DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER

FALL 2018 826schermerhorn

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from the chair’s office NEW FACULTY Dear Students, Colleagues, and Friends,

The last months have been a dynamic period for the department. The fall brought the arrival of several remarkable new colleagues. Zeynep Çelik Alexander is a scholar of modern architecture, though her work also crosses into a number of other fields. Her first book,Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design, appeared last year from University of Chicago Press. Before moving to Columbia, she was a professor and associate dean at the University of Toronto. Lisa Trever arrives as our new Bernard and Lisa Selz Associate Professor of Pre-Columbian Art. An expert in the art of the ancient Andes, she exemplifies the department’s joint commitment to the history of art and archaeology. She was the primary author of The Archaeology of Mural Painting at Pañamarca, Peru, published in 2017 by Dumbarton Oaks. She GREGORY BRYDA ZEYNEP ÇELIK ALEXANDER LISA TREVER comes to Columbia from the University of California, Berkeley, where she Assistant Professor of Western Medieval Associate Professor of Architectural Lisa and Bernard Selz Associate Professor in had taught since 2013. The Barnard Art History Department welcomes Art and Architecture History since 1800 Pre-Columbian Art History and Archaeology

Gregory Bryda, a specialist in German medieval art. Greg completed his I am delighted to join Barnard’s Department I am thrilled to be joining Columbia’s Columbia University has been one of the PhD at Yale in 2017; he spent the last year teaching in Hong Kong. of Art History this fall as an assistant professor Department of Art History and Archaeology most influential places for Pre-Columbian Our new faculty members arrive to a transformed physical space. The in medieval art. It is a privilege to return as associate professor of architectural art history since the field’s founding in the to to work alongside the many history specializing in the period since the in the mid-twentieth century. move of the Wallach Art Gallery to the beautiful Lenfest Center on 129th experts in the field of medieval studies within Enlightenment in Europe and beyond. I am The department is further distinguished by the Street allowed the department to devote part of the former gallery space the Columbia community and across the currently at work on a book titled Cabinets, Lisa and Bernard Selz Chair in Pre-Columbian to the new Mary Griggs Burke Center for Japanese Art, which is thriving, Northeast. Drawers, Shelves: Nineteenth-Century Art and Archaeology—one of only two of its My research centers on medieval life- Architectures of Data, an account of nineteenth- kind in the nation. After five years on the art with a regular stream of visiting faculty and postdoctoral fellows. It also worlds of northern Europe. The book I am century architectures that may be seen as history faculty at UC Berkeley, I am honored enabled the department to construct a new lecture hall, a new seminar currently writing examines the proliferation precursors to today’s databases. Though its to join the Columbia faculty and receive room, and a new conference room, as well as several new offices. We also of vegetation in the art and literature of subject matter is a departure from my first the torch that the Selz chair represents. My late Gothic Germany. It shows how natural monograph, Kinaesthetic Knowing: Aesthetics, research focuses on the art, architecture, used the occasion to refresh other parts of the department, repainting the greenery conveyed divinity in the processes Epistemology, Modern Design (University and visual culture of South America, with eighth-floor and ninth-floor corridors and the main office for the first time of cultivating the earth and balancing the of Chicago Press, 2017), the new book also special interests in mural art and in the in more than thirty years. everyday rhythms of the lived environment, explores the epistemic infrastructures of extraordinary forms of plastic imagination outside church walls. An article based on its architectural modernity. The question of how seen in ancient Moche art of northern Peru. Our summer programs are flourishing as never before. For the fourth chapter analyzing the Isenheim Altarpiece epistemology and aesthetics have historically Other abiding interests involve later histories year in a row, we collaborated with the Department of Music to offer Art was published in the summer 2018 issue intersected informs my two forthcoming of encounter, reception, appropriation, and and Music Humanities at Reid Hall in Paris, and for the first time ever, we of The Art Bulletin. With Katherine Boivin co-edited volumes as well: Architecture and activism pertaining to Pre-Columbian art. My BACK ROW FROM LEFT:Alexander (), I am editing the volume of Technics: A Theoretical Field Guide to Practice publications include the 2017 monograph The Alberro, Barry Bergdoll, Stefaan Van offered this joint program in . Our course offerings and other opportunities in Venice continue to expand Liefferinge, Francesco de Angelis, conference proceedings for “Riemenschneider (University of Minnesota Press; co-edited Archaeology of Mural Painting at Pañamarca, Elizabeth Hutchinson, Z. S. Strother, and Casa Muraro has now undergone the first phase of an important renovation. in Situ,” which brought together specialists in with John J. May), a collection of essays Peru (partially co-authored with Peruvian Zainab Bahrani, Holger A. Klein, late Gothic sculpture last summer in southern on techniques that have come to dominate collaborators) as well as articles in Res, Meredith Gamer, Robert E. Harrist Jr., Among the stand-out events of the year were a workshop that Eleonora Pistis and Michael Waters Eleonora Pistis, Anne Higonnet, Gregory Germany. the design disciplines today, and Evidence Ñawpa Pacha, History of Photography, and Bryda, Michael Cole, Jonathan Reynolds, hosted for architectural historians at Avery Library, and the eighth iteration of our annual graduate symposium Last year while teaching at the University and Narrative in Architectural History (co- The Art Bulletin (forthcoming), and various Lisa Trever, Frédérique Baumgartner, with Cambridge University, which has allowed dozens of our students both to present their work and to get to of Hong Kong, I travelled extensively edited with Daniel Abramson and Michael edited volumes in both English and Spanish. Jonathan Crary, Zeynep Çelik Alexander, Ioannis Mylonopoulos, Avinoam Shalem, know peers in another top institution. As always, we hope you will visit, whether to attend a Bettman Lecture to photograph major cultural sites and Osman), a volume that explores new forms of Presently I am completing the manuscript for Diane Bodart. artworks in South, Southeast, and East Asia history writing. I am an editor of the journal my next book, Image Encounters: Moche Murals or an event in another of our other series or simply to say hello. Do not miss the brilliant exhibition Posing in preparation for teaching the large global Grey Room and a member the Aggregate and Archaeo Art History. I look forward to NOT PICTURED: Vidya Dehejia, Noam M. Elcott, David Freedberg, Kellie Jones, Modernity, which alumna Denise Murrell curated at the Wallach. It runs there until February. survey course, Introduction to Art History I. Architectural History Collaborative. I come recruiting graduate students in all areas of Pre- Branden W. Joseph, Rosalind Krauss, Fortunately, where digital reproductions fall to Columbia from the University of Toronto, Columbian art history and continuing to build Janet Kraynak, Matthew McKelway, short, New York’s unparalleled collections can where, in addition to teaching graduate this important program. Simon Schama, Michael J. Waters. With best wishes for the holiday season, breathe new life into many of the cultures I students, I took an active administrative will introduce to the extraordinary students role, especially with regard to curriculum at Barnard and Columbia. development. At Columbia, I am looking Cover: Schermerhorn Hall under forward to continuing such institutional construction, September 1896. Image Michael Cole courtesy of Columbia University engagements while advising undergraduate Archives. Professor and Department Chair and graduate students and teaching in my area of specialization. 3 Undergraduate Travel Seminar: Columbia Summer in Greece: Art, Roman Germany Art and Music Humanities in Berlin

