNDATION FOUNDATION MELLON ANDREW W. 2015-2016 FELLOW POSTDOCTORAL Andrew Finegold Andrew

During their time at The Institute, Mellon Postdoctoral Fellows are given the opportunity to pursue a research given the opportunity to pursue a research Fellows are During their time at The Institute, Mellon Postdoctoral level. while gaining teaching experience at a graduate project A Special Special Appointments examines the creative potentials attributed to negative spaces by ancient Mesoamericans. As with spaces by ancient Mesoamericans. As with potentials attributed to negative examines the creative with a hole typically Plate was pierced Resurrection dozens of other Maya vessels, the so-called its functionality following the death of its spirit and ending as “killing” it – releasing interpreted the congruence of this perforation with the iconography painted on the dish However, its owner. ritual as being akin to several distinct, yet related suggests the drilling of the vessel was understood its of the living earth to release life: the breaking abundance, and activities associated with creation, of human flesh and the piercing as an act of temporal renewal, the drilling of fire agricultural bounty, in successive chapters, the discussion expands examined in auto-sacrificial rites. As these ideas are that together serve to demonstrate the material culture to include a range of beliefs, practices, and of voids as fecund nodes of generative potential and transmedial experience consistent, widespread, in ancient Mesoamerica. painted bowls at several venues, on Mimbres on the self-referentiality new research also presented Andrew of developing these talk, and he is in the process including to The Institute community as a Work-in-Progress of the Ancient Americas: Contemporary Perspectives, which Culture ideas into an article. The volume Visual of founding director As a University of Oklahoma Press. is forthcoming from he co-edited with Ellen Hoobler, dedicated to promoting organization (PCSNY), a 501(c)3 non-profit Society of New York the Pre-Columbian and by emerging a series of lectures helped organize Andrew the study of ancient American art and culture, with series will continue in the 2016–2017 year established scholars at The Institute. The PCSNY lecture to attend these, will not be around an exciting selection of talks taking place at the Duke house. Andrew of Art as an Assistant Professor as he will be joining the faculty of the University of Illinois Chicago however, History.

The Institute of Fine Arts Annual 2015-2016 16 The Institute of Fine Arts Annual 2015-2016 17

Haidar

Honorary

Najat

avina Najat Haidar received her her avina Najat Haidar received of Oxford’s the University doctorate from subsequently held Oriental Institute and Navina Haidar in the Islamic Galleries at The Met a fellowship at the Ashmolean Museum. She Museum. She a fellowship at the Ashmolean in the Department serves as Curator presently Museum of Art. Metropolitan of Islamic Art at The From 2002-2011 she was dee ply involved in ply involved in 2002-2011 she was dee From the planning of the Museum’s permanent Islamic permanent Islamic the planning of the Museum’s galleries. This lengthy undertaking involved galleries. This lengthy undertaking involved the between many specialists from coordination of academia, education, design, architecture areas and outreach, and included special features such as such as and included special features and outreach, the Moroccan Fez. court, constructed by artisans from Navina has curated a number of special exhibitions, , Opulence including Sultans of Deccan India, 1500-1700 India; and Divine from and Fantasy (2015); Treasures Collection the Kronos Rajput Painting from Pleasures: on Islamic and Indian art, and also (2016). She lectures in scholarly journals, as in the publishes regularly as well Navina has taught as part of the curatorial general press. and supervises Fellows and students, studies program, both officially and as an informal mentor. exhibition on the Mughal Navina is planning a future working on a book on the period. She is concurrently and on a research window Jali screen Mughal pierced on diamonds. She is active in various on-line project web committee. and serves on the museum’s projects Navina is also involved in several independent the initiatives in educational, conservation and creative Middle East and India. Navina N Institute Fellowship distinguished Fellowship recognizes The Honorary and conservation archaeology, art history, scholars in in the visual outstanding figures disciplines, or related to their contribution acknowledges arts. This award learning, and practice in these fields. teaching, isiting V

Lichtenstein

V

acqueline Lichtenstein is a French scholar scholar acqueline Lichtenstein is a French of Aesthetics and the and Professor – Philosophy of Art the University of Paris IV

Source: The National Gallery of Art Source: 1993) and co-editor, 1993) and co-editor, The Eloquence in Color, Gallery of Art in Washington, D.C. Gallery of Art in Washington, Edmond J. Safra Visiting Professor at the National at the National Professor Edmond J. Safra Visiting of California, Berkeley and was the Fall 2011 of California, Berkeley and was the Fall 2011 Lichtenstein has previously taught at the University taught at the University Lichtenstein has previously (2007-2010). Professor (2007-2010). Professor et de sculpture peinture Conférences de l’Académie royale de de de l’Académie royale edition titled Conférences together with Christian Michel, of the multi volume together with Christian Michel, of the multi volume ( published in French in 1989 in 1989 couleur éloquente published in French since the Renaissance. She is the author of La field of art and art history that have developed field of art and art history that have developed focusing on the critical discourses within the the focusing on the critical discourses within European art of the 17th and 18th centuries, often art of the 17th and 18th centuries, often European Paris-Sorbonne. Her academic research examines examines Paris-Sorbonne. Her academic research J

Jacqueline

(2008), and Jeffrey Weiss (2007). (2008), and Jeffrey Joselit (2010), Alexander Potts (2009), Molly Nesbit Joselit (2010), Alexander (2013), Okwui Enwezor (2012), Wu Hung (2011), David (2012), Wu (2013), Okwui Enwezor position include Briony Fer (2014), Thierry de Duve position include Briony and remarkable public presence. Past holders of this Past holders public presence. and remarkable and perpetuate his legacy of innovative teaching and perpetuate his legacy Professor Varnedoe’s friends and colleagues to honor friends and colleagues Varnedoe’s Professor Professorship was endowed in 2006 by the late in 2006 by the was endowed Professorship a course and give a series of public lectures. The lectures. give a series of public a course and a distinguished scholar to The Institute to teach scholar to The Institute a distinguished The Kirk Varnedoe Visiting Professorship brings Professorship Visiting The Kirk Varnedoe

Professorship Kirk arnedoe

The library staff might have known him as the faculty The library staff might that on reserve so many books member who required off his shelves over on and they had to be rotated staff the course of each term. The visual resources knew him as the faculty member who single-handedly department with his volcanic overwhelmed the entire But the audience eruptions of slide and scan orders. was that at his Friday morning – all they knew lectures delivering sermons and arias and he spoke with fire, and natural effect diatribes with such visceral force he held that many fell under the false assumption that forth extemporaneously. believe anyone – certainly not I, his class I don’t alone assistant for years – ever fully estimated, let the total magnitude of preparation, appreciated, and deliberation, craftsmanship, that went into each every Kopcke course. Perhaps only his personal crashed computer had some inkling, as the poor thing his now and again, faltering under the weight of 200-some-slide PowerPoints and 15 simultaneously documents containing 55 or so open Word simultaneous trains of thought … Modern technology mind. continually failed to keep pace with the Kopcke Kopcke approaches Upon hearing that Professor I find it difficult to imagine. I wonder what retirement, it means. I know what I hope it means: I hope it means the philosopher will find a beach chair and an books, computers, far from – somewhere umbrella – wet his mustache down with cold responsibilities and daring as beer foam, set his mind to being as free he always goaded his students to be, and take some time to enjoy – not think about, not try to articulate, not wrack his brain for the best image to illustrate … and beauty and light.” but just enjoy – some leisure Günter Kopcke Günter

From Sara Chan, freelance front-end software software front-end Sara Chan, freelance From Colorado (MA 2004) Denver, developer, “Most students knew that on any given morning, Kopcke was the one evening, weekend, Professor faculty member most likely to be spotted padding about The Institute. Perhaps some thought he had just come to be at home in the building, or that he might have been beavering away at some next great publication to bear his name. The truth, I believe, was channeled were that nearly all his time and energies into teaching – planning out his classes, gathering materials, curating his images, simply agonizing over what to say. From Kathleen Moles, Curator, Museum of Northwest Museum Kathleen Moles, Curator, From (MA 1997) Washington Art, La Conner, not ‘The aim of art is to represent “Aristotle wrote: appearance of things, but their inward the outward been significance.’ Those of us fortunate to have him: it is how Kopcke learned this from students of Dr. legacy he he teaches; it is how he lives. What a great leaves, with his many students in this world!” In May 2016, Professor Günter Kopcke announced Günter In May 2016, Professor of teaching after 47 years his upcoming retirement with a warm honored at The Institute. He was held at the home of Judith and Michael reception Patricia Speakers included Professors Steinhardt. Roemich, and Jonathan Hay; Rubin, Hannelore Media and PhD candidate Guillaume Mallé. Digital Rodda and Computer Services administrator Jenni decades of three from collected reminiscences assistants, noting former student Kopcke’s Professor Kopcke has that “the most important lives Professor his students:” touched over the years are Spotlight Spotlight on Faculty

The Institute of Fine Arts Annual 2015-2016 18 The Institute of Fine Arts Annual 2015-2016 19 Mochizuki

M. fter a background in Northern European in Northernfter a background European fascinated by I became art history, by the contact of objects produced

A Current Current Research Mia the of is Associate Professor Mia M. Mochizuki Dhabi and University Abu at New York History of Art Mochizuki’s Professor The Institute of Fine Arts. of has focused on the material cultures research particularly in Baroque, the Renaissance and the of art and early modern art to the recycling regard courses on the art of the networks. She teaches and aspects of Dutch Golden Age, iconoclasm, 1500-1800. For The Institute’s global art history, projects. some of her current Annual, she describes multiple cultures. Since the formation of the Since the formation of the multiple cultures. discipline of art history coincided with the construction of modern national identities, these objects that have often been overlooked, are despite being significant works in some of the book collections of the world. My current great concerns out of the project the art that grew contact sustained sixteenth-century European of the world via political, trade and with the rest networks like the Portuguese overseas religious outposts, the Dutch East India Company and the articles have Society of Jesus. Recent related such topics as the changing status of treated From the archives: Günter Kopcke in his office. archives: the From better people.” us to become not only better art historians but also us to become not only better art historians but community immeasurably, and you’ve challenged community immeasurably, in the highest sense. You’ve enriched our lives and in the highest sense. You’ve each of us over the last 47 years. You are an educator are each of us over the last 47 years. You thank you for all that you’ve given this institution and thank you for all that you’ve given this institution imagine the halls of The Institute without you, but we imagine the halls of The Institute without you, sharpened and lives you’ve touched. It’s hard to hard sharpened and lives you’ve touched. It’s real appreciation for just how many minds you’ve appreciation real of students you’ve taught, I hope that you gain a of students you’ve taught, I hope that you gain years you’ve spent at The Institute and the hundreds years you’ve spent at The Institute and the hundreds Professor Kopcke, as you look back tonight over the Kopcke, as you look back tonight over the Professor in your eyes! when you laugh, you get the most wonderful twinkle when you laugh, you get the most wonderful teaching the human condition. You are a gem, and are You teaching the human condition. civilizations past relevant for younger generations by for younger civilizations past relevant You are a historian-philosopher, making the art of a historian-philosopher, are You critical thinking rather than obtaining the ‘right grade.’ critical thinking rather and challenging, placing importance on learningand challenging, placing and each of your student’s progress. You are brilliant are You progress. each of your student’s encouraging and kind, taking genuine interest in taking genuine interest encouraging and kind, Professor Kopcke, you are one of a kind. You are are You one of a kind. Kopcke, you are Professor February 2013. So we know you’re consistent! know you’re February 2013. So we – from another given in September 2012 and again in another given in September – from because I found this same note – ‘best lecture ever’ note – ‘best lecture because I found this same heard you give, I wrote ‘best lecture ever.’ Funny – ever.’ lecture ‘best you give, I wrote heard date, November 4, 2011, the first of many lectures I of many lectures 4, 2011, the first date, November The Institute. Starred and highlighted next to the and highlighted next Starred The Institute. Professor Kopcke, I revisited my notebooks from my notebooks from revisited Kopcke, I Professor “In preparing to think about my tribute to you, about my tribute to to think “In preparing

Rosenfeld Gallery, New York (MA 2013) (MA New York Gallery, Rosenfeld From Gabriella Perez, Senior Associate at the Michael at the Associate Senior Perez, Gabriella From Maxwell

A.

number of years ago I became interested in in number of years ago I became interested of illuminated manuscript that was a genre unknown to most scholars—illuminated

A Robert Professor Sherman Fairchild Robert A. Maxwell is the of Fine Arts at The Institute. the field this summer to visit the remote Goto Goto remote to visit the this summer the field study the and of Nagasaki coast off the Islands with encounter first of Japan’s surviving objects the West. Research Current legal texts. These are particularly rare for the for the particularly rare legal texts. These are me, the eleventh through period that interests a few of them in thirteenth centuries. I explored archives through some articles and kept searching As I found and manuscript collections for more. France, Spain, Germany across scattered more see patterns I began to in their pictorial and Italy, Each manuscript is unique, responding programs. but to local conditions and specific legal needs, in the similar issues came consistently to the fore in showing the history illuminations—an interest in pictorializing memories of of legal precedent, showing the past engagements and agreements, of legal tradition. I oral and performative nature with the came to see these issues as intersecting types in related pictorial strategies that prevailed of manuscripts, especially historical works like my project and annals. Increasingly chronicles turned on questions of historical representation, of which the legal “documentary” tradition was but one subset, and seemed to hint at important cultural shifts. It was in part the inspiration for an whose papers international I organized, conference 900- History, have been published as Representing 1300: Art, Music, History (2010).

As part of my commitment to the importance the importance to commitment As part of my on art history, perspective of an international humanities research and the need for I continue contact, be in greater to institutes research multi-year in several participate to The by convened One group workgroups. the at Studies Reformation for Institute a in will result Andrews of St. University in in 2017, of Art History volume dedicated a curious post-Reformation how which I show the global flow what can demonstrate reliquary In a second art history. adds to of materials des the École by organized ongoing workgroup and Sociales, Paris, Études en Sciences Hautes a will produce we Rome, Française, the École Nadal, on Jerónimo monograph multi-authored Imagines (Antwerp, Historiae Evangelicae S.J.’s popular books to one of the most 1593), the globe in the sixteenth circumnavigate a paper on how I will offer where century, methodologies can be used to network-based of objects. In a third the afterlives understand Center Research the International at workgroup that Kyoto, (Nichibunken), Japanese Studies for going out in to begun, I look forward has just This year I was also invited to publish a volume of This year I was also invited of some of my articles on Japanese translations early moderncontact between Japan and the West. how the Entitled Dawn of a Global Age to reference has adoption of a global framework for Dutch art updated landmark exhibitions like the Dawn of the Golden Age: Northern Art, 1580-1620 Netherlandish at the Rijksmuseum in 1993, these ideas present in my some of the conceptual foundations I will use class on Dutch art of the Golden Age at The lecture Institute this Fall. My interest in fostering a truly global art history has a truly global art history in fostering My interest introduction and writing the led to my co-editing of a major international to the proceedings the NYU Abu Dhabi at I organized conference on The Nomadic Object: Institute in January 2016 Early ModernReligious Art in Global Contact. US, Canada, Europe, the from Scholars participated and South America, and Asia, the Middle East of NYU was well the global art history network new center in a city that will become a represented art world with its planned for the contemporary sites. Guggenheim and Louvre the copy initiated by the world-wide circulation circulation by the world-wide initiated the copy place in cross-cultural of role and the of images interpretation.

The Institute of Fine Arts Annual 2015-2016 20 The Institute of Fine Arts Annual 2015-2016 21 was raised in Kansas City and fancied myself myself and fancied City in Kansas was raised and high school. school in middle an artist was piqued when in art history My interest

I was 12 and my art teacher introduced me to a me to a my art teacher introduced I was 12 and At Amherst Art and Man magazines. stack of old an in Fine Arts. They have College, I majored so I was combined department art/art history as I studied art to take studio courses required that I was better At some point I realized history. than I was at and writing about art at researching I would say that to this day making it. However, continues to inform in studio art my background I’ve always been my teaching. And, relatedly, writers. also are drawn to artists who various disciplines. and cross broad are My interests thinking about art, literature, I spend most of my time century France, but also and philosophy in 20th and the rise of new write on film, and photography book projects two current media, and art brut. My of my dissertation (written at Columbia a revision are Rosalind Krauss), Contre- University under Prof. of Jean Dubuffet, for The Art and Writings Histoire: as part publication with Penn State University Press, of their Refiguring Modernism series; and I’m book for MIT editing an October Files volume on Dubuffet Concomitantly I’ve tried to keep one foot in the Press. I was world of galleries and museums. Most recently, Jean involved with Aquavella Galleries loan show, Dubuffet: Anticultural Positions (Spring 2016). In the on Swiss an exhibition I would like to organize future cousin), Louis “outsider artist” (and Le Corbusier’s he spent in America. focusing on the years Soutter, goes, I’m still investigating research As far as current with Meyer relationship Robert Motherwell’s both I see my research In the future, Schapiro. in and back in time. I am interested moving forward work, and I’ve Leguillon’s contemporary artist Pierre methodological for a more begun to conduct research for Art Historians.” For the article on “Early Freud has to in what Freud latter piece, I am interested his overt foray into our say about the visual before discipline with, “A Childhood Memory of Leonardo (1910) and “The Moses of Michelangelo” da Vinci” after fascinating how, my mind it’s (1914). To described (who Freud studying with J-M Charcot turns the above all as ein Seher), Freud away from it Yet “the talking cure.” or, visual in favor of words, that the visual returns, words through is precisely especially in the parapraxis involving Luca Signorelli’s painting, The Last Judgment (c. 1499), as described in the Psychopathology of Everyday Life by Freud (1901). I Minturn

discoveries await. archives of Italian hilltop towns, I know that more of Italian hilltop towns, I know that more archives diocesan archive in rural Spain, or riffle through local in rural Spain, or riffle through diocesan archive Paris, dig at the back of some drawers in a dusty Paris, dig at the back of some drawers in a Whether I walk into the stately national library in Whether I walk into the stately national library linguistics, among others, but immensely rewarding. linguistics, among others, but immensely rewarding. law, postmodern approaches to history, orality and postmodern to history, approaches law, been challenging, drawing me into medieval canon been challenging, drawing me into medieval Fine Arts at The Institute. of the role of images at this time. The project has of images at this time. The project of the role of Kent Minturn Assistant Professor is the Visiting issues have significant bearing on our understanding issues have significant bearing on our understanding Kent memories reveal implicit tensions in that shift. These implicit tensions memories reveal and literate culture, and the illuminations of legal and the illuminations and literate culture, Current Research transitioned from traditionally oral practices to writing traditionally oral transitioned from history developed at a time when medieval society history developed at a could suitably represent the past. This crisis of the past. This could suitably represent and imagery; that is, whether language or pictures language or pictures and imagery; that is, whether insights into perceived limitations of both history limitations insights into perceived progressively played to ‘illustrate’ history offers played to ‘illustrate’ history progressively subject of ongoing debate, and the role that images and the role subject of ongoing debate, historical ‘reawakening’. History-writing became the History-writing historical ‘reawakening’. a crucial period, one often characterized as a a crucial period, one often contribution to the discourse of history during contribution to the discourse and Early Gothic periods. It investigates images’ periods. It investigates and Early Gothic historical manuscripts from the Romanesque the Romanesque from historical manuscripts and will provide the first assessment of legal- the and will provide Culture and the Rise of Medieval Pictorial Narrative, of Medieval Pictorial and the Rise Culture Art Inventing History: Documentary History: Documentary Art Inventing tentatively titled history and practice of historical representation. It is It representation. practice of historical history and study of the role of illumination in the conception of conception in the of illumination of the role study The project has now grown into a book-length book-length into a now grown has The project