Shaping Renaissance Rome Environment, and Curation THE CENTER FOR THE ANCIENT MEDITERRANEAN FOLLOWING THE OVERWHELMING POPULARITY of the (CAM) at Columbia University sponsors an academic excursion each joint Art and Music Humanities summer program initiated in 2015 at INVESTIGATING THE ARCHITECTURAL and urban history of ESTABLISHED IN 2017, Columbia Summer in Greece: Art, year that provides graduate students with an opportunity to study the the Columbia Global Center at Reid Hall in Paris, the Departments Renaissance Rome, this year’s travel seminar sought to understand how Environment, and Curation is an opportunity for undergraduates to art and archaeology of a Mediterranean region or specific country. of Art History and Archaeology and Music have, once again, teamed the Eternal City built upon the past. Our spring break trip was a critical engage in a diachronic and interdisciplinary study of Hellenism and to This year’s trip, organized by Francesco de Angelis and Holger Klein, up to pilot a joint program—this time in Berlin. Taught by Professors opportunity to experience and study first-hand the city as a progressive organize an art exhibition in which they participate both as artists and focused on the history, art, and culture of Roman Germany from the Walter Frisch and Holger Klein with the assistance of art history PhD series of overlapping interventions. We began our journey by focusing curators. This six-week-long summer course is structured around the Early Imperial to the Late Antique period and beyond. Following an candidate Leah Werier, the new summer program was attended by on thickly layered ancient and medieval sites, such as the Crypta study of texts, films, art, and architecture; site visits, field trips, and intense month of preparation with seminar sessions and guest lectures sixteen students from Columbia College, General Studies, and the Fu Balbi, Imperial fora, and San Clemente. We then fixed our attention walking tours that explore remnants of the past (Ancient Greek, on campus, students arrived in Germany in the crushing heat of August Foundation School of Engineering and Applied Sciences. In addition to on the densely populated Renaissance neighborhoods of the Campus Roman, Byzantine, and Ottoman) in contemporary urban settings; to visit four of the most important Roman cities in the Rhine-Mosel regular class meetings at the CIEE Global Institute in Berlin-Kreuzberg, Martius to learn how buildings and urban space were shaped by hidden and workshops about the stages of creating and curating art for an region—the Colonia Claudia Ara Agrippinensium (), Colonia students and instructors met for tours and study sessions at various ancient monuments, by what means medieval porticos and streets were exhibition. Students work closely with Columbia faculty, Greek artists, Ulpia Traiana (Xanten), Augusta Treverorum (Trier), and Mogontiacum museums across Berlin, including the Altes Museum, Bode-Museum, transformed in the fifteenth century, and the ways new monumental and internationally established curators to gain first-hand experience (Mainz)—as well as a number of other sites, monuments, and museums Gemäldegalerie, Alte Nationalgalerie, Museum Berggruen, and Neue roads, such as the Via Giulia, were carved into the cityscape. In in the theoretical and practical challenges of organizing and presenting along the limes, such as the castrum (known as the Saalburg) near Nationalgalerie/Hamburger Bahnhof. Field trips to Potsdam, Dresden, tandem with this study, we inspected lesser known structures as well as a group show. The 2017 exhibition was held in the historic town hall of Bad Homburg; the Igeler Säule, a richly decorated funerary monument Meissen, and Leipzig further enriched the students’ pedagogical monumental palaces and churches, spent a day across the Tiber looking Ermoupolis (designed by architect Ernst Ziller) on the island of Syros. of a family of cloth merchants near Trier; and King Ludwig I of Bavaria’s experience, allowing for in-depth study of Raphael’s Sistine Madonna at villas and the Vatican, and dedicated an afternoon to the buildings Titled Cross-Sections, it explored layered landscapes as both physical nineteenth-century re-imagining of a Pompeian villa, or Pompeianum, and the treasures of the Grünes Gewölbe in Dresden as well as an of Michelangelo. We were also fortunate to be in Rome on the one day and intellectual sites through painting, film, and installations. The 2018 in Aschaffenburg. The group was joined by Gabriel Rodriguez of the exploration of the architectural monuments and Gothic cathedral at each year the Massimo family opens their palace to the public, giving exhibition, Who let these kids in here?, was a reflection on subjectivity in Media Center, who produced extensive photographic documentation Meissen. The rich art historical offerings were supplemented by an us the extraordinary opportunity to examine its courtyard and see the experiencing cultural “otherness.” The students created artist books that that will be made available for the research and teaching purposes of the extraordinary array of musical performances which included Richard palace in action, including a continuous mass attended by members were exhibited in the artist-run studio space 3 137 in Athens. department’s faculty and students. Wagner’s Flying Dutchman at the Semper Opera in Dresden, an organ of the family, clergy, and cardinals. On the final day, students worked concert at the Thomaskirche in Leipzig (where Johann Sebastian Bach in groups to intensely scrutinize small sections of the city. They later IOANNIS MYLONOPOULOS FRANCESCO DE ANGELIS once served as cantor), and several superb in- and outdoor concerts contextualized this on-site analysis back in New York to create a series Classical Art and Architecture Classical Art and Archaeology in different venues across Berlin. The great success of this year’s pilot of exceptional final presentations. program gives us hope for an expanded offering of two sections of Art It was a great privilege to work with a remarkable group of VIDE HOLGER A. KLEIN and Music Humanities in Berlin in 2019. undergraduates whose boundless enthusiasm, intelligence, and Early Christian and Byzantine Art and Archaeology inquisitiveness enlivened each day. The seminar also provided the HOLGER A. KLEIN opportunity for Tim Trombley from the Media Center to create a series Early Christian and Byzantine Art and Archaeology of interactive panoramas, which can be accessed here: https://mcid. mcah.columbia.edu/art-atlas/shaping-renaissance-rome. Thank you to the Riggio Program Fund for Undergraduate Support for making the trip possible, and a special thanks to PhD candidate Sophia D’Addio, who brilliantly assisted with all the logistics.