ROBERT BRENNAN ROBERT ELIZABETH BUHE EISLER COLIN ANDREW FINEGOLD MARCI KWON MEREDITH MARTIN MICHELE MATTEINI A. MAXWELL ROBERT SEAN NESSELRODE PRAKASH TARA RUBIN PATRICIA WELCH KATHERINE Speakers in twentieth-century Venezuelan modernism, Venezuelan in twentieth-century works responding sculptural Cornell’s Joseph memory and and the concepts of to the ballet, In the manuscripts. history in Romanesque painted bowls’ mimbres considered Spring, talks edge paintings Sam Francis’ self-referentiality, of the sculptural representations of the 1960s, Egypt, nineteenth-century in Ancient foreigner ink paintings, painter Kim Chŏng-hŭi’s Korean in the and eroticism Roman aesthetics of war, particularly of the nude male body, representation served These presentations in Renaissance Italy. and book chapters, to develop dissertation In the and job talks. presentations, conference an online archive Fall of 2016, we will launch facilitate the continued of this young series to The Institute’s across development of dialogue community.

started the Works-In-Progress series in 2013 series in 2013 started the Works-In-Progress was no forum for our that there upon realizing on their current faculty members to present

work. While some faculty members opt to teach teach work. While some faculty members opt to this rarely courses on their ongoing research, opportunities to discuss methodological provides The Works-In-Progress issues and approaches. series has become a locus for collegial exchange among faculty members and students. Particularly gratifying is the fact that presenters—faculty to the and advanced doctoral students—attest usefulness of the series and ensuing discussions Augmenting to the development of their projects. of The Institute, intellectual offerings the robust a workshop this series is unique in providing allowing for conversations about the environment, and archives, state of the field, distinct approaches and formulations as well as the particular directions projects. of research the various speakers In the 2015-2016 academic year, on a wide array of subjects— (listed at right) presented the expansive range of The Institute’s reflecting In the Fall, topics included intellectual community. the Forzori Altar, of Donatello’s a reconstruction the display concept of “modern 1400 in Italy, art” circa and framing of Siam at the 1867 Paris Exposition of the oil industry in Universelle, the role I The Work-In-Progress Series was initiated in 2013 to Series was The Work-In-Progress faculty and advanced where a collegial forum create and ongoing current can present doctoral students the and faculty, students Open to current research. the conversations beyond to facilitate series aspires about and research, about methodologies classroom PhD issues. and interdisciplinary specific projects the Series’ recounts candidate Daniella Berman progress. Work-In-Progress Series Work-In-Progress

The Institute of Fine Arts Annual 2015-2016 22 In entrusting this past semester’s programming Student Spotlight of the Forum to his students, Professor Sullivan afforded us the rare opportunity to take an active role in the growing conversation surrounding the Sean Nesselrode Moncada state of the field.

am a PhD candidate at The Institute of “Realisms” was chosen as a framework that Fine Arts, specializing in modern and would enable us to invite a younger generation of I contemporary art of the Americas. My scholars interested in addressing the specificity dissertation concentrates on Venezuelan of lived realities throughout the region in new, modernist visualities in the mid-twentieth interdisciplinary models. It was, if I may say so, a century, particularly as they relate to the rapid very successful symposium. From examinations development of oil production for an emergent of the social lives of documentary photographs, to global market. The discovery and extraction of meditations on the legacy of political violence, to vast petroleum reserves, undertaken by foreign theorizations of the public performance of gender, corporations, allowed the country to redefine the “Realisms” symposium presented some of itself in a dramatic and explicitly developmentalist the issues, themes, and voices that were most fashion. In the span of a few decades, the important to the nine graduate organizers. It argued country experienced a surge of infrastructural for the specificity of regional histories and local building and artistic experimentation that, I realities at a moment in which they are beginning argue, was largely determined by the parameters to be folded into an ascendant paradigm of global established by the promise of oil production. art history—a paradigm that is promising but not In focusing on Venezuela as a case study, I am without its own potential pitfalls. In my own research interested in the way that modernist narratives and in my broader scholarly endeavors, I hope to of progress are imbricated with the structures take a critical approach that extends beyond to my of industrial development, especially when they objects of study or even my field of study. Rather, unfold in regions or nations that, in the global I am most keenly focused on the discursive and political imaginary, constitute the so-called methodological structures that motivate the way we periphery. Much of my interest comes from the approach multiple visualities and multiple modes of very exciting yet unresolved state of the field being in the world. of Latin American art. No longer emergent nor marginal, Latin American art has now entered into the modernist canon, and it has begun to create its own canons. In my research and in my activities at The Institute, I hope to interrogate the construction and proliferation of these canons by examining the ideological forces that buttress them.

I was very fortunate to explore some of these considerations this past spring in a symposium for emerging scholars that I organized, along with eight of my fellow graduate students under the supervision of Professor Edward Sullivan. Held at The Institute, the symposium “Realisms: Politics, Art, and Visual Culture in the Americas” was entirely student-driven and generously sponsored by The Institute for Studies on Latin American Art (ISLAA) as part of the ongoing Latin American Forum. Now beginning its fourth year this fall, the Forum has become a space where scholars and curators interested in art of the Americas are invited to present their research in an informal, conversational setting. IN THE WORLD In this Section

SPOTLIGHT ON ALUMNI Conservator when Antoinette King retired in 1996. in King retired Antoinette when Conservator consisted paper lab MoMA the I started at When position rotating King, myself and a of Antoinette for all of responsible were We of Mellon Fellows. prints, art on paper in the collection: the works of van der drawings (the Mies drawings, architectural and drawings), photographs, of 17,000 Rohe Archive and Sculpture works in the Painting paper based was mainly then, as it is now, department. The work into exhibitions, then loans focused on works going for works in the collection and finally some time often did courier Conservators awaiting treatment. the years. When Antoinette trips and I did many during to Senior in the mid-1990s, I was promoted retired for managing responsible Conservator and became Labs. the Paper and Photo Conservation long collaboration with Jodi In 2004, I began a decade Curator of Drawings and Hauptman, then Associate Drawings and Prints. The first now Senior Curator of was Beyond the Visible: exhibition we co-organized of paper a group the Art of Odilon Redon, where in our conservators examined every Redon drawing Following that, collection for media and manufacture. Seurat exhibition I worked with Jodi on the Georges and contributed an essay to the exhibition catalogue. In 2009, I started what would be my most extensive the conservation of Matisse’s conservation treatment: of this work, The Swimming Pool. The treatment was the which in the end entailed 2000 hours of work, . spark for the exhibition Henri Matisse: The Cut-Outs but I was not only the conservator for this exhibition, The a co-curator. history, for the first time in MoMA’s over exhibition was an enormous success, with just the 724,000 visitors. Our latest collaboration was , with exhibition: Edgas Degas: A Strange New Beauty Neufeld. a catalogue essay with my colleague Laura curator- Our collaboration has been one of the major in my history, conservator collaborations in the recent opinion.

Buchberg

D.

started at The Institute in 1976 when started at The Institute in 1976 when the Majewski and Baer were Professors two main instructors. Other members of

In 1986, I was offered a position at MoMA by In 1986, I was offered Antoinette King, then Chief Conservator at MoMA but also long time paper conservator at MoMA. I to progressed started as Associate Conservator, Conservator the year later and then to Senior my class were Peggy Ellis, Nancy Ash (that Peggy Ellis, Nancy Ash (that my class were paper conservators in one class--- made three paper was the “hot” thing at the time), Dorothy City Mahon. I had a brief stint at the New York was a real there (before Municipal Archives and then moved to the Department lab there) Books and Special Collections at of Rare I had done Library. Firestone Princeton’s my internship at the Library of Congress and although I was not trained as a book I conservator (and I am not a book conservator) a one- had a familiarity with book issues. I was I worked person lab and in addition to treatment on installations of exhibitions in the small Rare During that time, starting in 1984, Book Gallery. of I also taught at the Conservation Program Library School. Columbia’s I Karl D. Buchberg received his Certificate in received Karl D. Buchberg is now Institute in 1984. He The from Conservation the Museum of ModernSenior Conservator at Art in New York. Karl Spotlight Spotlight on Alumni

The Institute of Fine Arts Annual 2015-2016 26 The Institute of Fine Arts Annual 2015-2016 27 with some of the professors there, including Glenn including there, professors of the with some Studies at of Museum (now professor Wharton at MoMA for whom I ended up working NYU), with several years. is about The Institute things great One of the took and I definitely in New York, its location my coursework, of it. While completing advantage on a at the Whitney, I worked as a researcher and loved gallery, at a catalogue raisonné project Art fellowship at the Grey graduate my year-long else can you do provenance Plus, where Gallery. dig into rare at the Frick Library, research at MoMA, international and archives periodicals studying in artists you’re and interview the very week? I got out to see art their studios in the same have time, and like I didn’t a lot, even when I felt of studying it. In the final stretch I never regretted The with colleagues from for my orals, I worked do practice tests in to Institute and other programs the collection galleries museums, using works from and the Met as our sources. at MoMA, the Whitney, It was one of the best things I did to bring together the what I’d learned with in my solitary reading masterworks in my city. extraordinary Immediately following my exams, I started full- time curatorial positions, first at the Whitney (2007–2008) and then MoMA (2008–2015), where of art historical a depth and breadth I brought that knowledge coupled with practical experience Many of us who studied I’d pursued along the way. contemporary art at The Institute have similar of experiences, and I’m lucky to have so many today. them as friends and colleagues in the field University), at the Rose Art Museum (Brandeis Now, with I am thrilled to have the opportunity to work postwar collection, manage a rotating an incredible and also be able to teach, now exhibition program, possible with the PhD that I (finally) completed along the way!

hen I decided to apply to PhD programs hen I decided to apply to PhD programs following my MA at Williams, I immediately thought of The Institute, an Conaty

Examinations—I also developed important relationships Examinations—I also developed important relationships inclusion of Conservation as the third topic for my Oral inclusion of Conservation as the third that I gained through that focus—bolstered by my that focus—bolstered that I gained through hired there in 2008. Beyond the material knowledge there hired to my former department at MoMA when I was first the Conservation Center were extremely important extremely the Conservation Center were own research. And I know that the courses I took at own research. in conversation with artists as they’re pursuing their in conversation with artists as they’re to Mexico) or Islamic Art (my unrelated minor), often to Mexico) or Islamic Art (my unrelated (which I studied further through my Levy Grant travel (which I studied further through upon my knowledge in Colonial Latin American Art predicted the amount of times that I have drawn predicted my distribution requirements; I never could have my distribution requirements; appreciate the variety of courses that I took to meet the variety of courses that I took to meet appreciate More so than I even recognized at the time, I greatly at the time, I greatly so than I even recognized More the Conservation Center. learning, exemplified through its association with with learning, its association exemplified through Storr—and its distinctive emphasis on object-based Storr—and its distinctive emphasis on object-based Linda Nochlin and then-faculty member Robert Linda Nochlin and then-faculty member Robert roster of professors—from Jonathan Brown to to Jonathan Brown of professors—from roster careers. I chose The Institute for its unparalleled I chose The Institute for its unparalleled careers. my growing interests in both academic and museum in both academic and museum interests my growing W for seen as an excellent fit one that I’d increasingly institution that I’d always held in great esteem and esteem and institution that I’d always held in great University. She is now Curator at the Rose Art Museum at Brandeis Museum at Brandeis Curator at the Rose Art She is now Kim Conaty earned her PhD from The Institute in 2014. The Institute in 2014. earnedKim Conaty from her PhD Kim

Spotlight Spotlight on Alumni Spotlight on Alumni Brancusi’s sculptures through his photographs. In search of transparency, kineticism, and infinity, Brancusi used photography and Roxanna Marcoci polishing techniques to dematerialize the gestaltic materiality of traditional sculpture. The relationship between sculpture and photography Roxana Marcoci earned her PhD degree from became the thematic of a major exhibition I did The Institute in 1998. Roxana is Senior Curator, at MoMA, The Original Copy: Photography of Department of Photography at the Museum of Sculpture 1839 to Today and its publication, Modern Art, New York, where she focuses on which received the Outstanding Catalogue major acquisitions and exhibitions of modern and based on an Exhibition from The Association of Art contemporary art. The recipient of the Center for Museum Curators. Curatorial Leadership Fellowship in 2011, Roxana also chairs the Central and Eastern European group The Institute’s outstanding faculty has given me of MoMA’s C-MAP (Contemporary and Modern Art a broad knowledge base in art history and critical Perspectives in a Global World). For the Annual, theory. Among the exhibitions I curated or co- Roxana discusses how her studies at The Institute curated at MoMA are extensive presentations of the informed her career at MoMA. work of Zoe Leonard (2015), Christopher Williams (2014), Taryn Simon (2012), Sanja Iveković (2011), Olafur Eliasson (2008), and Thomas Demand (2005), as well as thematic surveys including Transmissions: Art in Eastern Europe and Latin America, 1960–1980 (2015), Ocean of Images (2015), From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola (2014), The Shaping of New Visions: Photography, Film, Photobook (2012), Staging Action: Performance in Photography since 1960 (2011), Pictures by Women: A History of Modern Photography (2011), and Counter-Monuments and Memory (2000).

I am currently the co-editor of a comprehensive three-volume book Photography at MoMA: 1960 to Now, and I am preparing the exhibition A Revolutionary Impulse: The Rise of the Russian Avant-Garde in conjunction with the centennial of the Russian Revolution and the survey WHY PICTURES NOW: Louise Lawler.

y thesis at The Institute, conducted by Professor Kirk Varnedoe, focused M on Constantin Brancusi’s sculptural installation in Targu Jiu, Romania (Endless Column, Gate of Kiss, and Table of Silence, 1937- 1938), the history of its reception, and its legacy. In 1999, I joined the curatorial staff at MoMA, first in the department of painting and sculpture and The Institute maintains an interactive map of all later in photography. I’ve always been interested active alumni on our website. in cross-disciplinary ideas and the porosity of Get on the map! media. Not surprisingly, I came to understand Placement of Selected 2016 Institute Graduates

MARGARET ALDREDGE, MA RIAD KHERDEEN, MA Curatorial Assistant, MoMA PS1 Enrolled in the PhD program at University of California, Berkeley in the DAVID BARDEEN, MA History of Art Department Enrolled in the PhD program at UCLA, Department of Art History GUILLAUME MALLE, MA Enrolled in the PhD program at The JOSHUA BELL, MA Institute of Fine Arts Senior Associate of Development at Bard Graduate Center MARLEE MILLER, MA Enrolled in the PhD program at The ANNA BLUM, MA Institute of Fine Arts Whitney Museum of American Art, Project Research Assistant CATERINA MINNITI, MA Enrolled in the PhD program at AMY BROST, MA/MS IN the University of British Columbia, CONSERVATION Vancouver, in the department of Media Conservation Fellow, Museum Classical, Near Eastern and Religious of Modern Art, New York Studies LAUREN CLOSE, MA LOUIS SOULARD, MA Executive Assistant, David Tunick, Inc. Asia Society Museum Intern JOSEPHINE ENGLISH COOK, MA JESSICA STERNBACH, MA Enrolled in the PhD program at The Enrolled in the PhD program at Temple Institute of Fine Arts University

DEBORAH FELLER, MA SUSANNA TEMKIN, PHD Enrolled in the PhD program at Assistant Curator at the Americas Rutgers University, Department of Art Society, New York History PATRYK TOMASZEWSKI, MA ANNIKA FINNE, MA/MS IN Enrolled in the PhD program at The CONSERVATION Graduate Center, City University of New Fellowship in paintings conservation York at the Yale University Art Gallery KATHARINE J. WRIGHT, PHD RACHEL HEIDENRY, MA Andrew W. Mellon Curatorial Research Coordinator of Public Programs, and Collections Specialist Post-doctoral American Folk Art Museum Fellow, Modern and Contemporary Art Department, The Metropolitan Museum STEPHANIE HERDRICH, PHD of Art Assistant Research Curator of American Painting and Sculpture, The GRACE DINGLEDINE WOODS- Metropolitan Museum of Art PUCKETT, PHD Assistant Professor of Arts and KATE HOLOHAN, PHD Humanities at Minerva Schools, KGI Andrew W. Mellon Fellow, Department of the Arts of Africa, Oceania, and the Americas, The Metropolitan Museum of Art In this Section

THE CONSERVATION CENTER IN THE LAB functional garments, I gained insight into the I gained insight functional garments, Northeasterntraditions of groups, Siberian indigenous of the to the early histories and an introduction the field of ethnography. museum and animal materials into the use of these Research associations and their specific symbolic revealed impart methods could processing how different against protection crucial for physical properties with paired This knowledge, environment. the Arctic of these materials gained a haptic understanding during treatment, handling and manipulation through these artifacts. for deepened my appreciation and This internship opened my eyes to a culture I knew nothing, and which field of study about which the focus of my concurrent from far removed were guidance studies: the Italian Renaissance. Under the Patricia Rubin, I completed my Master’s of Professor Thesis on a set of twelve glazed terracotta roundels by Luca della Robbia (Italian, 1399/1400- produced scrittoio. I de’ Medici’s 1482) for the ceiling of Piero interest was intrigued by these works because of my which in pottery, in glaze technology and background The together informed my methodological approach. flat, nearly monochromatic —which are roundels illustrations of the Labors of the Months cycle— the brightly-colored, from marked a departure associated with Luca and sculptures high-relief his workshop, many of which I examined firsthand Spring 2014 Rubin’s during Professor in Florence course “The Sculptural Imagination in the Italian roundels Renaissance.” My thesis examined how the of program broader operated within the Medici’s and their position within Luca’s self-presentation that understanding the artistic enterprise. I argued medium is key to challenges and limitations of Luca’s This analyzing their pictorial mode of representation. about in turn a framework for hypothesizing created training and practice of drawing in Luca’s the role as a sculptor — a topic that has been omitted in the to date. literature Gridley

hat drew me to my chosen me to my chosen hat drew specialty is the diversity of both materials and artifacts that come