MICHAEL J. WATERS Renaissance Architecture

Still from video “Breathing in Paint” by Blair Wilson and Lily Wisdom, 2017. Cross-Sections, Town Hall of Ermoupolis, Syros Island. Image courtesy of the Columbia Program in Hellenic Studies.

Michael J. Waters and travel seminar participants at the Imperial fora in Rome. Photograph by Artist book by Hali Woods. Who let these kids in here?, 3 137 Gallery, Athens. Image courtesy of the Francesco de Angelis and graduate students in front of the Igeler Säule (c. 250 AD) Art and Music Humanities students outside the Hofkirche in Dresden. Photograph Sophia D’Addio. Columbia Program in Hellenic Studies. near Trier. Photograph by Holger A. Klein. by Holger A. Klein.

4 826 SCHERMERHORN 5 Schermerhorn Renovations

AFTER THE RECENT MOVE of the Miriam and Ira D. Wallach Art stripped and lightened and the original deep green terrazzo was left Gallery to the new Lenfest Center for the Arts, the Department of Art intact. Custom wall-to-wall bookshelves were milled for the faculty History and Archaeology underwent one of the most extensive renova- offices and the Burke Center that echo the style of the building’s original tions it has seen in nearly three decades. The west end of Schermerhorn woodwork. Hall has been transformed to include much-needed and appreciated Also for the first time in several decades, the hallways of the eighth new additions. On the southern side is the elegant new Mary Griggs and ninth floors were repainted. They are now a soft grey that high- Burke Center for Japanese Art. Funded by a gift from the Mary Griggs lights the terrazzo flooring and lightens the interior. A new Information Burke Foundation, it provides offices for the Burke Center’s director, Technology room has been created, which, when fully outfitted, will visiting scholars, and administrators, as well as room for a small library. improve the quality of internet service in the department. The main The renovated west end is now home to three new faculty offices; a office has been painted and re-carpeted, and on the walls now hang an state-of-the art lecture hall; a new seminar room, also state-of-the-art; exciting array of artworks from Columbia’s Art Properties collection: a small conference room that can be used for dissertation proposal a sixteenth-century Kano School Japanese folding screen; Robert meetings and defenses; and a reception area for departmental and Rauschenberg’s 1977 Chow Bag screenprints with collage: “Goat Chow,” Burke Center events. “Hog Chow,” and “Mink Chow;” and a series of prints from the Wallach The space was designed by Matiz Architecture and Design, under Art Gallery’s November 2015 exhibition, Romare Bearden: A Black the guidance of Columbia project manager Olivia Freeland, and in Odyssey—a nod to the Wallach’s former presence in Schermerhorn Hall. close consultation with the department’s 2017–18 Space and Planning A special thanks, too, to the department office team—Faith Committee. The design combines elements of Schermerhorn’s original Batidzirai, Emily Benjamin, Chris Newsome, Jared Stickley, and architecture, such as the dark wood doors and moldings, with modern Sonia Sorrentini—and the Media Center’s Gabriel Rodriguez for their touches such as bright white walls and soft indirect lighting. The original invaluable help in all aspects of the renovation, from logistics to design oversized McKim, Mead & White windows facing south and west were choices. uncovered to let in natural light. The existing oak floors were EMILY ANN GABOR

left: Ninth floor, Schermerhorn Hall. Photograph by Eleanor Templeton/ Columbia University Facilities & Operations.

bottom left: 807 Schermerhorn, a new lecture hall. Photograph by Eleanor Templeton /Columbia University Facilities Frédéric Bazille, Young Woman with Peonies, 1870. Oil on canvas, 23 5/8 × 29 9/16 in. (60 × 75 cm). National Gallery of Art, Washington, DC. Collection of Mr. and Mrs. Paul Mellon. & Operations. Image courtesy of the National Gallery of Art, Washington, DC.

bottom right: The new conference room in the Burke Center. Photograph by Eleanor Templeton/Columbia University Facilities From Dissertation to Wallach Art Gallery to the Musée d’Orsay & Operations. A COLUMBIA PhD DISSERTATION has become a star exhibition crucial help from Elizabeth Easton, founder of the Center for Curatorial at the Wallach Art Gallery and will be expanded into a major French Leadership—a program several Columbia PhD students have partici- national exhibition at the Musée d’Orsay in Paris this spring. Denise pated in to great success. A postdoctoral research scholarship from the Murrell’s Posing Modernity focuses on the role of the black model in Ford Foundation quickly followed. The exhibition catalogue, published the development of modern art. From Manet’s iconic Olympia onward, by Press, adapts Murrell’s dissertation. the exhibition demonstrates, key works of art have expressed the inter- By the end of September, Vogue magazine was promoting section of race, class, and gender at the heart of modernity. the exhibition, and no sooner had it opened on October 24 than the Never before has the Wallach been able to borrow works of such New York Times included a full-page account in its special Exhibitions stature as Manet’s portrait of Jeanne Duval, mistress of Baudelaire, and section and New York Magazine listed it as “highbrow brilliant” in its his portrait of Laure, the model for the figure of the maid inOlympia , approval matrix. An expanded version of the Wallach show will become or Bazille’s portrait of a woman selling flowers or Matisse’s 1946Woman the principal exhibition of the spring season at the Musée d’Orsay. in White. Paintings and sculptures are contextualized with archival There, the exhibition will revolve around Manet’sOlympia , with key photographs, correspondence, and films. The show closes with deeply earlier works by Benoist and Géricault as well as later masterpieces by thoughtful works by contemporary artists such as Mickalene Thomas, Gauguin, Rousseau, and Matisse. which look back to the nineteenth-century works the show opens with, Posing Modernity is on view at the Wallach through February 10 and offering us new perspectives on our past. Black Models from Géricault to Matisse will run at the Orsay from March Posing Modernity has its origins in a Columbia graduate seminar on 26 to July 14. Manet given in 2009. A term paper started to become a dissertation in 2011. After a dissertation defense in 2013, the project was championed by ANNE HIGONNET the Wallach Art Gallery under the directorship of Deborah Cullen, with Nineteenth-Century Art