W under the purview of an objects conservator. I During my time at the Conservation Center, for have completed conservation treatments such varied artifacts as an Ancient Egyptian for a motorcycle a prototype limestone relief, vase, Chinese porcelain helmet, a Famille Noire a and an Inupiaq salmon skin bag. I have built foundation of experience during my time broad at The Institute of Fine Arts, which has provided a the support and network for me to pursue — and most importantly, range of interests outside my comfort zone. explore This year I interned in the Anthropology Conservation laboratory at the American working on Siberian Museum of Natural History, ethnographic material collected during the Jesup North Pacific Expedition of 1897-1902. I treated seal “gutskin” (the internala parka made from hide membrane of the intestine) and a reindeer coat richly ornamented with trade beads, metal amulets, and furs. Conservators develop intimate with the pieces we examine and relationships each object is an opportunity to learntreat; about behavior of the development of a technology, or a different materials, a moment in history, and on these ceremonial Working culture. Rebecca Gridley is a third-year conservation conservation is a third-year Rebecca Gridley will complete in objects. She student specializing her fourth-year internship in the Objects at The Metropolitan Conservation Department Museum of Art, New York. Rebecca Student Student Spotlight

The Institute of Fine Arts Annual 2015-2016 32 The Institute of Fine Arts Annual 2015-2016 33 Harry DeBauche treating a polychrome sculpture in the Conservation Center objects lab. sculpture a polychrome Harry DeBauche treating Eloise Maxwell in the Conservation Center recreating the technique Richard Serra uses in his paintstick drawings. Serra uses the technique Richard Eloise Maxwell in the Conservation Center recreating IN THE FIELD

In this Section

ARCHAEOLOGICAL EXCAVATIONS The Institute offers a unique experience to its students through a range of sponsored archaeological projects. Samothrace, Greece Students of any discipline are invited to participate in annual excavations, to enhance their historical studies Since 1938, The Institute has worked in the Sanctuary with object-based research. of the Great Gods, uncovering the home of its famous mystery cult with a series of great marble buildings, dedicated by Philip II and his successors, and Abydos, Egypt seminal in the formation of Hellenistic architecture. At this stage, the project’s emphasis is on study and In collaboration with Yale University and the University preparation of publications, as well as conservation. of Pennsylvania, The Institute is engaged in an ambitious long-term archaeological study of the history of the significant site of Abydos in southern Egypt. Abydos is known as the burial place of Egypt’s first kings, and later became the primary cult place of the god Osiris, ruler of the Land of the Dead. The excavations aim to build a comprehensive understanding of the ancient activities at the site, how its operations and meaning evolved over time, and its relation to the broader context of Egyptian history and culture. Selinunte, Italy

Selinunte was famous throughout the Classical world for the richness of its farmland and monumental temples. It enjoyed a prosperous existence from the second half of the seventh century BCE through the middle of the third century BCE, and its sanctuaries, temples, fortifications, and houses are well preserved. In 2007, The Institute began its excavation on the Acropolis of Selinunte in western Sicily, focusing on the area of the main urban sanctuary of the ancient Greek colony. The excavations document the social history, as well as the architectural and visual culture Aphrodisias,Turkey of an ancient city in unusually fine detail. Fieldwork to date has already provided important evidence Aphrodisias is one of the most important concerning the history of Selinunte prior to the arrival archaeological sites of the Greek and Roman of the Greek colonists, as well as significant finds of periods in Turkey and has been one of NYU’s major pottery and sculpture originally dedicated as votive archaeological projects since 1961. The city was offerings in the sanctuary area. famous in antiquity for its cult of Aphrodite and for its marble sculptures. It enjoyed a long, prosperous existence from the second century BCE through the sixth century CE, and its buildings, marble sculpture, and public inscriptions are remarkably well preserved. The current excavation focuses on the recording and conservation of previously excavated monuments, establishing permanent systems for documentation For additional information of these excavations and conservation, new targeted excavations, and view The Institute’s Archaeology Journal, a scientific research and publication. publication on the progress of research at The Institute’s excavation sites: Abydos, Aphrodisias, Samothrace, and Selinunte. The Journal is available for download from The Institute’s website. ON DISPLAY In this Section

CONTEMPORARY ART AT THE INSTITUTE Rachel Heidenry and Eloise Maxwell interviewing Walead Beshty Rachel Heidenry and Eloise Maxwell interviewing Walead Our ultimate aim was to facilitate dialogue, which Our ultimate aim was to facilitate dialogue, which two separate events we augmented through The first Beshty. in collaboration with organized was a conversation between the artist and Johanna and Curator of Education and Public Burton (Director second Engagement at the New Museum), and the issues in art historical was a symposium on current “Step Into Liquid: Art and Entitled methodology. Era,” the symposium Art History in the Post-Fordist a number of celebrated art historians and offered to issues relating artists the opportunity to address digitalization and distribution, and the increasing mirroring difficulty of defining the work of art, neatly The the questions raised by the works on display. Hall Exhibition series encourages moments of Great and contemplation in a space that is usually reflection without further thought, and we are passed through to have contributed to this important act of honored inviting students, staff and visitors to look and engage with contemporary artworks.

uring the fall semester of 2015 we uring the fall semester of 2015 we Beshty collaborated with artist Walead to install a number of his sculptural

RACHEL HEIDENRY AND ELOISE MAXWELL MAXWELL AND ELOISE HEIDENRY RACHEL Exhibitions The Great Hall The Great

D works in The Institute’s Great Hall, as well as Hall, as well as Great works in The Institute’s several of his works on paper in the Conservation endeavor, This was an exciting Center. opportunity to work alongside a a rare offering to showcase his contemporary artist in an effort output, while simultaneously activating creative their specific spaces in the building through transformation into sites of exhibition. Including FedEx box works, a a number of Beshty’s a cracked LED and deconstructed printer, a stark offered the sculptures television screen, contrast to the elaborately decorated interiors and students staff of The Institute. Visitors, equally captivated and confused by the were playful exhibition, with many enjoying Beshty’s commentary on the systems of distribution within the art world, while and circulation to perplexed by the works’ refusal others were The display case in up an easy reading. offer including doctored the Conservation Center, newspapers and the full collection of books demonstrated his deep- by Beshty, produced and allowed in the written word, seated interest us to highlight the connection between the two buildings within the daily functions of The Institute.

The Institute of Fine Arts Annual 2015-2016 38 The Institute of Fine Arts Annual 2015-2016 39 NYU Curatorial Collaborative opening night. After reviewing portfolios, Brian, Angel, and I After reviewing nearly identical lists of artists we hoped presented of us drawn to include in the exhibition, the three in some way or another to their works that evoked ways an idea of the intimate and the personal. The in which our nine chosen artists engaged with the various iterations of intimacy through of their work materiality and presentation show. became the thematic linchpin of the group and The devotion on the part of my co-curators the me to all aspects of the exhibition punctuated the pertinence of the theme—or perhaps it was In either case, months of studio other way around. amounted to a visits, meetings, and preparation hope to successful collaboration I take pride in, and emulate in the future.

had just arrived at The Institute as a first- and I was eager student, year Master’s to get to know my colleagues and make

SARAH B. VOGELMAN SARAH Collaborative NYU Curatorial NYU Curatorial

the most out of the two-year program. NYU’s NYU’s the most out of the two-year program. Curatorial Collaborative seemed like the ideal opportunity to do so, while working directly My with young artists at NYU Steinhardt. curatorial experiences up to that point included List internships College’s at Swarthmore in Bogotá, Colombia, a small gallery Gallery, the Guggenheim Museum, and MoMA PS1. me with distinct Though each of these provided all of skills and knowledge, I took away from satisfaction in working closely with them great and a passionate peers and professionals, to continue working with living artists. My desire Curatorial Collaborative hope was that NYU’s would allow me to employ skills I had learned and develop new ones while spearheading a of my own. project Intimate Matters, show, I co-curated the group with Brian Bentley and Angel Jiang. My choice exhibition to participate in the co-curated group of an impulse to challenge myself was the result of cohesion amongst the thoughts to find threads curators and nine artists. and opinions of three our tastes, expectations, and ideas Remarkably, to highly compatible, making it a pleasure were collaborate and compromise. I

and

T

Blum

oordinating the Artists at The Institute the Artists at The Institute oordinating series was a formative lecture experience, which allowed us Next page: Anna Blum and Patryk Tomaszewski with artist Next page: Anna Blum and Patryk Tomaszewski Agnieszka Kurant. to establish and develop dialogues with to establish and develop dialogues with contemporary artists. As aspiring curators, particularly fortunate to learnwe were the dynamics of collaboration between a scholar and an artist, a vital skill for anyone interested in the field of modern in pursuing a career and contemporary art. In September 2015, Polish with our first lecture we organized contemporary artist Agnieszka Kurant, whose from complex practice examines issues arising modern-day December global capitalism. In of 2015, we hosted American artist David the history in figure influential Reed, a largely abstract painting. In of post-war Western 2016, we continued the dialogue on abstract painting—which we felt has been somewhat art historical in the recent underrepresented by two scholarship—by welcoming lectures American painters: Suzan Frecon renowned and Jack Whitten. All of our Artists at The and are Institute talks have been recorded website. available on The Institute’s Anna Patryk C omaszewski Alumni Spotlight the rare, encouraging opportunity to test out opportunity to test encouraging the rare, their ideas, promote their most experimental and hone practical writing projects most novel skills—by learning conduct interviews, how to reviews— or craft exhibition write event recaps yet work vital aspects of professional that are In all, course curricula. excluded from often are of ifa contemporary serving as an the Editor I leave the post has been immensely gratifying. that not only has the content in the knowledge journal foster students at the outset of helped key professional provided it has their career, one alumna as well. experience for at least

Wright

J.

hough I graduated with my PhD from hough I graduated with my PhD from The Institute of Fine Arts in September to spend this past 2015, I was honored

T Editor, IFAcontemporary, 2015-2016 IFAcontemporary, Editor, Katharine Alumni Alumni Spotlight Contemporary Art at The Contemporary Institute year as Editor of the school’s online art journal, online art journal, year as Editor of the school’s , alongside Managing Editor IFAcontemporary (MA 2016). During my Patryk Tomaszewski as a student I was grateful to seven-year tenure work on a number of exciting student initiatives, including as a curator for the Contemporary Hall Exhibition Art Consortium and the Great such rewarding, series. Though extremely mainly autonomous remained however, projects, endeavors that sparked only limited occasions to meet and collaborate with the wider student population of The Institute. As Editor of ifa the contemporary I happily took advantage of opportunity to work with my student colleagues, in particular younger MA and PhD candidates a a class. On with whom I had never shared afforded thereby selfish level, IFAcontemporary personal benefits: I was able to me numerous maintain contact with a school that has been life thus a major part of my young professional the innovative far; I could draw inspiration from being conducted by this new generation research of academics, while staying up-to-date on the art as an invested alumna, scene; and, concordantly, I could continue to shape the way student work is On to the wider scholarly community. broadcast altruistic level, as Editor I enjoyed giving a more work being a public platform for the impressive conducted outside the Duke House classroom. students affords Contributing to IFAcontemporary

The Institute of Fine Arts Annual 2015-2016 40

The Institute of Fine Arts Annual 2015-2016 41 IN DISCUSSION In this Section PUBLIC PROGRAMMING Richard Ettinghausen Memorial Lecture Richard Elizabeth Ettinghausen established this annual lecture Ettinghausen, in memory of her late husband Richard of Islamic Art. professor IFA of Islamic , Nasser D. Khalili Professor Scott Redford , SOAS, University of London: Art and Archaeology in Medieval Islam” and Pseudo-Writing “Writing Walter W.S. Cook Annual Lecture W.S. Walter by the is organized Cook Lecture W.S. The Walter Cook, Alumni Association in honor of Professor IFA and historian of Medieval of the IFA Founding Director Spanish Art , Hunter College Emily Braun, Distinguished Professor and the Graduate Center: “Alberto Burri: The Making of an Exhibition” , Academia Sinica, Fellow, Academia , Postdoctoral Julia Orell of historiography on the German-language presented Chinese art of , Deptartment Moser, Assistant Professor Jeffrey University, Brown History of Art and Architecture, of skeumorphy as a assessed the potential integrating histories of Chinese conceptual device for and ceramic manufacturing. bronze , Center for the , Associate Director Katherine Tsiang on of Chicago, presented Art of East Asia, University in an exhibition of techniques the use of virtual reality early Buddhist sculpture. the Humanities, Olga Panova, Russian University of Moscow: “Early Northern Song Painting as a the Lens of Liu Daochun’s Social Practice through Evaluations of Song Painters of Renown”

Assistant Research Curator, The Shiyee Liu, Assistant Research Museum of Art: “Show and tell: Metropolitan Narratives in Chinese Painting--an Exhibition Project” Ehrenkranz ; Ehrenkranz Hsueh-man Shen, Associate Professor Art, The Institute of Fine Arts: Chair in World Book Project” Worlds--a and Submerged “Shipwrecks Kyoungin Bae, History Department ABD, Columbia and reproduction on the presented University, furniture in early modern adaptation of European Canton. China Project Workshop China Project is Workshop Established in 2011, The China Project on topics in a discussion forum for work in progress and art history. Chinese archaeology , The Jonathan Hay, Ailsa Mellon Bruce Professor Portals:’ Chinese Pictorial Institute of Fine Arts: “IFA Project” Art’--a Website Artists at The Institute location in one of the advantage of the IFA’s Taking the Graduate Student leading art centers, world’s at Association invites artists to discuss their work The Institute. Artists at The Institute was established per in 1983 as a series featuring two presentations Kirk Varnedoe. by the late Professor semester inspired Anna Blum were The 2015-2016 student coordinators and Patryk Tomaszewski. In 2015-2016 we welcomed artists, Agnieszka , and Jack Kurant, David Reed, Suzan Frecon Whitten. Archaeological Research at Aphrodisias Research Archaeological of the brings together members lecture This annual findings team to discuss their excavation Aphrodisias trip to the their most recent from results and research site. by: was presented The Fall 2015 lecture , Excavations at Roland R.R. Smith, Director of Classical Art Lincoln Professor Aphrodisias; Research , University of Oxford; and Archaeology and Alexander The Institute of Fine Arts Professor, , Excavations at Aphrodisias, Sokolicek, Field Director The Institute of Fine Arts Annual Lecture Series, Colloquia, and Consortia and Colloquia, Series, Lecture Annual

The Institute of Fine Arts Annual 2015-2016 42 The Institute of Fine Arts Annual 2015-2016 43 New York Society of Pre-Columbian Series Lecture Society of New Formed in 2014, the Pre-Columbian a platform for archaeologists, (PCSNY) provides York scholars studying ancient art historians, and other and work with their insights to share American cultures in the New York fellow academics and professionals endeavors to promote the Society Additionally, area. cultures of pre-Hispanic awareness an increased among students and those who possess a strong in the field. avocational interest , Queens of Anthropology Pugh, Professor Timothy W. CUNY College and the Graduate Center, Power and Planning in the Ancient Maya City Lois Martin, Independent Scholar CHICOMECOATLS: AS THE THE “COATLICUES” Rattlesnakes, Corn & Aztec Science James A. Doyle, Assistant Curator, Department of The the Arts of Africa, Oceania, and the Americas, Museum of Art Metropolitan Narratives on Ancient Maya Codex-Style Creation Museum Ceramics in the Metropolitan Emerita, CUNY Eloise Quiñones-Keber, Professor Graduate Center / Baruch College Deity Images of the and Invention in the Tradition Codex Florentine in Discipline, Amanda Gannaway, Lecturer Columbia Department of Art History and Archaeology, University for Middle Chimu Bennett and the Search Wendell of the Justin Kerr, Independent Scholar and creator Database Maya Vase Balam The Many Faces of Hun Ajaw and Yax Yale: Past and Present Yale: The Conservation of Early Italian Panel Paintings at The Conservation of Early Italian Panel Paintings Yale University Art Gallery Yale , Irma Passeri, Associate Conservator of Paintings Gallery at the Yale University Art Art at the Yale III Curator of European Laurence Kanter, Chief Curator and Lionel Goldfrank Laurence

H. Kress Foundation. H. Kress made possible through the generosity of the Samuel the generosity made possible through of a Masterpiece This event is conservation and technical art history. America: The Materials, Techniques, and Conservation Techniques, America: The Materials, the fields of painting important issues within presents Revealing the Splendor of Audubon’s The Birds of of Birds The of Audubon’s Revealing the Splendor who scholar in conservation, by a prominent at the University of Michigan Library Conservator at the University of Michigan annually is delivered Lecture The Samuel H. Kress Conservation Librarian and Exhibit Cathleen Baker, Conservation Librarian Lecture Samuel H. Kress

conservation. advancing new areas for research and teaching in art and for research areas advancing new or scientist each semester to The Institute who is each semester to The or scientist grandmother, welcomes a prominent conservator conservator a prominent welcomes grandmother, anonymous donor and named in honor of the donor’s honor of the donor’s donor and named in anonymous Studies Lecture an established by professorship, This visiting Professor in Conservation and Technical Technical and Conservation in Professor Judith Praska Distinguished Visiting Visiting Distinguished Praska Judith Latin American Forum Sponsored by The by The Sponsored Forum American Latin Art Latin American on for Studies Institute funded by The Institute – generously This forum (ISLAA) and on Latin American Art for Studies – invites Sullivan Edward by Professor coordinated to to The Institute visiting lecturers distinguished of Latin and recognition understanding foster greater the world. around American art Dias A Dialogue About Antonio Panelists: , Curator, Museum of Modern Art, Lilian Tone and Sculpture Department of Painting , The Institute of Fine Brian Bentley, PhD Candidate Arts , John Jay of Art History Claudia Calirman, Professor College, CUNY Galeria Nara , Artistic Director, Alejandra García and Editor of Antonio Dias (2015) New York, Roesler, , Helen Gould Sullivan Moderated by Edward in the History of Art; The Institute Professor Sheppard of Fine Arts and College of Arts and Sciences Duval-Carrié and A Conversation with Edouard J. Sullivan Edward J. A conversation with Liliana Porter and Edward Sullivan & Book Marta Minujín: Minucodes: A Panel Discussion launch with the artist Speakers: Marta Minujin, Artist , Columbia University Alexander Alberro Gabriela Rangel, Americas Society Museum Catherine Morris, Brooklyn Sullivan, Helen Gould Moderated by Edward in the History of Art; The Institute Professor Sheppard of Fine Arts and College of Arts and Sciences

Archaeological Research at Selinunte Research Archaeological director, brings together the project’s This lecture and other members of the team to Clemente Marconi, the Selinunte from research discuss their findings and excavation in Sicily. by Clemente was presented The Spring 2016 Lecture in the History Professor , James R. McCredie Marconi ; ; University Professor Art and Archaeology of Greek , The Institute of Fine Arts Excavation at Director Selinunte. , Lecturer, Art and Architecture from from Art and Architecture Sadie Pickup, Lecturer, Antiquity to the Middle Ages and Renaissance, London Education, Christie’s a and her Footwear: Sandals & Slippers for Aphrodite Goddess , The Hebrew University of Jerusalem , The Hebrew Zeev Weiss in Roman and Late Antique Houses of the Wealthy Sepphoris , Harvard University Nagy, Harvard Gregory Society , Athens Archaeological Dora Vassilikou Nanno Marinatos, University of Illinois-Chicago Angelos Chaniotis, Princeton University Ioannis Mylonopoulos, Columbia University Michael Cosmopoulos, University of Missouri-St. Louis Discoveries that Changed Greek Archaeological Society History: The Athens Archaeological , Humboldt University and Luca Giuliani, Humboldt University Berlin Wissenschaftskolleg, and Social Function of Narrative The Emergence Images in Ancient Greece The Seminar on Greek and Roman Art and and Roman Art and on Greek The Seminar their current to share invites scholars Architecture Art community on Ancient with the research research and in The Institute of Fine Arts at and Archaeology meet and talk with IFA and to area, the metropolitan and Roman Greek The Seminar on graduate students. by The Institute is sponsored Art and Architecture James R. support from of Fine Arts with invaluable of the New York and with the contribution McCredie Studies. University Center for Ancient Seminar on Greek and Roman Art and Roman and on Greek Seminar Architecture

The Institute of Fine Arts Annual 2015-2016 44 The Institute of Fine Arts Annual 2015-2016 45 New York Aegean Bronze Age Colloquium Bronze Aegean New York Age Colloquium, Aegean Bronze The New York at the founded in 1974, is celebrating its 39th year as The Colloquium is internationally recognized IFA. new discoveries and venue for presenting a premier Eastern Age and related ideas in Aegean Bronze and art. Mediterranean prehistory Joanne Murphy, University of North Carolina, Greensboro Age Pylos Death in Bronze Emerita, Hellenic , PhD, Director Metaxia Tsipopoulou of Monuments; National Archive Ministry of Culture, of the Petras excavations and Director in “What gives a meaning in life, gives a meaning and death (Antoine de Saint Exypery): The Pre- cemetery at Petras, Siteia” Protopalatial in , British School of Archaeology Judith Weingarten Athens Monsters” of Minoan “The Transformation Jason Earle, Institute for Aegean Prehistory A New Feasting and Founding on ‘Mycenaean’ Melos: Phylakopi Look at an Old Deposit from , SUNY Buffalo Watrous L. Vance at Gournia, 2008 - 2015: Finds and their Recent Work Implications for Minoan Crete , Koc University Aslihan Yener A Continuing Conversation about Alalakh: New Fresco the Level VII Palace Fragments from The Annual Kirk Varnedoe Memorial Lectures Memorial Varnedoe Kirk The Annual were Lectures Memorial Varnedoe The Kirk perpetuate the in 2006 to honor and established dedicated and Varnedoe’s Professor memory of scholarship at mentoring, and innovative teaching, Varnedoe Visiting of Fine Arts. The 2015 The Institute of Art , Professor was S. Hollis Clayson Professor in the Humanities, Evans Professor Bergen History and Northwestern University. and Electric Wit: Caricature Bright Lights, Brilliant Light in Paris Streetlights Charles Marville’s The Paris Threshold Absorption and Confinement: Munch Edvard Renoir and of Pierre-Auguste Pictures and Violence Palmyra 1915-2015: Historic Preservation, Urbanism, Urbanism, Palmyra 1915-2015: Historic Preservation, History, University of California, Davis Associate Professor of Art , Associate Professor Heghnar Watenpaugh

Projections: Mona Hatoum’s Cartographic Practice Mona Hatoum’s Projections: University of Pennsylvania Professor of History of Art, Christine Poggi, Professor

John Nash Method, Madness, and Montage: Aby Warburg to Method, Madness, and Montage: Aby Warburg University of Chicago Service Professor of English and Art History, Service Professor aylord Donnelley Distinguished WJT Mitchell, Gaylord

Strolling Time: Drawing in Eighteenth-Century Paris Strolling Ewa Lajer-Burcharth Ewa Lajer-Burcharth

Monet’s Seascapes and the Tides of History Seascapes Monet’s Andre Dombrowski Dombrowski Andre

Relationship Between Design and Violence Relationship Between Constrain, Hack, Annihilate, or Stun: The Singular Constrain, Hack, Annihilate, Museum of Modern Art , Research & Development, The & Development, The , Research Design, and Director , Architecture & , Architecture Paola Antonelli, Senior Curator

art, architecture, and design. art, architecture, considering space, place, and location in the study of considering space, place, various historical and theoretical approaches to approaches various historical and theoretical landscape in art and architecture, and examined and examined landscape in art and architecture, Lecture Series explored the complex history of the Series explored Lecture general public. The 2015-2016 Daniel H. Silberberg H. Silberberg The 2015-2016 Daniel general public. their latest research with the IFA community and community and IFA with the research their latest specializing in a variety of periods and genres to share to share and genres in a variety of periods specializing historians, archaeologists and conservators, and conservators, historians, archaeologists Association, this series of lectures invites art invites this series of lectures Association, Daniel H. Silberberg Lecture Series Lecture H. Silberberg Daniel Student by the Graduate and coordinated Planned New York Renaissance Consortium Renaissance New York was established to bring The Renaissance Consortium curators, and others with together scholars, students, Now in its in the arts of the Renaissance. interest the Consortium is a network for publicizing sixth year, workshops, and lectures, information on research, The Consortium area. exhibitions in the New York and it maintains an online calendar and a listserv, events. sponsors related regularly Machtelt Brüggen Israëls Collection: The Case of the Cataloguing the Berenson Lorenzetti , University of , University Professor , Associate Schrader Jeffrey Arts Alumnus of Fine ; The Institute Denver Colorado, Artworks and Against the Old Masters: Iconoclasts Spain in Wartime Violence Nova de Lisboa, Portugal; , Universidade Nuno Senos of Fine Arts Alumnus The Institute in 16th-century Portugal as a problem The exotic of Art and Small, Assistant Professor V. Irene , Princeton University Archeology and Florence Hércules Poor Image and Meta-Medium: in Brazil the Invention of Photography Helen Frankanthaler: A Symposium. The Great Hall after the completion of The Great Photo by Scott Rudd, courtesy of the Helen Frankenthaler Foundation.

For this series of informal lectures and panels, and panels, of informal lectures For this series to invited to The Institute are leading specialists contextual issues and broader art historical explore Spain and Latin America. to the arts of relating Jonathan by Professors coordinated The series is Sullivan. We Edward and Robert Lubar, Brown, the continuing support gratefully acknowledge for making the Huber of Roberta and Richard Colloquium possible. , of Art History Luis Castañeda, Assistant Professor Syracuse University; Alumnus The Institute of Fine Arts After Mexico City , , Assistant Professor Ananda Cohen Suarez Studies, of Art and Visual Department of History Cornell University Murals of Colonial Peru Painted Archives: Esther Gabara, Duke University Dr. of Fiction: Invention as The Gesture Intervention in Contemporary Art of the Americas Colloquium on Art in Spain and Latin and Art in Spain on Colloquium America

The Institute of Fine Arts Annual 2015-2016 46 The Institute of Fine Arts Annual 2015-2016 47 China Project Workshop - Workshop China Project Symposium Graduate Student A Pop Up CHINESE PAINTINGS ON EARLY NEW RESEARCH MUSEUM THE METROPOLITAN AT Siqiao Lu: “Night-Shining White” (Columbia University) Response by Robert Harrist and discussion Cathy Zhu: “Palace Banquet” Museum) Liu (Metropolitan Response by Shi-yee and discussion : “Stag Hunt” Yoon Yeorae Museum) Liu (Metropolitan Response by Shi-yee and discussion Jiete Li: “Landscape in the Style of Fan Kuan” Response by Robert Harrist (Columbia University) and discussion Market, Mountain : “Xia Gui’s Shek-on John Yiu Clearing Mist” of Response by Michele Matteini (NYU Department and discussion Art History and IFA) Birds” Jinghua Ren: “Lotus and Water and discussion (IFA) Response by Lee Ambrozy Fisherman, Recluse : “Sheng Mou’s Chuanxin Weng Autumn Trees” of Response by Michele Matteini (NYU Department and discussion Art History and IFA) Li: “Chan Master Riding a Mule” Yi-bang and discussion (IFA) Response by Lee Ambrozy by Jonathan Hay and general Closing remarks discussion

Planck-Institut. 2015, Kunsthistorisches Institut in Florenz, Max- 2015, Kunsthistorisches Institut in Florenz, delle attività culturali e del turismo, PASOLINI 1975- delle attività culturali e del turismo, PASOLINI Cultural Institute of New York, Ministero dei beni e Ministero Cultural Institute of New York, Provost Global Research Initiatives, the Italian Global Research Provost of Pasolini’s death. In collaboration with the NYU of Pasolini’s Merjian and Gerhard Wolf on the 40th anniversary Wolf Merjian and Gerhard Pier Paolo Pasolini: Image, Object, Sound conceived by Ara H. A two-day conference Gabriel Orozco’s Return to Painting Gabriel Orozco’s , Transhistorical Narratives: , Transhistorical Benjamin Clifford Ties to Byzantium , El Greco, the Holy Light, and Tiffany Apostolou, El Greco, Carracci: Paintings and Drawings as Art Criticism Carracci: Paintings and , The Intelligence of Anniballe Guillaume Malle, The Intelligence of Anniballe were given: were In 2015-2016 the following presentations presentations In 2015-2016 the following the IFA. the IFA. IFA students, of which one is selected to represent one is selected to represent students, of which IFA an in-house symposium with presentations by three by three with presentations an in-house symposium field – novice and expert. This event is preceded by This event is preceded field – novice and expert. a public forum and to engage with colleagues in the a public forum and to the opportunity to deliver original research papers in original research the opportunity to deliver symposium offers doctoral candidates in art history offers doctoral candidates symposium symposium for graduate students in art history. The in art history. for graduate students symposium and The Institute of Fine Arts have hosted a of Fine Arts have and The Institute The IFA-Frick Symposium The IFA-Frick Collection The Frick century, than half a For more Conferences and Symposia Conferences Dwellings: Charles Simonds and 1970s New York Julia Pelta Feldman, Introduction Archaeology” , “Micro-erotic Lucy Lippard Ksenia Soboleva, “A god-awful small affair: Queering Charles Simonds” Farrar Fitzgerald, “Idylls in the City: Charles New York De Maria’s Walter Dwellings, Simonds’s Time Landscape™” Earth Room, and Alan Sonfist’s , “At the Cuff of Time: Concepts of Christopher Lyon and Aging in the Art of Charles Simonds” Growth Forays between Martin Hartung, “Architectural Utopia and Ruin” Patterson Sims, “Dwellings for the Whitney” Curating , “A Silent Avant-Garde: Maria Bremer in the 1970s” ‘Forensics’ Herbert Molderings, “Molding Time: Some remarks of the work of Charles Simonds in on the reception Germany of the 70s” The symposium also included a screening of Perry The symposium also included a screening a Frankenthaler: Toward documentary Miller Adato’s New Climate, made for PBS in 1978. Curator and Head of Modernremarks during Art at the National Gallery of Art, delivering his final

Harry Cooper, Harry Cooper, the Helen Frankenthaler Symposium. Photo by Scott Rudd, courtesy of the Helen Frankenthaler Foundation. the Helen Frankenthaler Symposium. Photo by Scott Rudd,

Co-organized by Robert Slifkin, Associate Professor Associate Professor by Robert Slifkin, Co-organized of Fine Arts, The Institute of Fine Arts, and Pepe NYU, of Art History, Karmel, Associate Professor in partnership with the Helen Frankenthaler Foundation, the afternoon featured program by five leading scholars of postwar presentations modern art. , Académie Française, Eric de Chassey (Director “Negotiations” Frankenthaler’s Rome) addressed and abstraction and between between nature , Anna C. Chave (Professor and gesture. process New CUNY Graduate Center and Queens College, Fortunes,” and how on “Frankenthaler’s spoke York) social privilege may have affected her position— and self positioning—in the art world. Pepe Report” on opticality and Karmel gave a “Weather liquidity in the work of Frankenthaler and Gerhard , Stony Brook Katy Siegel (Thaw Professor Richter. Paint,” and how University) discussed “The Heroine decoration, feminism, and materiality have evolved Harry Cooper in the years after Frankenthaler. (Curator and Head of Modern Art, National Gallery of D.C.) served as respondent. Art, Washington, Helen Frankenthaler: A Symposium

The Institute of Fine Arts Annual 2015-2016 48 The Institute of Fine Arts Annual 2015-2016 49 , Art History, , Art History, (PhD candidate Mohl Duke Rachel Rice University) in of Violence Undercurrents Displaced Order: torres Dieciséis Villamizar’s Ramírez Eduardo (PhD candidate, Art History, San Martín Florencia Rutgers University) in Alfredo and Temporality Memory, Neoliberalism, (1984–2016) The Kissinger Project Jaar’s Assistant Discussant: Kent Minturn (Visiting of Fine Arts, The Institute of Fine Arts) Professor Panel 3: Body and Performance PhD ( Moderated by Madeline Murphy Turner candidate, The Institute of Fine Arts) Graduate , Art History, Gillian Sneed (PhD candidate City University of New York) Center, Subjectivity, Assemblages: Identity, Anthropophagic Performances- and Resistance in Brazilian Women’s for-Camera , Tie Jojima (Independent Curator and MA candidate of the Art History and Arts Administration, School Art Institute of Chicago) Art in the Context of Movimento de X-Rated: Xerox Arte Pornô (PhD candidate, History of Art, UC Jez Flores Berkeley) Use of Camp Chicano Resistance: Asco’s Discussant: Iván A. Ramos (President’s Postdoctoral Fellow, Department of Ethnic Studies, University of California, Riverside) Sullivan (Helen Gould Closing Remarks: Edward in the History of Art, The Professor Sheppard Institute of Fine Arts) Devon Zimmerman (PhD Candidate, Art History University of Maryland) Corroding and Archaeology, Geometries: Elsa Gramcko, 1955–1965 (PhD candidate, Moderated by Susanna Temkin The Institute of Fine Arts) Panel 2: Violence and Memory Panel 2: Violence Arts Professor of Discussant: Shelley Rice (Arts Professor Photography and Imaging, Tisch School of the Arts) Was Was Michel Otayek (PhD candidate, Spanish and New York Portuguese Language and Literature, University) Timelessness, Photography, Canaima, Recreated: and the Economic Conquest of the Venezuelan That Never The Splendid Photobook South—Or, Ileana Selejan (Curatorial Fellow, Davis Museum at College) Wellesley Incandescent Realisms: Documentary Photography in Central America in the 1980s Rodrigo García Boníllas (MA candidate, Filosofía y Rodrigo García México) Letras, Universidad Nacional Autónoma de as One of the Fine Arts: On Nota Roja Considered Enrique Metinides’ Tragedies , Moderated by Juanita Solano Roa (PhD candidate The Institute of Fine Arts) Panel 1: Photography and Document Panel 1: Photography , Department José Luis Falconi (Postdoctoral Fellow Harvard of History of Art and Architecture, University) of Realism One Avatar Reality Lies Elsewhere: This event was part of the Latin American Forum part of the Latin American This event was by The Institute for sponsored and was generously Latin American Art. Studies on in Latin PhD candidates Institute’s by THe Organized , Juanita Moncada Sean Nesselrode American art: , Lizzie Frasco, Solano Roa, Susanna Temkin , Priscilla Bolaños Salas, Blanca Serrano Ortiz , Brian Bentley, and Madeline Murphy Emily Lyver J. Sullivan. ; in conjunction with Edward Turner ISLAA Symposium: Realisms: Politics, Art, Art, Politics, Realisms: Symposium: ISLAA the Americas in Culture and Visual tools are available to art history and art criticism to tools are status of the work of art? What the current address methodological questions does it pose to theories or to the method of comparative of representation, the field? Which, formal analysis that underscores art historical distinctions—be of the classical if any, primary they between media, or aesthetic forms, or art— and secondary manifestations of the work of and can be maintained? In short, can art history what things “do” in addition to criticism address what they “say”? Panel 1 Moderator: Tim Griffin, The Kitchen Speakers: Bishop, CUNY Graduate Center Claire Kenneth Goldsmith, University of Pennsylvania Center Ruba Katrib, The Sculpture Arts Bettina Funcke, School of Visual Panel 2 Moderator: Janet Kraynak, Columbia University Speakers: , Columbia University Alexander Alberro Tim Griffin, The Kitchen College Alex Kitnick, Bard Robert Slifkin, The Institute of Fine Arts Step into Liquid: Art and Art History in the Post-Fordist Era in the Post-Fordist Step into Liquid: Art and Art History Artist Walead Beshty in the audience during Artist Walead

Panel 2: Performativity and Methodology As the boundaries between the art object and its difficult to become increasingly mode of circulation its dispersal among maintain, whether it be through bodies in socially contingent practices or through habitually seen as means of distribution that are secondary to the work itself, what methodological Step into Liquid: Art and Art History in the Step into Liquid: Art and Art History in Era Post-Fordist , with Rachel Beshty by Walead Organized Heidenry and Eloise Maxwell of Panel 1: Digitalization and the Aesthetics Distribution tenet of It is commonly observed that a core with Contemporary Art is its being produced of its dependence on systems of an awareness come distribution, a condition that has increasingly of the most ambitious to dominate the approach criticism of our time. How has the development which facilitates of a vast digital infrastructure, contemporary aesthetic distribution, produced effects on the form and materiality of pronounced How does this the work of art and its reception? vast distributive system interact with and complicate the aesthetic conditions of industrialized production and distribution that it operates in tandem with? manifest itself despite How does this awareness the fact that the majority of contemporary artistic practices continue to maintain traditional genres film photography, such as painting, sculpture, and video or performance, albeit under distinctly their predecessors? conditions from different