6 826 SCHERMERHORN 7 Style Revolution Mary Griggs Burke Center for Japanese Art: Faculty Trip to IN THE FALL OF 2017, my graduate seminar, which included That summer, the DesignMuseum Danmark in Copenhagen, students from Columbia, Bard, and NYU, created a website that makes holder of the only known complete copy of the Journal’s 1797–1804 text FROM MAY 11 TO MAY 22, 2018, Matthew McKelway led a group of col- available 499 radical fashion plates and tells the story of the most in a public collection, agreed to digitize it. Soon, the digitized plates on leagues from the Department of Art History and Archaeology on a trip to Japan sudden, complete, and short-lived upheaval in clothing history. Students Style Revolution will be reunited with the lively descriptions and articles sponsored by the Mary Griggs Burke Center for Japanese Art. Midori Oka, were charged with inventing a digital mode of visual critical edition, and that make them even more historically remarkable. associate director of the Burke Center, assisted with planning, logistics, and the result is Style Revolution: https://stylerevolution.github.io/. The For centuries, sumptuary law, calibrated according to the value translating for the group during their tour, which is envisioned as the first of many site includes maps, a timeline, a macroscope, essays, color guides, and of clothing materials, had upheld European social status hierarchies. such excursions intended to introduce members of the department to Japan—its clothing glossaries, all based on primary sources and original research. Immediately after the Terror phase of the French Revolution, Parisian academic discipline of art history, and its vibrant visual culture. Alexander Alberro, The students’ raw material consisted of digitized 1797–1804 women and men led a revolt against clothing tradition that swept Francesco de Angelis, Anne Higonnet, Kellie Jones, Holger Klein, and Eleonora plates from the Journal des dames et des modes. This Parisian magazine through Europe and North America. Fashion mavens of both sexes Pistis all participated. Professor Emerita Miyeko Murase, whose decades-long dominated fashion from its inception in 1797 through the Napoleonic proclaimed that their garments should use democratically available friendship with Mary Burke established the foundation for the Burke Center, era: Napoleon himself said that he had conquered the masculine half of materials to express personal style choices. For men, rebellion against and Ellen Rosand (Yale), widow of the late David Rosand, also joined. Beginning Europe, while the Journal des dames et des modes conquered the feminine the sartorial past produced the solid-color three-piece suit we still in , the group viewed exhibitions at the Nezu Museum, Tokyo National half. I discovered an extremely rare set of these plates at the Morgan know today. For women, however, it meant both a political decision Museum, and Mori Museum. They continued to and Nara to see temples, Library & Museum, which inspired me to begin their digitization in and a violation of gender norms. From one year to the next, high shrines, and exhibitions in those ancient cities, and spent a day on the island of collaboration with the Morgan. fashion jettisoned the restrictive, cumbersome underwear, vast skirts, Naoshima to view the extensive site-specific art installations and contemporary In the spring of 2018, my seminar of Columbia and Barnard and teetering shoes that had marked femininity. Instead, style leaders architecture there. A climb through scaffolding to witness structural restoration undergraduates created an Instagram to showcase the plates in a among women adopted tailored jackets, flat shoes, draped shawls, and and roofing techniques in the Main Hall of Kiyomizudera, one of Kyoto’s oldest contemporary idiom. The Instagram features students modeling dresses so straight and light that Frankenstein’s author Mary Shelley temples, was one of many highlights of the expedition. reinterpreted revolutionary outfits and informative posts on topics such said they looked more like curtains than gowns. Napoleon, scandalized as red victim-ribbons and the invention of the handbag. It launched by the freedom these clothes represented, began to roll back women’s MATTHEW cM KELWAY in June 2018 and can be found at https://www.instagram.com/ revolutionary fashion on the occasion of his coronation in 1804. By Takeo and Itsuko Atsumi Professor of Japanese Art History style_revolution_journal/. 1825, women were obliged to wear more highly gendered and elaborate clothes than ever. below: Fashion plates from the Journal des dames et des modes, 1797–1804. Images courtesy of the ANNE HIGONNET Morgan Library & Museum. Nineteenth-Century Art Movement and Materiality in Japanese Art

THE MARY GRIGGS BURKE CENTER’s inaugural symposium, Movement and Materiality in Japanese Art, was held on March 9–10, 2018. The event began with a keynote lecture by Midori Sano, professor of Japanese art at Gakushūin University in Tokyo, and was followed by presentations from leading scholars around the world. Presentations included topics such as the relationship between Buddhist painting methods and the creation of religious visions, the re-purposing of sacred wood and other materials, the re-framing of literary works, and the methods by which objects created conduits to certain physical places. clockwise from upper left: The symposium concluded with a dinner and a viewing for Ryoanji, Kyoto, with Ellen Rosand, the participants hosted by Dr. John Weber. We are grateful Eleonora Pistis, Anne Higonnet, for the support of our friends and colleagues from near Alexander Alberro, and Francesco de Angelis. and far who took the time to attend the event and we look Todaiji monastery, Nara, with Ellen forward to many more in the future. Rosand, Elenora Pistis and Anne Higonnet. TALIA ANDREI and MIRIAM CHUSID Upper level of Sanmon Gate, 2016–18 Mary Griggs Burke Center Postdoctoral Fellows Nanzenji monastery, Kyoto, with Kellie Jones, Eleonora Pistis, Holger A. Klein, and Ellen Rosand. above: Mandala of Wakamiya of Kasuga Shrine (Japanese, early fourteenth century); hanging scroll; ink, color, gold, and cut gold on silk; image 75.6 x Kiyomizudera, Kyoto. Matthew 38.1 cm. The Metropolitan Museum of Art: Lila Acheson Wallace Gift, 1997, McKelway observing roofing and Gift of the Mary and Jackson Burke Foundation, 2015. restoration.

8 826 SCHERMERHORN 9 The Future of the Past New Directions in British Art Columbia Early Modern Architecture