The Institute of Fine Arts Annual 2015-2016 50 The Institute of Fine Arts Annual 2015-2016 51 Mentoring and the Museum A Conversation on Art and Leadership with Michael alumnus, Timothy Rub and IFA Shapiro Crossing Boundaries: Making World Art Boundaries: Making World Crossing History a space A series of workshops aimed at providing ideas and views can thinking, where for creative and tested, and cross-institutional be shared with collaborations can be formed. They will grapple issues facing museums and academic departments taking on concerns with consequences for our The Spring practice as we make history for the future. by The Institute’s coordinated 2016 sessions were PhD candidates Julia Pelta Feldman, Kara Fiedorek, with MA and Allison Young, Madeline Murphy Turner, student Rebecca Cuomo. The Great Hall Display Case Exhibition Series The Great Banner and Curator: Lisa Organizer Artists: Timothy Hawkesworth, William Hempel, Vecchio Beatrice Pediconi, Riccardo with Satish Padiyar Guest Lecture in Nineteenth- Satish Padiyar, Senior Lecturer Art, The Courtauld Institute Century European Surprises. and Fragonard Temporality NYU Curatorial Collaboration Panel NYU Curatorial Collaboration Discussion of , co-organizer Moderated by Ksenia M. Soboleva discussion comprises of a the NYU CC, this panel curators Tiffany Apostolou, conversation with IFA Kathleen Robin Edwards, Ellis Adam Dunlavy, BFA and Steinhardt Joyce, Rachel Vorsanger, Kim, Dae Young honors artists Annie Carroll, Susanna Liguori, Paula Rondon, and Rebecca Salmon. Curator of Contemporary Art, of Contemporary Curator Paik, Y. Tricia of Art Museum Indianapolis , MA candidate by Patryk Tomaszewski Moderated Iranian ModernSituating and Contemporary Art Gallery Art Grey by the Organized and Curator Layla S. Diba, Independent Scholar Art, Maryam Ekhtiar, Associate Curator of Islamic Museum of Art Metropolitan of Massumeh Farhad, Chief Curator and Curator M. Sackler Gallery of Art and Arthur Islamic Art, Freer Gallery

Museum Art, and Senior Advisor, Global Arts, Guggenheim Art, and Senior Advisor, , Samsung Senior Curator of Asian Alexandra Munroe Research Curator, The Jewish Museum GIS Technologies and Their Use for Art-Historical GIS Technologies Norman L. Kleeblatt, Susan and Elihu Rose Chief Collection and Frick Art Reference Library Collection and Frick Art Reference Museum of Art Contemporary Art, Metropolitan , The Frick , Associate Photoarchivist Ellen Prokop of Modern and Africa, and Turkey,Department Data: Collecting, Consolidating, and Analyzing Davies, Assistant Curator, Middle East, North Clare History of Collecting, The Frick Collection , Center for the Samantha Deutch, Assistant Director Panel Alumni Careers IFA Image Seeing the Future: PHAROS, ARIES and the Digital Seeing the Future: Library The Frick Collection and Frick Art Reference , Research Ruby, Head of Photoarchive Louisa Wood Intelligence Through Machine Eyes: Art, Artifice, and Artificial Through the Department of Art History, Rutgers University the Department of Art History, Art and Cultural Heritage and Preservation Studies in Art and Cultural Heritage and Preservation Artificial Intelligence and Visiting Lecturer in Byzantine Visiting Lecturer Artificial Intelligence and Director of the Program in Art and of the Program Emily L. Spratt, Director across the city. across of the DH community, and open workshops offered offered and open workshops of the DH community, sessions, a meeting City that included networking Pietra. of all things DH in New York a week-long celebration Museum; La Dolce Villa! Conservation Projects at La Projects Conservation Museum; La Dolce Villa! Humanities Week, as part of NYC Digital Presented in the Field; Looking Closer: Conservation in the in the Field; Looking Closer: in Practice Digital Art History conservation studios: Digging Deeper: Conservation conservation studios: laboratories, libraries, archives, and private and private libraries, archives, laboratories, Pietra, IFA-sponsored excavations, and in museum excavations, and Pietra, IFA-sponsored about their summer work projects at Villa La at Villa summer work projects about their Summer Projects Series Summer Projects students informal talks by conservation A series of

Special Engagements Engagements Special

IN THE DIGITAL REALM IN THE DIGITAL

The Institute of Fine Arts Annual 2015-2016 52 The Institute of Fine Arts Annual 2015-2016 53

New York City Digital Art History New York is a Varone, Jason Manager, Web The Institute’s member of the steering committee for the newly (NYC- City Digital Art History group formed New York brings together local institutions and DAH). The group in the practice of digital individuals with an interest is an opportunity for art The NYC-DAH art history. historians, artists, curators, conservators, students, and members of the GLAM community (galleries, museums) to meet each other and libraries, archives, and initiate collaboration. knowledge, projects, share is community The immediate goal of the group the NYC Digital Humanities building. Through and community activities, website (http://nycdh.org/) aims to connect key institutions and the group individuals, and build a dynamic network of digital art historians, designers and engineers. The first NYC-DAH workshop “Digital Art History in Practice” took place at The Institute in 2016.

research projects that engage faculty and students that engage faculty projects research the wider and from NYU, within and across from note is the Of special scholarly community. a publicly project, Alumni” Institute’s “Mapping The the locations interactive map showing accessible, of The than 1000 status of more and professional is the map alumni. The data used to create Institute’s on changes as our graduates report updated weekly, out by can be carried Searches in their careers. or by name. by employment category, geography, Get on the map at http://www.nyu.edu/gsas/dept/ fineart/mapping-alumni/. Digital Digital Media / Computer Services Initiatives

Department. Any and all technology issues come through the issues come through Any and all technology numbers more than 200,000 images and sound files. than 200,000 images numbers more image database, visible through Artstor, which now Artstor, through image database, visible The Institute’s contributions to NYU’s campus-wide contributions to NYU’s The Institute’s research. The Department manages and develops The Department manages and research. web-based investigations, and image-based web-based investigations, variety of media, video production and archiving, and archiving, production variety of media, video visualizations, archival access, presentations in a access, presentations archival visualizations, technology. Supported projects now include data now include Supported projects technology. on any research project that incorporates images or that incorporates project on any research Department works closely with students and faculty works closely with students Department The Institute’s Digital Media/Computer Services Digital Media/Computer The Institute’s students around the world, and in real time. the world, and in real students around enhances The Institute’s ability to reach scholars and ability to reach enhances The Institute’s including data visualizations and collaborative PowerPoint files) can be shared. This new service PowerPoint files) can be shared. now hosts a number of such experiments, org) and electronic content (such as Internet or and electronic sites Labs site (www.ifaresearch. The Research projects: two 70-inch LED screens. Meetings can be recorded, Meetings can be recorded, two 70-inch LED screens. department has developed a site for experimental locations can see and hear one another by way of locations can see and hear one another by way the Digital Media/Computer Services and pedagogy, Using a variety of software, participants in remote participants in remote Using a variety of software, technology as it applies to art historical research Roemich traveled in Germany and Poland. to experiment with desire to the growing In response during the summer, while Chair Professor Hannelore Hannelore Professor while Chair during the summer, and weekly Conservation Center staff meetings and weekly Conservation Center staff meetings Labs Institute Research interview with a student candidate living in Cambodia; interview with a student candidate living in Cambodia; York, Berkeley, and Abu Dhabi, simultaneously; an Berkeley, York, successes: a PhD defense involving scholars in New successes: a PhD defense involving scholars was plugged in. Among the most impressive was plugged in. Among the most impressive candidate interviews, almost as soon as the system candidate interviews, almost as soon as the used for everything from PhD thesis defenses to used for everything from service has proved to be immensely popular, being to be immensely popular, service has proved from wherever they happen to be in the world. The wherever from multiple participants to come to The Institute virtually, virtually, multiple participants to come to The Institute for video conferencing. This exciting initiative allows This exciting initiative allows for video conferencing. House’s basement seminar room has been refitted has been refitted room basement seminar House’s conferencing engineers and design team, the Duke conferencing Mochizuki, and the collaboration of NYU’s video Mochizuki, and the collaboration of NYU’s With the assistance and support of Professor Mia support of Professor With the assistance and

Video Conferencing Video

In this Section PROGRAMS ACADEMIC

The Institute of Fine Arts Annual 2015-2016 54 The Institute of Fine Arts Annual 2015-2016 55 ART HISTORY ART ARCHAEOLOGY CONSERVATION Master of Science in Conservation Center is dedicated Conservation The Institute’s to the study of the technology and conservation of works of art and historic artifacts. The Center in conservation students for careers prepares that program dual-degree a four-year, through combines practical experience in conservation curatorial, and with art historical, archaeological, scientific studies of the materials and construction of works of art. While earning in art history their MA and MS in conservation, students undertake laboratory work, and seminars projects, research of conservation, such as advanced in special areas of modern and x-ray techniques and the treatment contemporary paintings. Master of Arts Master of of Art in the History MA program The Institute’s who intended for students is and Archaeology and academic develop their writing wish to further pursuing a PhD and for before of interest areas in the visual arts interest students with a developed without the who wish to earn an advanced degree The MA degree program. commitment to a doctoral in careers useful for students interested will prove auction houses, cultural in art museums, galleries, site archaeological centers, arts foundations, art conservation, or management and development, in art history or archaeology. eventual doctoral work study or three is two years of full-time The program for those with established years of part-time study working who wish to continue careers, professional while attending the Institute. The reference room in the Stephen Chan Library at the James B. Duke House in the room The reference

Doctor of Philosophy students to conceptualize, The PhD course prepares plan, and execute ambitious and original research and to make contributions to scholarship. projects is designed for six years of full-time The program to a wide range exposed Students are study. taking a through of questions and approaches major combination of courses that both introduce historical issues and allow students to specialize Students have by conducting in-depth research. opportunities to pursue their studies in museum and teaching Research-led fieldwork. in and settings close mentoring equip students to work critically in specialist fields and to take a and creatively of art areas to broader sophisticated approach historical inquiry. The Institute of Fine Arts is dedicated to graduate of Fine Arts is dedicated The Institute in the history of advanced research teaching and and and in the conservation art and archaeology encourages of works of art. The Institute technology material excel in historical and students to skills in close looking investigation and to develop independent promotes and critical thinking. It The of research. standard judgment and the highest a focused and rigorous provide programs degree by interaction with leading experience supported museums, New York’s scholars, and access to sites, and archaeological curators, conservators, Global Network. The PhD and MA programs NYU’s course of study designed for the offer a at the IFA of the to investigate the role individual who wishes detailed, object-based through visual arts in culture historical and theoretical examination, as well as interpretation. Study at the Institute Study at the Institute

The Institute of Fine Arts Annual 2015-2016 56 The Institute of Fine Arts Annual 2015-2016 57 normally requires completion of three to four years completion of three normally requires The certificate of study in our doctoral program. in include a paid nine-month residency requirements department, and participation curatorial a museum’s curatorial studies courses: Curatorial in the offered Studies: Studies: Exhibition Practices and Curatorial have Collections and Curating. Past exhibitions that in these courses: Man, Myth, and been featured Renaissance; The Jan Gossart’s Sensual Pleasures: of Khubilai Khan: Chinese Art in the Yuan World 828–1797; and the Islamic World, Dynasty; Venice of Bohemia, 1347–1437; and the Prague, The Crown new installation of the New American Wing. Curatorial Studies alumni have held leadership art foremost positions at some of the world’s institutions, including The Art Institute of Chicago; Boston Museum of Fine Arts; The Frick Collection; Art Museums; J. Paul Getty Museum; Harvard Museum of The Metropolitan Library of Congress; London; Philadelphia Museum Art; National Gallery, of Art; and the Smithsonian Institutions. Students and Institute supporters on a visit to the Two Palms Studio in Soho Students and Institute supporters on a visit to the Two This component of our doctoral program is This component of our doctoral program jointly by the Institute of Fine Arts and The offered Museum of Art, under the supervision Metropolitan of the Joint Committee on Curatorial Studies, which curators, and the Directors is composed of faculty, of both institutions. The purpose of the program in students for curatorial careers is to prepare specialized fields. The course of study Curatorial Studies Certificate Students gain intensive conservation experience Students gain intensive conservation experience advanced fieldwork and a nine-month through internship. encouraged to obtain They are additional conservation experience during summer excavations or other formal work archaeological courses in The Center also provides projects. those connoisseurship and technical art history for and archaeology, pursuing studies in art history, intended to acquaint curatorial studies, which are of works of art, and them with the physical structure as well as the possibilities need for preservation, and limitations of conservation practices. Classes full distinguished taught by the Center’s are many of whom serve as and part-time faculty, City’s conservators and scientists at New York museums. prestigious organizations worldwide, and the increasing number the increasing worldwide, and organizations of vacant positions in museums – a consequence art of their rapidly expanding time-based media the need for trained specialists. collections – reflects already Several Conservation Center students have the field, learning media entered about time-based as they go by working in the media conservation With labs at the Guggenheim Museum and MoMA. colleagues their future this new academic program, allowing will enter the field with dedicated training, challenges of media them to solve the ever-increasing an art conservation. “This grant allows us to design that is in high demand innovative new track in an area but has lacked a dedicated course professionally and of study in the U.S.,” said Patricia Rubin, Judy of The Institute. “This Director Michael Steinhardt the Mellon Foundation is a lasting support from in art investment in the next generation of leaders Chairman Roemich, Hannelore conservation.” Dr. of Conservation Science at The and Professor understanding the painter’s Institute, said, “From many are code analysis, there to source brushstroke complexities to cover in the education of future is an unprecedented conservators. This new program not only for the development of a highly- opportunity, specialized curriculum, but also for attracting the applicants and prime graduates for most promising new job opportunities.” Following the development of the new curriculum during the grant and promotion applications to period, the Center expects to receive in December 2017. the program Julia Sybalsky, MA ‘12, at DuArt Media Services in Manhattan. Julia Sybalsky,

Time-based media, also referred to as technology- Time-based media, also referred based art, is a form of contemporary art that incorporates ephemeral materials and emerging to revealed works that are technologies to create the viewer over time. Conserving these artworks particular challenges, given their presents and their use of components that conceptual nature extend well beyond traditional art materials. Time- based media art conservation has been identified as a priority by many leading professional New Graduate Specialization in Time-Based Media Conservation of the changing field of contemporary In recognition art conservation, the Conservation Center will establish a new specialization in time-based media art conservation as part of its four-year a grant from With support from program. degree the Center will Mellon Foundation, W. the Andrew graduate-level develop a curriculum for the premier education of time-based media art conservators, States. which will be the first of its kind in the United 2016, The two-year grant period, beginning January supports developing the curriculum for the program on public lectures the field through and promoting The new specialization, which research. current will be embedded within the MA/MS dual degree the students to cross at The Institute, will require disciplinary boundaries of computer science, engineering, art material science, media technology, and conservation. history,

The Institute of Fine Arts Annual 2015-2016 58 The Institute of Fine Arts Annual 2015-2016 59 2015 - 2016 2015 GRADUATES Daniel Scott Williamson and “Modern Architecture in Capitalist Patronage - 1969” Ahmedabad, India 1947 Advisor: Jean-Louis Cohen Grace Dingledine Woods-Puckett of Albion: American “The Lure Artists in England during the Gilded Age” Transatlantic Advisor: Linda Nochlin Katharine J. Wright Print Here: Art “Your Advertisements and Contemporary Art, 1964-1974” Advisor: Thomas Crow Susanna Temkin Susanna y revolucionario “Un arte social Revolutionary (A Social and and the Pogolotti Art): Marcelo International Avant-Garde” J. Sullivan Advisor: Edward Rashmi Viswanathan Faqir: “The Thuggee and the Early Capturing Criminality in Colonial India” Flood Advisor: Finbarr Barry Jodi Roberts “Horacio Coppola and Grete Stern: Defining the Modern in Argentine 1930-1956” Photography, J. Sullivan Advisor: Edward Susan E Schafer Continuity in Zero: “Rome Year and II Architecture War Post-World in Rome” Culture Advisor: Jean-Louis Cohen “Contingent Bodies: Art in and Los Angeles, 1969-75” around Advisor: Thomas Crow Ott Jeremy “Mortuary Practices in Late Antique Corinth” Advisor: Thelma Thomas Dobay Rifelj de Claire “Mediums and Messages: Collage and Narrative in Los Angeles in the 1960s and 1970s” Advisor: Thomas Crow Brett Lazer Brett the Basque “The New World, of Language, and the Power of Painting: the Art and Writing Baltasar de Echave Orio” Advisor: Jonathan Brown Mark Loiacono the Shadows: Andy “Out From Abstractions” Warhol’s Advisor: Thomas Crow Lowery Rebecca Skafsgaard Kate Elizabeth Holohan Kate Elizabeth at the the New World “Collecting Court, 1519- Spanish Habsburg 1700” Brown Advisor: Jonathan

“Narratives of Origin in Netherlandish Art: Maarten de Vos & Late Sixteenth-Century Print Exegesis” Design as Visual Advisor: Mariët Westermann Amanda Kay Herrin Stephanie Lynn Herdrich Stephanie Lynn A ‘Modern “John Singer Sargent: Old Master’ and the Italian Renaissance” Advisor: Rob Slifkin Marina Daiman “Rubens Remaking Rubens: Self- and Repetition, Transformation, Invention in Early Modern Art” Advisor: Mariët Westermann Kim Conaty “Mapping a Cultural Breakthrough: Magazine A Study of Avalanche (1970-76), the “New Forms of Art International Making and Emerging Networks” Advisor: Robert Slifkin “The Illustrated Manuscript “The Illustrated Manuscript in Iran, 1040s/1630s- Tradition 1070s/1660s: Patronage, and Poetics in the Production, Style’” Age of the ‘Fresh Advisor: Priscilla Soucek Michael Chagnon Robert Brennan “Painting as a Modern Art: The Era of Giotto” and Advisors: Alexander Nagel Marvin Trachtenberg Claire Brandon Claire Art in the Exhibition “Spaces of a Laboratory for Age: Italy as Paradigms since Global Exhibition 1970” Advisor: Alexander Nagel 2015 2015 - 2016 PhD Graduates

The Institute of Fine Arts Annual 2015-2016 60 The Institute of Fine Arts Annual 2015-2016 61 Siqiao Lu Commentaries on “Hua Yan’s in Paintings of the Qing Empire Animals and Insects” Advisor: Jonathan Hay Jalena Louise Jampolsky Curve: The “Shadow at Phantom Henry Photography of William Jackson” Advisor: Robert Slifkin Riad Kherdeen “Masdar City: Oriental City of the Century” Twenty-First Advisor: Jean-Louis Cohen Lee Ji Yun “The Meaning of the Signed in A Semiotic Écriture: Park Seo-bo’s to Dansaekhwa” Approach Advisor: Jonathan Hay Li Yi-bang and “The Painting Tradition Compositional Principles of the Monastery Murals” Yanshan Advisor: Jonathan Hay Jiaqi Liu “Chinese Period Rooms in the Chinese United States: From Tang” Yu Museum to Yin Advisor: Jonathan Hay Rachel Elaine Heidenry Rachel Elaine Decoding & Myths – “Archives Fatigue” Grosse Camille Henrot’s Slifkin Advisor: Robert Martin Hume Hannah Claire Motion Into Merit: The “Turning Space Access, Contact, and Prayer Generated by the Tibetan Wheel” Advisor: Hsueh-Man Shen

Deborah Feller “Bearing Witness: The Spectacle of Pain in the Drawings of Jusepe de Ribera” Advisor: Jonathan Brown Figueroa Evelyn Lourdes Borghese: “The Loggia of the Villa of Antiquity and the Visions Pastoral Ideal” Advisor: Alexander Nagel Josephine English Cook* “Reel Living Landscapes: Americanism and the Built in Early Global Environment Cinema” Advisor: Jean-Louis Cohen Anne Correll* Rembrandt’s “First Impressions: Use of the Platemark in his Early Etchings” Advisor: Colin Eisler Frank Joseph Exposito 1915-: “Carmen Herrera, Alternatives” Advisor: Kent Minturn Blake Aaron Coleman Blake Aaron “Belvoir Castle: History, Construction, and Significance” Advisor: Marvin Trachtenberg Jennifer Contreras* icons: Proposals, “Dan Flavin’s Acts of Sabotage” Advisor: Thomas Crow Lauren G. Close* Lauren and the Resurrection “Revolutions in the Domestic of Monuments of An Examination Sphere: and Nineteenth- Eighteenth- of the Century Reproductions of Henri IV” Pont Neuf Sculpture Martin Advisor: Meredith 2015 2015 - 2016 MA Graduates Advisor: Kent Minturn Futurism” and His Relationship with Ciccone Virginia Early Poetics Soffici’s “Ardengo Advisor: Jean-Louis Cohen Narrator” Ironic of Ed Ruscha’s Advisor: Thomas Crow Olena Chervonik “The Unruly Optical Unconscious Image: Kusama in the 1960s ” Advisor: Clemente Marconi “Sculpting the Photographic Statuette” Anna Blum The Case of the Ivory Lion Tamer The Case of the Ivory Lion Tamer Greek Sanctuaries: Delphi and Greek at Archaic Presence “Foreign Advisor: Jonathan Hay Laura Isabel Biascoechea Buddha: From Mortal to God” Buddha: From of the Udayana “Transformation Advisor: Colin Eisler Akasya Benge VIII ” Arts Under Pope Urban Visual Advisor: Patricia Rubin Joshua Joseph Bell Poetics, and the Papacy: “Poetry, ‘Flagellation with Pavement’” Andrea Mantegna’s Design for Mantegna’s Andrea in Notions of Humiliation Advisor: Robert Slifkin Advisor: Robert David Peterson Bardeen “An Artwork of Bodywork: and Theory” Graphic Work Informed His Art Informed Graphic Work “Donald Judd’s Prints: How His Prints: How His “Donald Judd’s Margaret Anne Aldredge* Anne Margaret *Indicates an M.A. thesis marked with distinction Josie Zhuxi Wang Art History In Practice: “Technical Identity And Authenticity, Attribution of a Late Medieval Court Portrait” Advisor: Michele D. Marincola Shek On John Yiu* “Winter Landscape with Temples Date and and Travellers: Authorship” Advisor: Jonathan Hay Jessica Sara Sternbach*Jessica Sara Holy Writ: and the “Women of the Perceptions Images and Mary Reading in High Virgin Artworks Medieval Netherlandish (1400-1520)” Advisor: Colin Eisler Patryk Paweł Tomaszewski “In Flux: Willem de Kooning’s Liquidity in the Early 1960s” Advisor: Robert Slifkin Louis Soulard “The Chinese Building Best Johan Known in Europe: and Tower” “Porcelain Nieuhof’s into European its Translation Culture” Visual Advisor: Michele Matteini Caterina Minniti “Egyptian Imports in Archaic Sicily” Advisor: David O’Connor Kelly Ellen Mulrow Bertel “Birth of the ‘Authentic’: of Thorvaldsen and The Temple Aphaia” Advisor: Norbert S. Baer Giana Ricci “The Changing Contemporary Artist: How Cai Guo-Qiang Adapts to a New Art Audience” Advisor: Thomas Crow Jessica Mingoia of Hospitality “The Business of Julia Felix at and the Praedia Pompeii” Welch Advisor: Katherine Saira Haqqi Lahey: A Duprez “Marguerite Bookbinder” Collector’s Holben Ellis Advisor: Margaret Evelyn Joy Mayberger “Opulence and Transmission: of Two Materials and Techniques Andalusi Textiles” Advisor: Priscilla Soucek Annika Svendsen Finne* in a Rococo “Narrative Arcs Altar Model” Advisor: Michele D. Marincola

“Damage and the Restoration of The Study and Treatment Value: Intermediate Period of a Third Coffin Lid” Advisor: Michele D. Marincola Kathryn Kerl Brugioni Amy Brost* ‘Certificates of Authenticity’ “From to Authentic Iterations in Variable Media Art” Advisor: Michele D. Marincola 2015 2015 - 2016 MS/MA Dual Degree Graduates 2015 2015 - 2016 MA Graduates “’One is the Loneliest Number’: at The Pairs of Amphitheatres the Cities of Carnuntum and Aquincum on the Northern Limes” Advisor: Katherine Welch Marlee H. Miller* Eloise Tamara Maxwell* Eloise Tamara “Abstraction in/as Representation of James Welling” in the Work Advisor: Robert Slifkin Guillaume Malle* Identity “Encountering Signs of and and Resistance: Mosaics Spaces Inside the Ecclesiastic at Complex of Saint Stephen Umm al-Rasas” Advisor: Thelma Thomas Allison Forsythe MacIntosh Allison Forsythe the Medici Political “Perpetuating Investigation of the Agenda: An Within the Medici Ancient Gems Collection” Advisor: Colin Eisler

The Institute of Fine Arts Annual 2015-2016 62 The Institute of Fine Arts Annual 2015-2016 63 (Colloquium) Eve Meltzer CONTEXT, ON DISPLAY: ART MEANING, AFFECT (Colloquium) Philippe de Montebello RUSSIAN ARCHITECTURE RUSSIAN ARCHITECTURE IDEAL AND THE AMERICAN (Seminar) Jean-Louis Cohen DONALD JUDD (Seminar) Robert Slifkin and Ann Temkin THE PHOTOJOURNALIST IMAGINATION (Seminar) Robert Slifkin THE HEMISPHERIC NINETEENTH CENTURY: ONE PART (Seminar) Sullivan Edward MADE FOR REPRODUCTION (Colloquium) Adrian Sudhalter WAS WHAT CONCEPTUALISM AND WHY WON’T IT GO AWAY? ADVANCED STUDY ADVANCED AND IN MEDIEVAL RENAISSANCE ARCHITECTURE (Colloquium) Marvin Trachtenberg CONTEMPORARY ARCHITECTURE, FROM TO POSTMODERNISM HYPERMODERNISM (Lecture) Jean-Louis Cohen (Seminar) Marvin Trachtenberg PROTO-HISTORIES OF ART: PROTO-HISTORIES OF ART: AS CONSERVATION ART EMBEDDED THEORY (Colloquium) Alexander Nagel and Noemie Etienne VISUALIZING WORLD AND ANTIQUITY COSMOS IN LATE (Seminar) Thelma Thomas ARCHITECTURAL THEORY AND PRACTICE IN THE RENAISSANCE ITALIAN (Seminar) Martin Meredith DREAMS AND VISIONS IN ART MEDIEVAL (Seminar) Robert Maxwell TRUTH/FICTION: CURRENT RESEARCH IN MEDIEVAL ART (Colloquium) Robert Maxwell RAPHAEL’S NETWORKS NETWORKS RAPHAEL’S (Seminar) Linda Wolk-Simon IN AND POETICS POETRY OF BAROQUE THE ART ROME (Colloquium) Louise Rice OF DIPLOMACY: THE ART CROSS-CULTURAL EXCHANGE IN FRANCE, c. 1660-1789 REVISITING THE CARRACCI THE CARRACCI REVISITING ACADEMY (Seminar) William Hood

Jonathan Brown HISTORY OF COLLECTING HISTORY (Colloquium) Katherine Welch NAPLES (Seminar) ROMANS ON THE BAY OF ROMANS ON THE BAY Clemente Marconi CITIES OF VESUVIUS: ROMAN ART (Seminar) QUOTATION IN GREEK AND QUOTATION SELF-REFERENCE AND B.C.- 300 B.C Guenter Kopcke PEOPLE; GREEK ART 1600 PEOPLE; GREEK ART (Lecture) BY THE PEOPLE, OF THE Priscilla Soucek THE QUR’AN AS TEXT (Seminar) THE QUR’AN AS OBJECT, THE QUR’AN AS OBJECT, Barry Flood and Dipti Khera IN SOUTH ASIA (Colloquium) DECCAN: ARTS OF MOBILITY DECCAN: ARTS Hsueh-man Shen FROM DELHI TO THE AT DUNHUANG AT (Seminar) THE MOGAO CAVE-TEMPLES MOGAO CAVE-TEMPLES THE Hsueh-man Shen CONTEXT (Colloquium) CHINESE CERAMICS IN CHINESE CERAMICS Jonathan Hay PAINTINGS (Lecture) HOW TO LOOK AT CHINESE LOOK AT HOW TO Spring 2015 Spring Art Art History and Archaeology Courses 2015 THE PRISMATIC VIEW: VIEW: THE PRISMATIC AND ART ARTISTS HISTORIANS IN DIALOGUE (Seminar) Alexander Nagel STILL THE CAPITAL IS PARIS OF THE NINETEENTH CENTURY? (Seminar) S. Hollis Clayson (Lecture) David O’Connor THE MEANING OF THE SIGNED (Seminar) Colin Eisler THE ROLE OF THE FRAMED (Colloquium) Colin Eisler IN PAINTING MONUMENTAL ROME, 1450-1655 (Seminar) William Hood AMERICAN COLLECTORS OF ART MEDIEVAL (Colloquium) Robert Maxwell ART SPANISH MEDIEVAL (Seminar) Robert Maxwell LIVING PRESENCES: GREEK GREEK LIVING PRESENCES: IN THE METROPOLITAN ART MUSEUM (Seminar) Günter H. Kopcke OF THE THE ARCHAEOLOGY GREEK CITY (Colloquium) Alexander Sokolicek A BRILLIANT COMPLEXITY: THE ART PERSPECTIVES ON OF AND ARCHITECTURE EGYPT MIDDLE KINGDOM (CA. 1975-1640 B.C.E) FROM MYCENAEAN PALACE FROM MYCENAEAN PALACE TO GREEK CITY STATE (Lecture) Günter H. Kopcke (Lecture) Priscilla Soucek 3:00PM-5:00PM Wednesday ANTIQUITY LATE OF ARTS AND NEW ROME (Lecture) Thelma Thomas OF WISE A GATHERING ANTIQUE MEN: LATE REPRESENTATIONS (Seminar) Thelma Thomas (Colloquium) Hsueh-man Shen THE GLOBAL POPULARITY AND TRADE IN BLUE-AND- WHITE CERAMICS (Seminar) Priscilla Soucek THE NEAR EAST BEFORE AND AFTER THE MONGOL INVASIONS CHINESE PAINTINGS CHINESE PAINTINGS (10TH – 14TH CENTURIES): AND DATING ATTRIBUTION (Seminar) Jonathan Hay SHENG: IN SEARCH OF YANG METHOD THE “BONELESS” AND ITS HISTORIES (Seminar) Michele Matteini SHIPWRECKS AND SUBMERGED WORLDS: CONTESTING FIELDS OF AND ARCHAEOLOGY, ART, POLITICS THEORIZING YOUR THEORIZING PROJECT (Seminar) Jonathan Hay

(Lecture) Hsueh-man Shen Fall 2015 I FOR MA FOUNDATIONS STUDENTS: PRACTICES IN HISTORY ART (Seminar, and Independent Study) (Seminar, Michele Marincola MATERIAL, RECIPE, MATERIAL, RECONSTRUCTION: NEW METHODS IN TECHNICAL HISTORY ART (Seminar and Laboratory Christine Frohnert ART WITH A PLUG: THE WITH ART OF CONSERVATION CONTAINING ARTWORK MOTION, SOUND, LIGHT, MOVING IMAGES & INTERACTIVITY (Colloquium) Dianne Dwyer Modestini CONNOISSEURSHIP: & TECHNIQUES MATERIALS OF EUROPEAN & AMERICAN C. 1200-1900 PAINTINGS, (Lecture) (Lecture) Salvador Muñoz Viñas WHY CONSERVATION? WHY CONSERVATION? UNDERSTANDING THE PRESERVATION OF & RESTORATION HERITAGE CULTURAL (Seminar) Patricia Rubin MUSEUMS AND COLLECTING MASTER CLASS Paper View The Paul Lott (Colloquium) Lectureship Barbara Boehm CURATORIAL STUDIES: CURATORIAL AND COLLECTIONS CURATING Art Art History and Archaeology Courses 2015

The Institute of Fine Arts Annual 2015-2016 64 The Institute of Fine Arts Annual 2015-2016 65

THE MUSEUM LIFE OF THE MUSEUM LIFE ART CONTEMPORARY (Seminar) Glenn Wharton CURATORIAL STUDIES: CURATORIAL COLLECTIONS CURATING A VIEW ROOMS WITH Lectureship The Paul Lott (Colloquium) Drake Amelia Peck and Barbara Boehm AND MEANING OF THE HISTORY MUSEUMS (Lecture) Philippe de Montebello CROSSROADS

ORLD W

his seminar will examine a variety of modalities of visual of visual his seminar will examine a variety of modalities arts, experience and performance in the Caribbean the nineteenth century to the present. Basin from THE

COURSE HIGHLIGHT COURSE CARIBBEAN: OF SULLIVAN EDWARD T Several sessions will be held at The Brooklyn Museum where where Museum Several sessions will be held at The Brooklyn Francisco and the Caribbean: the exhibition Impressionism (curated by Professor World Oller and His Transatlantic Other topics Aste) opens on October 2. Sullivan and Richard will include the for consideration in the first part of the course in the Caribbean c.1940, the so-called of Surrealism nature Curaçao Haitian Renaissance, “Intuitive Art” in Jamaica, Carnival pan-Caribbean manifestations of and elsewhere, Montreal, as N.Y., and Caribbean diasporas in such places course is devoted to London and Paris. The second half of the Students will present the region. contemporary arts throughout and papers on living artists, arts associations reports research and institutions, Caribbean biennials (Havana, Martinique, Santo Domingo etc.) and other forms of exhibition as well as in world-wide artistic the region the participation of artists from Biennale or Documenta. manifestations such as the Venice Forms of knowledge transmission of the arts of the region (eg. a variety of digital sites and the journal ARC ) will also be in to enroll Permission of the instructor is required considered. the course. CARIBBEAN: CROSSROADS CARIBBEAN: CROSSROADS OF THE WORLD (Seminar) Sullivan Edward TOPICS IN MUSEUM EXHIBITION STUDIES: ART 1960 AFTER HISTORY (Seminar) Bruce J. Altshuler PHOTOGRAPHY AND PHOTOGRAPHY FACTICITY (Lecture) Robert Slifkin

UNITED STATES, 1955-1962 UNITED STATES, Robert Slifkin ACADEMICISM IN THE (Seminar) HETEROGENEITY, AND HETEROGENEITY, SPECIFICITY, SPECIFICITY, EXPRESSIONISM: Kent Minturn AFTER ABSTRACT (Lecture) ART BETWEEN THE WARS THE WARS BETWEEN ART CENTURY Kent Minturn AT THE MID-TWENTIETH THE AT (Seminar) TRANSATLANTIC EXCHANGE TRANSATLANTIC Languages) - BARCELONA: of Spanish and Portuguese - NEW YORK PARIS Jordana Mendelson (Department Jordana AVANT-GARDE (Seminar) MASS CULTURE AND THE MASS CULTURE THE INCONSEQUENTIAL: Pepe Karmel AND EPHEMERA, FRIVOLITY, TO POP (Seminar) ABSTRACT EXPRESSIONISM ABSTRACT EXPRESSIONISM Jean-Louis Cohen BACK (Lecture) BERLIN TO CHICAGO AND BERLIN TO CHICAGO MIES VAN DER ROHE, FROM MIES VAN IN FRANCE UNDER VICHY IN FRANCE UNDER Jean-Louis Cohen NOSTALGIA: ARCHITECTURE ARCHITECTURE NOSTALGIA: (PhD Proseminar) MODERNIZATION AND MODERNIZATION Thomas Crow (Colloquium) LOS ANGELES 1955 TO 1995 LOS ANGELES Art History Art and History Courses Archaeology 2015 PREVENTIVE CONSERVATION and Laboratory) (Lecture Roemich and Steven Hannelore Weintraub I EASEL PAINTINGS (Seminar and Laboratory) Dianne Dwyer Modestini (Seminar and Independent Study) (Seminar and Independent Baker Cathleen Dr. & PROVENANCE DATING & STUDIES IN ART ARCHAEOLOGY (Seminar/Colloquium and Independent Study) Norbert Baer and Joan Breton Connelly SCIENCE OF ART MATERIAL & ARCHAEOLOGY I (Lecture) Norbert Baer TECHNOLOGY & STRUCTURE OF WORKS OF MATERIALS I: ORGANIC ART and Laboratory) (Lecture Conservation Center faculty and consultants Roemich Hannelore Coordinator: I ANALYSIS INSTRUMENTAL and Laboratory) (Lecture Leona Marco Dr. INDIVIDUALIZED INDIVIDUALIZED INSTRUCTION: II & ANALYSIS EXAMINATION Laboratory) (Seminar and Center faculty and Conservation consultants Fall 2015 THE TECHNICAL OF CONNOISSEURSHIP ON PAPER WORKS OF ART (Seminar and Laboratory) Conservation Center faculty and consultants (Seminar and Laboratory) Maria Fredericks OF THE TREATMENT IN THE BOUND MATERIALS & RESEARCH LIBRARY ARCHIVE (Seminar and Laboratory) Alexis Hagadorn INDIVIDUALIZED INSTRUCTION: TREATMENT WORKS OF DETERIORATED II OF ART THE CONSERVATION OF THE CONSERVATION GLASS (Seminar and Laboratory) Anderson Stamm and Drew Karen THE CONSERVATION OF PRINTS & TREATMENT II DRAWINGS (Seminar and Laboratory) Salvador Muñoz Viñas SPECIAL TOPICS IN & THE CONSERVATION EXHIBITION OF RARE BOOKS & MANUSCRIPTS (Lecture and Laboratory) (Lecture and Conservation Center faculty consultants Jean Dommermuth Coordinator: PREVENTIVE CONSERVATION and Laboratory) (Lecture Roemich and Steven Hannelore Weintraub II EASEL PAINTINGS (Seminar and Laboratory) Nica Gutman Rieppi INSTRUMENTAL ANALYSIS II ANALYSIS INSTRUMENTAL and Laboratory) (Lecture Leona Marco OF PRINCIPLES CONSERVATION