THE THIRD MEETING OF The Future of the Past took place at MEREDITH GAMER AND ELEONORA PISTIS are planning a Workshop major international conference exploring new directions in the fields the Columbia University Middle East Research Center, Amman, in THIS YEAR, Eleonora Pistis and Michael Waters launched the of British art and architectural history, 1500–1900. At present, the February 2018. These meetings bring together archaeologists and Columbia Early Modern Architecture Workshop, a venue for architectural study of British art history and British architectural history remain museum professionals from Iraq and Syria with colleagues from historians to present and discuss their research with scholars and graduate largely separate endeavors. This event aims to place them in dialogue New York and Istanbul. This year, Gabriel Rodriguez of the Media students while also engaging with the rich collections of , and, in doing so, to test, blur, and redraw the boundaries of each. Center presented a report on the Mapping Mesopotamian Monuments especially those of Avery Architectural and Fine Arts Library. Speakers from diverse disciplines—including art history, architectural documentation in Iraqi Kurdistan. The first intensive, closed-door At the fall workshop, Italian Academy Fellows Dario Donetti history, environmental history, and the history of technology—will workshop in 2015 was organized with the Columbia Global Center, and Mauro Mussolin, Weinberg Fellow Francesco Marcorin, Mellon address topics ranging from the shaping of land to the drawing of Istanbul, soon after ISIS had taken over Mosul. I asked Dr. Joan Aruz, Postdoctoral Fellow Mari Yoko Hara, and Michael Waters explored borders; from painted scrolls to printed books; and from practices of then Curator in Charge of the Department of Ancient Near Eastern Art Renaissance architectural drawings, treatises, and their afterlife in relation mapping and gardening to those of surveying, sailing, and speculation. at the Metropolitan Museum of Art, to partner with us on the Istanbul to material held at Avery Library. The spring workshop, which highlighted Ultimately, the goal is to pave the way for a new, integrated history workshop. She enthusiastically agreed, and brought the Met into the research on Giovanni Battista Piranesi and was moderated by Eleonora of the visual arts and the built environment in early modern Britain Pistis, featured John Pinto and Carolyn Yerkes (Princeton University), project to offer museum expertise. In 2016, the second workshop was and its empire. Generously funded by the Lee MacCormick Edwards Heather Hyde Minor (University of Notre Dame), and Weinberg Fellow held at the Columbia Global Center, Amman, and was followed by Foundation, the conference will be held in the department in spring Christoph Frank (Accademia di architettura, Università della Svizzera a series of photographic training sessions that took place at ACOR 2019. Amman, which is under the directorship of barbara porter ’01 PhD. italiana). Minor, Pinto, and Yerkes introduced “Piranesi on the Page,” a collaborative book project and forthcoming exhibition which sets I am indebted to Barbara Porter for hosting these workshops, and MEREDITH GAMER Piranesi against the grain of dominant scholarly trends by considering him especially to Joan Aruz for bringing in the Met to partner with us on Eighteenth- and Nineteenth-Century British Art The Future of the Past and bringing in additional financial support from as a maker of books, not just prints. Frank presented his current research project which calls for a re-evaluation of Piranesi’s workshop practice as the Whiting Foundation for the 2016 and 2018 meetings, when cameras, ELEONORA PISTIS well as the dissemination of his ornamental language throughout Europe. photographic equipment, and training in museum photography were Seventeenth- and Eighteenth-Century European Architecture provided for the museums of Iraq by Met staff. and Antiquarianism If you would like to be included on the mailing list for future events, please email [email protected]. ZAINAB BAHRANI Ancient Near Eastern Art and Archaeology ELEONORA PISTIS Seventeenth- and Eighteenth-Century European Architecture and Antiquarianism Casa Muraro during renovation. Photograph by Holger A. Klein. MICHAEL J. WATERS Renaissance Architecture Casa Muraro in Venice

IN THE FALL OF 2014, the department announced a fundraising campaign to honor the legacy of our former colleague David Rosand, who passed away on August 8, 2014. As 826 Schermerhorn goes to press, the department is pleased to announce that the first phase of the renovation of Casa Muraro, the house and library of David’s mentor and colleague, Michelangelo Muraro, is about to be concluded. Special thanks are due to the Rosand family, Carol T. and John G. Finley, and Caroline A. Wamsler and DeWayne Phillips, whose generous gifts and support have been critically important for the renovation underway at Casa Muraro. We would also like to acknowledge generous grants from the Packard Humanities Institute and the Morris and Alma Schapiro Fund that will help underwrite the first five years of academic programming at Casa Muraro with funding for faculty and graduate student research in Venice starting this year.

HOLGER A. KLEIN Faculty Director, Casa Muraro

The spring 2018 workshop in session at Avery Library, with John Marciari, Denise La Monica, Eleonora Pistis, Teresa Harris, Robin Middleton, Mary McLeod, and Christoph Frank. Fallen rock relief sculpture of a lamassu in the river at Khinnis, Iraqi Kurdistan. Gabriel Rodriguez photographing other reliefs in the background. Photograph by Zainab Bahrani. Photograph by Michael J. Waters.

10 826 SCHERMERHORN 11 News from the MA in Art History MODA Curates 2018 MODA Curates 2018 Keppel Collection, Digitized