(Lecture and Laboratory) FINH- (Lecture Conservation Center faculty and consultants Sarah Barack Coordinator: TECHNOLOGY & STRUCTURE OF WORKS II: INORGANIC OF ART MATERIALS (Lecture) Roemich Hannelore COURSES FOR STUDENTS CONSERVATION SCIENCE OF ART MATERIAL & ARCHAEOLOGY II (Lecture and Independent Study) (Lecture Salvador Muñoz Viñas WHY CONSERVATION? WHY CONSERVATION? UNDERSTANDING THE PRESERVATION OF & RESTORATION HERITAGE CULTURAL (Seminar and Independent Study) Michele Marincola MATERIAL, RECIPE, MATERIAL, RECONSTRUCTION: NEW METHODS IN TECHNICAL HISTORY ART (Seminar and Laboratory and (Seminar and Laboratory Independent Study) Christine Frohnert ART WITH A PLUG: THE ART OF CONSERVATION CONTAINING ARTWORK LIGHT, MOTION, SOUND, & MOVING IMAGES INTERACTIVITY (Colloquium and Independent (Colloquium and Independent Study) Dianne Dwyer Modestini Spring 2015 Spring CONNOISSEURSHIP: TECHNIQUES & MATERIALS & AMERICAN OF EUROPEAN 1200-1900 C. PAINTINGS, Conservation Center Courses 2015 Center Conservation

The Institute of Fine Arts Annual 2015-2016 66 The Institute of Fine Arts Annual 2015-2016 67

OF

PAPER

ON (Seminar and Laboratory) and Conservation Center faculty consultants INDIVIDUALIZED INDIVIDUALIZED TREATMENT INSTRUCTION: WORKS OF DETERIORATED I OF ART Laboratory) (Seminar and and Conservation Center faculty consultants Hours to be arranged INDIVIDUALIZED INSTRUCTION: I & ANALYSIS EXAMINATION

T AL AR

OF

TECHNIC

he physical and chemical properties of works of art on art on of works of he physical and chemical properties aspect of art as an inherent paper will be considered with the close historical connoisseurship. Concurrent CONNOISSEURSHIP WORKS BAKER DR. CATHLEEN T COURSE HIGHLIGHT COURSE THE study of both traditional and modern media and techniques, study of both traditional and modern media and techniques, students will carry out complete technical examinations of one to the class. Emphasis print and one drawing for final presentation of physical evidence as it relates will be placed on the correlation intent and present-day original function, artist’s to authenticity, aesthetics. THE TREATMENT OF THE TREATMENT THE IN BOUND MATERIALS & RESEARCH LIBRARY ARCHIVE (Seminar and Laboratory) Alexis Hagadorn Hours to be arranged SPECIAL TOPICS IN SPECIAL & THE CONSERVATION OF RARE EXHIBITION MANUSCRIPTS BOOKS & Laboratory) (Seminar and Maria Fredericks

Dr. Cathleen Baker Cathleen Dr. DRAWINGS I DRAWINGS (Seminar and Laboratory) TREATMENT OF PRINTS & OF PRINTS TREATMENT Samantha Alderson THE CONSERVATION COMPOSITE MATERIALS (Seminar and Laboratory) TREATMENT OF ORGANIC & OF ORGANIC TREATMENT THE CONSERVATION THE CONSERVATION Lisa Bruno and Jakki Godfrey Lisa Bruno OBJECTS Laboratory) (Seminar and TREATMENT OF METAL OF METAL TREATMENT THE CONSERVATION THE CONSERVATION Conservation Center Courses 2015 Center Conservation (Colloquium) Bayer (Jayne Wrightsman Andrea Curator at The Metropolitan Museum of Art, Department of Paintings) with other European colleagues including Kelly Baum, Eva Reifert, and Asher Miller ARCHITECTURE IN/AS ARCHITECTURE IN/AS PHOTOGRAPHY (Seminar) Jean-Louis Cohen COMPLEXITY: CONTEMPORARY APPROACHES (Colloquium) Jonathan Hay CINEMA AND AVANT-GARDE BEFORE 1945 PAINTING (Colloquium) Kent Minturn OF AND THEORY HISTORY THE AVANT-GARDE (Seminar) Kent Minturn GLOBAL CONTEMPORARY ART (Seminar) Pepe Karmel STUDIES: CURATORIAL EXHIBITIONS UNFINISHED: THOUGHTS LEFT VISIBLE APPROACHES TO APPROACHES RESEARCH IN ADVANCED ART MODERN (Seminar) Thomas Crow AND CRAFTS ARTS OF THE METROPOLIS: 1900 ARCHITECTURE C. (Lecture) Jean-Louis Cohen (Seminar) Thomas Crow INTRODUCTION TO THE STUDY OF MEDIEVAL AND RENAISSANCE ARCHITECTURE (Colloquium) Marvin Trachtenberg VERSAILLES RECONSIDERED (Seminar) Martin Meredith AND SUBCULTURES, ART, IDEAS ON POST-WAR LONDON (Colloquium) Robert A. Maxwell WORD AND IMAGE IN ART MEDIEVAL (Seminar) Robert A. Maxwell and Kathryn A. Smith ARCHITECTURAL THEORY AND PRACTICE IN ITALIAN RENAISSANCE (Seminar) Marvin Trachtenberg (Seminar) Thelma Thomas FRAMED THE ROLE OF THE (Colloquium) Colin Eisler THE LEGEND OF THE JEW WANDERING (Seminar) Colin Eisler RECENT RESEARCH IN ART MEDIEVAL SPANISH THE “EXODUS PAINTINGS”: PAINTINGS”: THE “EXODUS PAINTING ANTIQUE LATE THE AT ON CLOTH MUSEUM METROPOLITAN OF ART”

(Colloquium) Thelma Thomas BODY AND PORTRAIT IN BODY AND PORTRAIT ANTIQUITY LATE PRESENCE (Seminar) Finegold Andrew (Colloquium) Ann Macy Roth EGYPTIAN EPIGRAPHY: EGYPTIAN EPIGRAPHY: RECORDING PHARAONIC & MONUMENTS IN THEORY PRACTICE (Seminar) Katherine Welch (Lecture) David O’Connor THE ANCIENT ROMAN EMPIRE: ASIA AND SYRIA PROVINCES (Lecture) Priscilla Soucek DREAD, INTERACTION AND HUMOR: THE FOREIGNER AND THE FOREIGN IN ANCIENT EGYPTIAN ART LATER ISLAMIC EMPIRES LATER LOST IN TRANSLATION: LOST IN TRANSLATION: ISSUES AND POSSIBILITIES (Seminar) Hsueh-man Shen (Seminar) Hsueh-man Shen THE LIBRARY CAVE AT AT CAVE THE LIBRARY DUNHUANG: DISCOVERY, CONTENTS, AND RESEARCH (Lecture) Jonathan Hay Spring 2016 Spring AND PAINTING SARDONIC: OPINION IN INDEPENDENT CHINA 18TH CENTURY Art History Art and History Courses Archaeology 2016

The Institute of Fine Arts Annual 2015-2016 68 The Institute of Fine Arts Annual 2015-2016 69 (Colloquium) Jean-Louis Cohen and Marvin Trachtenberg ARS BREVIS: THE VULNERABILITY OF ART OF AND THE INSTABILITY MEANING (Lecture) Philippe de Montebello (Seminar) Jacqueline Lichtenstein OF PSALMS IN THE ART EUROPEAN MEDIEVAL CULTURE (Seminar) Romig, Kathryn A. Smith Andrew FRANK GEHRY’S ARCHITECTURE, FROM LOS ANGELES TO THE WORLD, AND BACK (Lecture) Jean-Louis Cohen IN LITERATURE AND ART FRANCE 20TH CENTURY (Seminar) Kent Minturn THEORIES OF THE NEO- IN POST-WAR AVANT-GARDE EUROPE, 1950-1970 Ara Merjian (NYU Italian Studies) METHODS OF IN INTERPRETATION ARCHITECTURAL HISTORY EYCKIAN ISSUES: RECENTLY ISSUES: RECENTLY EYCKIAN TOO LONG REVEALED, UNKNOWN (Seminar) Colin Eisler COOK THE WALTER ARCHIVE (Seminar) Robert Maxwell AN AESTHETIC FAKE: APPROACH THE CHRISTIAN ALTAR THE CHRISTIAN ALTAR (Colloquium) Colin Eisler (Colloquium) Alexander Nagel OBJECTS PRINT CULTURE: AND MEANING (Seminar) Patricia Rubin and Mark McDonald (Curator of Prints, Metropolitan Museum of Art) THE DUTCH GOLDEN AGE (Lecture) Mia Mochizuki (Seminar) Clemente Marconi CITY OF ROME: REPUBLIC TO EMPIRE (Seminar) Katherine Welch POMPEII AND THE CITIES OF VESUVIUS (Colloquium) Katherine Welch WE STUDY: ADVANCED ABOUT NEED TO TALK EPOCHAL SHIFTS THE FUNERARY ARTS OF OF ARTS THE FUNERARY ANTIQUITY LATE (Seminar) Thelma Thomas AND GREEK ART THE ARCHITECTURE I: ARCHAIC PERIOD (Lecture) Clemente Marconi SELINUNTE THE ARTS OF MEDIEVAL OF MEDIEVAL THE ARTS FROM JERUSALEM AND EASTERN BYZANTINE PERSPECTIVES CHRISTIAN (Colloquium) Thelma Thomas

Finbarr Barry Flood TOKENS (Seminar) RELICS, SHRINES AND PILGRIMAGE: AMULETS, Michele Matteini OF ISLAMIC ARTS PRELIMINARY VIEW PRELIMINARY (Seminar) REIGN (1796-1820): A PAINTING OF THE JIAQING PAINTING Hsueh-Man Shen CHINA (Seminar) TOMB ART IN PRE-MODERN TOMB ART Hsueh-Man Shen IN 100 OBJECTS (Colloquium) RECORD Jonathan Hay OF CHINESE ART A HISTORY EVIDENCE TO THE TEXTUAL (Seminar) SURVIVING VISUAL SURVIVING INVENTORY: MATCHING MATCHING INVENTORY: THE XUANHE HUAPU STUDENTS ONLY) Jonathan Hay FOR INCOMING PHD FOR INCOMING PHD (Seminar) OF ATTITUDE (PROSEMINAR (PROSEMINAR OF ATTITUDE TOWARD AN ART HISTORY HISTORY AN ART TOWARD Kent Minturn ART HISTORY ART (Lecture) STUDENTS: PRACTICES IN STUDENTS: PRACTICES FOUNDATIONS I FOR MA I FOR FOUNDATIONS Philippe de Montebello Philippe de Fall 2016 (Colloquium IMPERFECT CONSTRUCT IMPERFECT THE MUSEUM: AN THE MUSEUM: Art History Art and History Courses Archaeology 2016 THE CONSERVATION OF THE CONSERVATION ASIAN & ARCHAEOLOGICAL OBJECTS (Seminar and Laboratory) Becker Lawrence TECHNOLOGY & OF STRUCTURE OF WORKS I: ORGANIC MATERIALS ART and Laboratory) (Lecture Conservation Center faculty and consultants Michele Marincola Coordinator: I ANALYSIS INSTRUMENTAL and Laboratory) (Lecture Leona Marco Dr. PREVENTIVE CONSERVATION and Laboratory) (Lecture Roemich and Steven Hannelore Weintraub I EASEL PAINTINGS (Seminar and Laboratory) Dianne Dwyer Modestini III: EASEL PAINTINGS STRUCTURAL TREATMENT ON CANVAS OF PAINTINGS (Seminar & Laboratory) Kristin Patterson INDIVIDUALIZED INDIVIDUALIZED INSTRUCTION: II & ANALYSIS EXAMINATION Laboratory) (Seminar and Center faculty and Conservation consultants Fall 2016 ART SCIENCE OF MATERIAL I & ARCHAEOLOGY 3 points) (Lecture, S. Baer Norbert Dr. (Seminar and Laboratory) Roemich Hannelore INDIVIDUALIZED INSTRUCTION: TREATMENT WORKS OF DETERIORATED II OF ART (Seminar and Laboratory) Conservation Center faculty and consultants (Seminar and Laboratory) Maria Fredericks OF THE TREATMENT IN THE BOUND MATERIALS & RESEARCH LIBRARY ARCHIVE (Seminar and Laboratory) Alexis Hagadorn PREVENTIVE ADVANCED CONSERVATION: OF KEY IMPLEMENTATION CONCEPTS POLYCHROMY & POLYCHROMY MONOCHROMY: & TREATMENT EXAMINATION OF WOODEN SCULPTURE (Seminar and Laboratory) Michele D. Marincola READINGS IN PAPER CONSERVATION (Seminar) Ellis Holben Margaret SPECIAL TOPICS IN & THE CONSERVATION EXHIBITION OF RARE BOOKS & MANUSCRIPTS EASEL PAINTINGS II: EASEL PAINTINGS ON SURFACES PAINTED SOLID SUPPORTS Laboratory) (Seminar and D’Augustine Corey

(Lecture and Laboratory) (Lecture Conservation Center faculty and consultants Jean Dommermuth Coordinator: (Lecture and Laboratory) (Lecture Leona Marco PRINCIPLES OF CONSERVATION INSTRUMENTAL ANALYSIS II ANALYSIS INSTRUMENTAL (Lecture and Laboratory) (Lecture Conservation Center faculty and consultants Roemich Hannelore Coordinator: and Sarah Barack (Lecture) Norbert Baer TECHNOLOGY & STRUCTURE OF WORKS II: INORGANIC OF ART MATERIALS MATERIAL SCIENCE OF ART SCIENCE OF ART MATERIAL & ARCHAEOLOGY II Nora Kennedy and Katie Sanderson and Katie Kennedy Nora ALTERATION & ALTERATION OF WORKS DETERIORATION PHOTOGRAPHIC OF ART: MATERIALS Laboratory and (Seminar, Independent Study) (Colloquium and Independent (Colloquium and Independent Study) Norbert Baer LASCAUX TO 9-11: CASE LASCAUX TO 9-11: STUDIES IN ARCHITECTURE CONSERVATION (Lectureand Independent Study) Independent Study) (Lectureand Michele Marincola Spring 2016 Spring CONSERVATION: ISSUES IN & ETHICAL HISTORICAL IN CONSIDERATIONS OF A THE DEVELOPMENT DISCIPLINE Conservation Center Courses Conservation 2016

The Institute of Fine Arts Annual 2015-2016 70 The Institute of Fine Arts Annual 2015-2016 71 TOPICS IN TIME-BASED TOPICS IN TIME-BASED MEDIA CONSERVATION and Independent Study) (Lecture and Conservation Center faculty consultants Christine Frohnert Coordinator: THE TECHNICAL THE TECHNICAL OF CONNOISSEURSHIP ON PAPER ART WORKS OF Independent Study) (Seminar and Holben Ellis Margaret IN HERITAGE CULTURAL CONFLICT TIMES OF ARMED (Colloquium and Independent Study) S. Baer Norbert Dr. Summer Institute in Technical Art History for Doctoral Students in Art History. Summer Institute in Technical INDIVIDUALIZED INSTRUCTION: TREATMENT WORKS OF DETERIORATED I OF ART (Seminar and Laboratory) and Conservation Center faculty consultants INDIVIDUALIZED INSTRUCTION: I & ANALYSIS EXAMINATION (Seminar and Laboratory) Conservation Center faculty and consultants THE TREATMENT OF THE TREATMENT IN THE BOUND MATERIALS & LIBRARY RESEARCH ARCHIVE Laboratory) (Seminar and Alexis Hagadorn A demonstration in the lab during the 2016

BOOKS & MANUSCRIPTS Maria Fredericks EXHIBITION OF RARE (Seminar and Laboratory) THE CONSERVATION & THE CONSERVATION SPECIAL TOPICS IN Margaret Holben Ellis Holben Margaret DRAWINGS I DRAWINGS (Seminar and Laboratory) TREATMENT OF PRINTS & OF PRINTS TREATMENT Fran Ritchie and Julia Sybalsky Fran Ritchie and Julia THE CONSERVATION SCIENCE COLLECTIONS (Seminar and Laboratory) STRATEGIES FOR NATURAL FOR NATURAL STRATEGIES CONSERVATION CONSERVATION Michele Marincola OBJECTS CONSERVATION OBJECTS Laboratory) (Seminar & DECISION-MAKING IN DECISION-MAKING APPLYING VALUES-BASED VALUES-BASED APPLYING Conservation Center Courses Conservation 2016

SUPPORT US Committee

Executive STEPHEN R. BECKWITH, CHAIR R. BECKWITH, STEPHEN WILLIAM L. BERNHARD DRAIZEN JANE HUBER ROBERTA MALLE GUILLAUME RUBIN (EX-OFFICIO) PATRICIA TOBEY DAVID MARICA VILCEK ALICIA VOLK Programs expand beyond New York City as well New York expand beyond Programs experiences. day-trips and global with domestic call the Connoisseurs Circle, learn about more To ifa.nyu.edu or visit our website us 212-992-5812 and click “Support Us”. Students and Connoisseurs Circle Members on a visit to the Two Palms Studio in Soho Members on a visit to the Two Students and Connoisseurs Circle