Program Anna Bella Geiger: Here is the Center New Talent KNOWN IN THE 1880s as one of the most important New York dealers in contemporary prints, the Irish-American print dealer, THE SECOND ITERATION OF “MA in Art History Presents,” AS PART OF THE 2018 EDITION of MODA Curates, I organized a DURING THE 1960s AND EARLY 1970s, the rise of computer Frederick Keppel (1844–1912), and his firm Frederick Keppel & Co. an initiative launched in 2017 offering MA students an opportunity to focused survey of early videos, photographs, and prints by the Brazilian technology resulted in a short-lived but fervid moment of artist- (1868–1940) were instrumental to the formation of print collections curate an exhibition based on Columbia University’s art collection, conceptual artist and innovator Anna Bella Geiger at the engineer collaborations that provided a range of artists, filmmakers, in the United States. As both a dealer and a scholar, Keppel used his opened this fall at the Wallach Study Center for Art & Architecture Wallach Art Gallery. Taking its title from her 1974 photoetching Aqui é poets, and musicians with a new set of tools and an evolving publications to promote the Etching Revival, setting the tone for print in Avery Library. The centerpiece of this year’s exhibition—titled o centro no. 2, Anna Bella Geiger: Here is the Center oriented the artist’s theoretical, formal, and material relationship to technology. Pairing collecting in America. Looking East: James Justinian Morier and Nineteenth-Century Persia— output from the 1970s around her sustained interest in the motif of films and poems created through such interdisciplinary partnerships I was honored to receive a 2017 Caleb Smith Memorial Fellowship, is the ca. 1818 portrait of British author and diplomat James J. Morier the center, underscoring, in particular, her use of alternative media at Bell Laboratories with contemporary artists’ and technologists’ which allowed me to create a digital archive of the nineteenth-century (ca. 1780–1849) that was acquired in 1928 by George A. Plimpton to confront the paradigms that structure knowledge, experience, and interventions, New Talent presented works which explore the nexus etching collection given by Keppel’s sons to Avery Architecture and (1855–1936) and eventually donated to Columbia. The painting, culture. between art, technology, and poetry. Titled after artist and filmmaker Fine Arts Library in 1914. By reuniting Keppel’s work with the prints attributed to George Henry Harlow (1787–1819) and portraying Questioning, inverting, and retooling the notion of a single and Stan VanDerBeek’s 1970 article “New Talent—The Computer,” he sold and collected, this project seeks to demonstrate his role as a Morier wearing traditional Qajar Persian clothing, is presented unvarying center point, Geiger conceived of it instead as fluid and the exhibition examined artistic practices that self-consciously pioneer for the print business in America, in hopes of generating future alongside illustrated travelogues and novels focusing on Persia that inconstant, characterized by, as she wrote in 1972, its ability to investigate the laws of technology while simultaneously finding scholarship. This project is part of my larger interest in and commitment Morier originally published between 1812 and 1824, held today by shift “from the inside to the outside.” This survey highlighted her means in which to creatively disobey them. to digital art history—a major aspect of my current role at the Frick. Columbia University Libraries. While conceiving Looking East, varied applications of this symbolism to address Eurocentrism, Organizing New Talent was an opportunity to explore a I am grateful for the help and guidance of Roberto Ferrari, curator of students learned about painting authentication with Robert Simon, neocolonialism, and the Brazilian military dictatorship in works that topic central to my graduate research and to think about historical Art Properties, and my advisor, Anne Higonnet. president of Robert Simon Fine Arts; curatorial practice with Susan playfully deconstruct maps, switch between perspectives, and plot moments of technological transformation in connection with Galassi, senior curator at the Frick Collection; and book conservation public sites of contestation. With the support of the Wallach, I also contemporary concerns. Acquiring hands-on curatorial practice was SARAH BIGLER, ’18 MA with Alexis Hagadorn, head of the Columbia University Libraries organized and moderated a conversation between Geiger and art an extremely valuable experience that I will continue to develop this Photoarchive Assistant, The Frick Collection and Conservation Program, which conserved two books specifically for historian Claudia Calirman, held in March 2018. year as a 12-Month Modern Women’s Fund curatorial intern in the Frick Art Reference Library the exhibition. Department of Photography at MoMA. OLIVIA CASA, ’18 MA The Caleb Smith Memorial Fellowship is a competitive grant for MA FRÉDÉRIQUE BAUMGARTNER MADELINE WEISBURG, ’18 MA students whose projects involve the use of analog and digital photographic Director, MA in Art History techniques. It is named after Caleb Smith, who served as the director of the Eighteenth- and Nineteenth-Century European Art Media Center from 2009 until his untimely passing in 2013.

Cambridge-Columbia Symposium

THE EIGHTH ANNUAL Cambridge-Columbia Graduate Student Symposium, held on April 13, 2018, featured the work Installation view of Anna Bella Geiger: Here is the Center. The Wallach Art Gallery, New York, of Cambridge graduate students Paula Fayos-Perez, Krisztina March 23–April 8, 2018. Photograph by Olivia Casa. Ilko, Lizzie Marx, Luise Scheidt, and Rebecca Tropp, and Columbia Stan VanDerBeek, Poemfield No. 1 (Blue Version), 1967, 16mm film still. Image courtesy of graduate students Olivia Clemens, Michaela de Lacaze, Katherine Fein, Electronic Arts Intermix (EAI), New York. Matthew Gillman, Rozemarijn Landsman, and Mikael Muehlbauer. Upon arriving in New York, Cambridge students and faculty were heartily welcomed with dinner and drinks at Professor Harrist’s home before a full day of presentations. This year’s theme—Translation— inspired papers on topics including seventeenth-century fire engines, Post-Peronist Argentina, hajj certificates, cast clasped hands, and practices of copying in painting, on paper, and in architecture. The weekend was marked by enthusiastic social and academic exchange on campus and throughout the city and highlighted by a visit to the home of the symposium’s generous sponsor, Dr. John Weber, where students right: Anna Bella Geiger, Sobre a arte were treated to a dazzling dinner and a tour of his art collection by its 2: Brasil como centro hegemônico, 1976. MA student Mo Zhang examines the portrait of James Justinian Morier from Columbia curator, Julia Meech. Image courtesy of the Estrellita B. University’s art collection, overseen by Art Properties. Photograph by Frédérique Brodsky Collection. Baumgartner. KATHRYN KREMNITZER, PhD Candidate