Members also receive invitations to exclusive art Members also receive designed especially for their world events that are artist studio visits to faculty- and benefit. From of exhibition tours, to visits to some curator-led finest private collections, the New York’s offers something for every Connoisseurs Circle Recent events include an after-hours, interest. Breuer; tour of the newly opened Met curator-led and a visit to the private collection of Georgia of Two Michael de Havenon; and an exclusive tour Palms print studio featuring a talk by artist Terry Winters. Special Events Course Auditing of auditing Institute the privilege Members receive of topics within art courses that cover a range Recent conservation, and archaeology. history, The de Montebello’s courses include Philippe Museums; Mies van der History and Meaning of and Back with Berlin to Chicago Rohe, From Issues in Conservation Jean-Louis Cohen; and to name a few. with Michele Marincola, Membership to the Institute of Fine Arts’ patron Arts’ patron to the Institute of Fine Membership offers unparalleled Circle the Connoisseurs group, renowned rich academic program, access to our City and York to the art world in New and faculty, beyond. Support Support Us: The Connoisseurs Circle

The Institute of Fine Arts Annual 2015-2016 74 The Institute of Fine Arts Annual 2015-2016 75

Patron

The Corporate Patron Program provides provides Program The Corporate Patron and small the opportunity for corporations with philanthropy businesses to align their objectives. Our their business and marketing an array of receive institutional supporters addition to the unique significant benefits in historic landmark ability to entertain at our learn Duke House. To building, the James B. us at please contact about the program, more (212) 992-5837. Corporate Program

Society

Members Legacy *INSTITUTE ALUMNUS/A *INSTITUTE CORRINE BARSKY CORRINE R. AND STEPHEN PATRICIA BECKWITH BRUSH* F. KATHERINE RUTH A. BUTLER* ANNE* AND JOEL EHRENKRANZ MARGARET HOLBEN ELLIS* MARIA FERA* LOTT PAUL MARINCOLA* MICHELE D. MODESTINI DIANNE DWYER OWSLEY* T. DAVID ANNE L. POULET* ROBERTS* D. JAMES ALLEN ROSENBAUM* GEORGE SMITH VIRGINIA ST. TROCCOLI* JOAN L. TRACHTENBERG* MARVIN A. WADDY* PATRICIA PHOEBE DENT WEIL* ERIC M. ZAFRAN* ANONYMOUS (5) To start planning your gift to The Institute or to alert start planning your gift to The To please contact the us you have done so already, at (212) 992-5869. Development Office The Legacy Society is a group of special alumni, of special Society is a group The Legacy the friends who have recognized and faculty, by of planning their philanthropy importance their wills and through for the Institute providing such as other gift planning arrangement, estates, or pleased are We the donor. gifts that pay income to Legacy Society of our to honor the generosity to the Institute will further art members. Their loyalty scholarship conservation, and archaeology history, to come. and discovery for years Support Support Us: Society Legacy The

Tuition support for IFA students support for IFA Tuition Fellowship Pearson Travel For student summer travel Peter Jay Sharp Foundation Fellowship tuition, living stipend provide To and travel bursary for an IFA student To support outstanding doctoral support To candidates Fellowship Marica and Jan Vilcek in Conservation conservation students support To Martin and Edith Weinberger Fund For scholarly purposes, including travel Nancy Lee Fellowship Support for outstanding doctoral candidates National Endowment for the Humanities Fellowship For the study of conservation Oppenheimer Fellowship conservation students support To Paul Lott Fellowship For doctoral candidates studying candidates studying For doctoral Modern art White Leon Levy and Shelby Fellowship For internships in the field of conservation Fellowship Lila Acheson Wallace Egyptian, For students studying Modern, Near East, Greek Ancient and Roman art Fellowship Marica and Jan Vilcek in Art History Larry Gagosian Fellowship in Larry Gagosian Modern Art

For the study of Dutch art at the IFA J. Paul Getty Trust Fellowship For internships in conservation Summer James R. McCredie Grant For student summer travel to excavations in archaeological classical lands Jean B. Rosenwald Fund For student summer travel Judy and Michael Steinhardt Fellowship Support for doctoral candidates at of the Director the discretion For students specializing in Asian art and the art of the western hemisphere and Samuel Karlan Florence Memorial Fellowship a student who presents support To and initiative evidence of creativity Bader Isabel and Alfred Fellowship in Dutch Art Elizabeth A. Josephson Elizabeth A. Fellowship History American art For the study of Latin Fellowship for Archaeological Excavation For student travel to the Institute’s sites four archaeological Florance Waterbury Fellowship Tuition assistance for doctoral assistance Tuition candidates Elkow-Muller Fellowship of Spain For the study of the arts beyond and Portugal, within and the Peninsula, 1400-1900 Fellowship B. Brodsky Estrellita for Latin American Art

Donald S. Gray Fellowship For student travel In memory of Walter W.S. Cook W.S. In memory of Walter For student summer travel to study Mediterranean art and archaeology Classical Art or Archaeology Fellowship in Honor of Leon Levy and Shelby White For doctoral candidates studying classical art and archaeology Cook Payer Fellowship For the study of ancient Egyptian art Charles and Rosanna Batchelor Fund For doctoral study in the field of Italian art Memorial Bothmer Bernard V. Fellowship Tuition assistance for doctoral assistance for doctoral Tuition candidates Bernard Berenson Fellowship For student summer travel Beatrice Stocker Fellowship Art Italy For the study of art in Altman Barbara P. Fellowship For the study of conservation Bader Fellowship in Italian For the study of Dutch art in For the study Holland Mellon Foundation W. Andrew Fellowship Endowed Fellowships Endowed Bader Fellowship Alfred Institute Fellowships Fellowships Institute

The Institute of Fine Arts Annual 2015-2016 76 The Institute of Fine Arts Annual 2015-2016 77

Humanities Fellowship Support for conservation students Matisse and Tana Pierre Foundation Fellowship the stipends for increase To doctoral candidates To support first and second year support To students at the IFA Kaplan-Fisch Fellowship tuition, stipend, and travel Provides support for the connoisseurship of paintings European La Pietra Conservation Stipends conservation students support To La Pietra traveling to Villa Leon Levy Fellowship in Conservation Archaeological financial support Provides for visiting scholars studying conservation archaeological Mario Modestini Fellowship in Paintings Conservation paintings conservation support To students National Endowment for the Support for conservation students Support for conservation Ida and William Rosenthal Foundation Fellowship incoming For the support of an student at the IFA John L. Loeb, Sr. Fellowship Elisabeth Hackspiel-Mikosch Elisabeth Hackspiel-Mikosch in Decorative Arts Scholarship of the encourage the study To arts, in particular the decorative arts or cultural study of textile history of dress. Hagop Kevorkian Conservation Fellowship

Support for outstanding doctoral candidates Dedalus Foundation Fellowship year Support for a third conservation student Hansen Student Travel Donald P. Fund support student travel and To in Ancient Near Eastern research and Mediterranean art and archaeology Annual Fellowships Mellon Foundation W. Andrew Fellowship Support for conservation students Zerilli-Marimo Travel Baroness Fund student travel and support To research Connoisseurs Circle Fellowship For study in Spain, or the study of For study in Spain, or medieval art and architecture Willner Family Fellowship including For scholarly purposes, at the travel to Israel and work Israel Museum, Jerusalem Fellowship Napoleone Valeria students specializing in support To the fields of conservation and/or curatorial students with a focus in contemporary art. Theodore Rousseau Fund Rousseau Theodore candidates who are For doctoral for museum careers, considering in the field abroad travel and study painting of European S. Cook W. Walter Fellowship

and Roman Art and The Fellowship in Greek The Fellowship in Greek candidate in the field For an outstanding doctoral To support conservation students To Archaeology in Conservation Suzanne Deal Booth Fellowship To support conservation students To Conservation Fellowship Stockman Family Foundation Art candidates Fellowship Support for outstanding doctoral Starr Foundation Stein Family Fellowship For the study of Asian art academic merit IFA students who demonstrate IFA Roslyn Scheinman assistance to tuition provide To Fellowship Fellowship to the field Robert Goldwater for Graduate Study in the Fine making distinguished contributions Robert Lehman Fellowship Arts of For students showing promise For student travel Robert Chambers Memorial Fund Robert Chambers Memorial candidates doctoral Support for outstanding fields of interest in one of Professor Krautheimer’s Krautheimer’s in one of Professor For a distinguished student working For a distinguished student Richard Krautheimer Fellowship Krautheimer Fellowship Richard

programs in art conservation programs To support training and research and research support training To Conservation Education Conservation Phoebe Dent Weil Fund for Art Weil Phoebe Dent Institute Fellowships Fellowships Institute

To support travel for students after the completion support travel for students To of their first year To support conservation students traveling to students traveling support conservation To Selinunte Fellowship Conservation The Selz Foundation conservation students Support for Grant Levy Travel Shelby White and Leon Samuel H. Kress Foundation Selinunte Fund Selinunte Foundation Kress Samuel H.

The Institute’s Excavations at Selinunte, Italy Excavations at Selinunte, The Institute’s

Rachel Davidson and Mark Fisch Fellowship and Mark Fisch Rachel Davidson candidates outstanding doctoral Support for Art Fellowship in Islamic Ettinghausen Richard Kevorkian Fund by the Hagop Fellows supported Huber Fellowship Roberta and Richard fields prior to support students working in To Modern and Contemporary Fund Aphrodisias Foundation Samuel H. Kress traveling to support conservation students To Aphrodisias Institute Fellowships Fellowships Institute

The Institute of Fine Arts Annual 2015-2016 78 The Institute of Fine Arts Annual 2015-2016 79 Terry Naini Terry Napoleone and Gregorio Valeria Helen Nash and Samuel I. Newhouse, Victoria Jr. Lucio A. Noto Michael A. O’Connor Dara J. Mitchell* and Michael Offit E. Mary Ellen and Richard Oldenburg Jr.* Oliver, Andrew Janice Carlson Oresman* Palmer Purcell The Peter Jay Sharp Foundation M. Phillips Wendy Matisse and Tana The Pierre Foundation Barbara Pine Cynthia Hazen Polsky and Leon Polsky Anne L. Poulet* Laleh Javaheri-Saatchi and Cyrus Pouraghabagher Jonathan D. Rabinowitz Cummings Rafferty* Caroline Elizabeth and Reuben Richards Robert Lehman Foundation Curtis M. Roberts* Anne N. Rorimer* Kenneth J. Rosenbaum Elaine Rosenberg Ida and William Rosenthal Foundation Mimi Rosenwald Patricia Allen Ross Lisa A. Rotmil* Bonnie Sacerdote Tina Samii Foundation Samuel H. Kress Schneider T. Fredric Schroth* Sarah W. Lois Severini* and Enrique Foster Lois Severini* and Enrique Gittes Hass Goldman Carol and James Goodale Toni Lorna B. Goodman Jane Mack Gould Diego Isabella Hutchinson and Gradowczyk Grotevant Sharon Debora A. Guthrie Elisabeth Hackspiel-Mikosch* The Hagop Kevorkian Fund S. Hedberg* Gregory Heleniak* Kathryn Moore Huber Roberta and Richard Mary and Michael Jaharis S. Kaplan Daphne R. and Tom Patricia E. Karetzky* Jr. Kelly, Joseph F. Susan and Robert Klein Stephen S. Lash Nancy Lee* Colleen Leth* Leon Levy Foundation Mary Schuette and Jay A. Levenson* Paul Lott and Javier Lumbreras Lorena Robinson Mahon* and Dorothy S. Mahon* Terrence Christina and Guillaume Malle Mary S. Manges Svetlik Mann* Claire Michele D. Marincola* James R. McCredie Medinger* Beatrix* and Gregor Maddalena Paggi* and Raffaele Mincione Mario Modestini Foundation Philippe de Montebello* Joanne D. Murphy

Sofia Chappuis Gabriella Befani Canfield* Suzanne Deal Booth* Ruth A. Butler* Debra and Leon Black Ildiko and Gilbert Butler Marguerite and Kent Glenys and Kermit Birchfield Mary Braman Buchan* William L. Bernhard and Daniel Brodsky Estrellita* Lawrence B. Benenson Lawrence Deborah Loeb Brice Patricia and Stephen Beckwith Robert A. Brawer Meg A. Armstrong* Catherine Coleman Brawer* and Antiquarium, Ltd. Dita G. Amory* The Andrew W. Mellon Foundation W. The Andrew Laurel Acevedo Laurel made since the beginning of the Momentum Campaign on September 1, 2011. of the Momentum Campaign on September made since the beginning Momentum Campaign for student support. The following list reflects commitments of $1,000 or more commitments of $1,000 or more for student support. The following list reflects Momentum Campaign We are pleased to recognize those donors to the Institute of Fine Arts who have contributed to the those donors to the Institute of Fine to recognize pleased are We from the Institute’s trustees, alumni, faculty and friends. trustees, alumni, the Institute’s from potential and unleash their ambition. We have surpassed the halfway mark having raised $31.4M million raised $31.4M the halfway mark having have surpassed We unleash their ambition. potential and historians, conservators and archaeologists have the chance to achieve their dreams, unlock their unlock to achieve their dreams, have the chance conservators and archaeologists historians, has a goal to raise $50 million for student support by the end of 2017, to ensure that future art that future ensure the end of 2017, to student support by to raise $50 million for has a goal The Institute of Fine Arts, in conjunction with New York University’s $1 billion Momentum Campaign, Momentum Campaign, $1 billion University’s with New York of Fine Arts, in conjunction The Institute Momentum Momentum Campaign Larry Gagosian Rachel Davidson and Mark Fisch Fessenden, Jr. Nancy B.* and Hart N. Judith W. Evnin Judith W. Elizabeth B. Estabrook* Estate of Robert H. Ellsworth Anne* and Joel Ehrenkranz Nancy P. Durr Nancy P. Hester Diamond The Dedalus Foundation Michael de Havenon Georgia Riley de Havenon and Riley de Havenon and Georgia Lise Scott and D. Ronald Daniel Margaret Culver Margaret Amy Kathleen Cosgrove Mariana R. Cook Evelyn Streit Cohen Evelyn Streit Eileen and Michael Cohen Charugundla Felecia Weiss and Charles H. Mariët Westermann* II Pardoe, Daniel Wolf Maya Lin and Wolf* Reva June Gina Xu Hanjing Xu Eric M. Zafran* Dale* and Rafael Zaklad Mariuccia Zerilli-Marimò Baroness Nadia Zilkha Nicholas S. Zoullas Anonymous (6) *Institute Alumnus/a Anna Marguerite McCann* and Anna Marguerite Robert D. Taggart Aso Tavitian Taylor Courtney Finch Maurice Tempelsman Cristin Tierney* Susan B. Tirschwell J. Tisch Alice M. and Thomas Julie and David Tobey Umland* Anne W. and Marica Vilcek Jan T. Alicia and Norman Volk Stark* and Michael* Ward Susan M. Wasserstein

The 2015 Graduate Students Association Executive Board.

Nancy Peretsman and Robert and Nancy Peretsman Scully Selz T. Lisa and Bernard Singer* Christine M. Smith* Betty Selly Smith St. George Virginia Soth* Lauren Deanie and Jay Stein Judy and Michael Steinhardt Eliot B. Stewart Trust Stockman Family Foundation Stephanie Stokes* Harriet K. Stratis* Suesser Mildred Momentum Momentum Campaign

The Institute of Fine Arts Annual 2015-2016 80 The Institute of Fine Arts Annual 2015-2016 81 FOR INFORMATION ON HOW YOU YOU ON HOW INFORMATION FOR THE INSTITUTE, CAN SUPPORT THE DEVELOPMENT CONTACT (212) 992-5812. OFFICE AT $5,000-$9,999 Mary Lee Baranger* Ruth Butler* Holben Ellis* Margaret Nancy B. Fessenden* Helen Frankenthaler Foundation Laleh Javaheri-Saatchi Jack A. Josephson and Magda A A G Saleh Jr. Kelly, Joseph F. Paul Lott Mary S. Manges Helen Nash Barbara Pine Patricia A. Ross Bonnie Sacerdote Smith St. George Virginia Eliot B. Stewart Stephanie Stokes* Taylor Courtney F. Alicia and Norman Volk II and Charles H. Pardoe, Mariët Westermann* Daniel Wolf Hanjing Xu Nadia Zilkha Anonymous (3) from This list includes commitments received September 1, 2015 to June 30, 2016. *Institute alumnus/a $10,000-$24,999 Steve Beckwith Patricia and H. de Havenon Havenon and Michael Riley de Georgia Hester Diamond Agnes Gund Malle Christina and Guillaume Jr and Samuel I. Newhouse, Victoria Peter G. Peterson Elizabeth B. Richards Daniel Lise Scott and D. Ronald Suesser Mildred Foundation Tavitian J. Tisch Alice M. and Thomas David and Julie Tobey Anonymous (2)

Rachel G. Wilf* World Monuments Fund World Barbara and John L. Vogelstein Harriet K. Stratis* Stockman Family Foundation Trust Deanie and Jay Stein Sheldon H. Solow Alexandra Munroe* Pierre and Tana Matisse Foundation and Tana Pierre Arthur Loeb Foundation Roberta and Richard Huber Roberta and Richard Alfred B. and Gail Engelberg Alfred Deborah L. Brice Susanne Deal Booth* Anonymous Berkley Saunders* Lauren Charles Williams II Ariel Aisiks Malcolm Hewitt Wiener Foundation $25,000-$49,999 Lisa and Bernard Selz The Hagop Kevorkian Fund Tom S. Kaplan Tom Anonymous (2) Lois Severini* and Enrique Foster Gittes James D. Roberts* $50,000-$99,999 Brodsky Daniel and Estrellita* Valeria and Gregorio Napoleone and Gregorio Valeria Leon Levy Foundation Nancy Lee* Larry Gagosian Anne* and Joel Ehrenkranz Anonymous (3) $100,000-$999,999 Fund Kimball Brooker T. Jan T. and Marica Vilcek Jan T. Judy and Michael H. Steinhardt Maddalena Paggi* and Raffaele Mincione Maddalena Paggi* and supporters. $1,000,000-$6,000,000 Mellon Foundation W. The Andrew We gratefully acknowledge the generosity of our of our the generosity gratefully acknowledge We of art historians, conservators, and archaeologists. archaeologists. conservators, and of art historians, Institute’s mission to educate future generations generations mission to educate future Institute’s Philanthropy plays an essential role in fulfilling the in fulfilling the essential role plays an Philanthropy Annual Annual Donors to the Institute