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faculty highlights

Bulletin du Centre de recherche du Dannoritzer. He lectured at Nacional Autónoma de México to revolutionary fashion (see p. (Art Institute of Chicago) and BOOK EXCERPT château de Versailles. the School of Constructed the Morgan Library & Museum in 8), gave a three-part lecture Elizabeth Murray (Pace Gallery) Environments at Parsons School New York; they were dedicated to series at the Met, lectured at and on the sculpture of Jack Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design gregory bryda’s publications of Design in connection with the these topics as well as to his studies the Smithsonian Museum, and Whitten (Baltimore Museum) included “Der Mittelfrankische exhibition Sleeping Bodies. of the relationship between the published an essay on ultrasound and Elizabeth Catlett (Brooklyn Kinaesthetic knowing—nondiscursive and nonconceptual knowledge Heilig-Blut-Altar als Mittel- art of Rubens and his ecumenical fetal images. Museum). assumed to be gathered from the body’s experiential exchanges rheinische Goldschmiedekunst” francesco de angelis politics in a time of strife. with the world—may have been on shaky ground from the outset, in Frankfurtals Zentrum unter co-organized the three-part elizabeth hutchinson was branden w. joseph was Zentren? and “The Exuding Wood international workshop “Ways of contributed invited to speak about historic and appointed a 2018–19 Guggenheim but for a brief moment between Helmholtz’s enthusiastic embrace meredith gamer of the Cross” in The Art Bulletin. Reading, Ways of Seeing,” a joint essays to the catalogue William contemporary Native American Foundation Fellow and received a of its potentials in the mid-nineteenth century and Musil’s resigned He co-chaired the conference initiative between Paris Sciences Hunter and the Anatomy of the art at venues ranging from Distinguished Columbia Faculty acceptance of its limitations in the early twentieth century, it seemed to “Riemenschneider In Situ,” et Lettres and Columbia. He Modern Museum (Yale University Fontainebleau to Vancouver to the Award. He edited Uncollected many like a compelling alternative with much epistemological promise. lectured at the National University was invited to lecture on Greek Press, 2018) and the new online Italian Academy, and to bring her Texts (Primary Information, The possibility of another way of knowing would have implications, on of Singapore, and became chair antiquarianism at the annual Paul publication The Royal Academy expertise to bear in an article in Art 2018), a selection of writings the one hand, for how knowledge was to be achieved on the level of of the Digital Committee for Rehak Symposium on Ancient Summer Exhibition: A Chronicle, in America and as a member of the by Carolee Schneemann, and techniques and, on the other, for how it was to be organized on the level the International Center of Art. He gave talks on Etruscan 1769–2018 (Paul Mellon Centre advisory board of the exhibition Art also published the essays “Black of institutions. More important, the possibilities of kinaesthetic knowing Medieval Art. art at conferences in Boston and for Studies in British Art, of Native America: The Charles and Death” in the exhibition catalogue were earnestly taken up by German reformers who aspired to build Città della Pieve, Italy. At Hadrian’s 2018). She spoke on a panel at Valerie Diker Collection at the Met. Jutta Koether: Tour de Madame a new pedagogy on every level of the educational system in Germany. zeynep çelik alexander Villa, he and his team completed Rutgers University on the theme for the Brandhorst Museum, They invented new techniques of looking, affecting, drawing, and, finally, published the book Kinaesthetic a five-year investigation of the “Belonging in the Nineteenth kellie jones’s latest book, Munich; “Knowledge, Painting, designing, which, in turn, was to find its place in a new institutional organization of knowledge. . . . It Knowing: Aesthetics, Epistemology, Lararium site, whose architectural Century” and presented papers South of Pico: African American Abstraction, and Desire” for the was out of this epistemological project that aesthetic modernism of the twentieth century emerged, Modern Design (University of remains and findings are now at the annual meeting of the Artists in in the 1960s volume Hilma af Klint: Seeing is constructed on the uncertain foundation of another way of knowing. Chicago Press, 2017) and being studied and prepared for American Society for Eighteenth- and 1970s (Duke University Believing (Koening Books); and a essays in The New German publication; the Macchiozzo site Century Studies; Columbia’s Press, 2017), received the Walter review of Martin Beck’s mid-career Excerpt from Zeynep Çelik Alexander’s Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design (Chicago and : Crtique and The Journal of the yielded a bath suite as well as new University Seminar on Eighteenth- & Lillian Lowenfels Criticism retrospective at the Museum University of Chicago Press, 2017), p. 61. Society of Architectural Historians. wall paintings. Century European Culture; Award from the American Book Moderner Kunst Stiftung Ludwig, She gave talks at Yale, Princeton, and the department’s Graduate Awards in 2018, garnered a Best , for Artforum. He lectured Sci-ARC, the Courtauld, and noam m. elcott’s award-winning Student Colloquium. Art Book of 2017 in the New York on Schneemann at MoMA and the University of Copenhagen first book,Artificial Darkness: An Times, and a Best Book of 2017 in on Andy Warhol at the Tokyo alexander alberro was Bahrani hosted The Future of the barry bergdoll spent the and presented a paper at the Obscure History of Modern Art and anne higonnet directed Artforum. She published essays Photographic Arts Museum, and named editor of Studies on Latin Past (see p. 10). She lectured at spring term at Reid Hall and in annual meeting of the Society Media (University of Chicago the creation of a website about on the paintings of Charles White served as a respondent at the “After American Art (University of the Freie Universität Berlin on the Alliance program with the of Architectural Historians in Press), was published in paperback California Press), a new book “Monuments and War” and at Université de Paris 1. He delivered Minneapolis. She is at work on a in September 2018. He began a BOOK EXCERPT series which addresses the the Kunsthistorisches Institut in the keynote address at the 2018 new book titled Cabinets, Drawers, term as chair of Art Humanities production, exhibition, and Florence on “Why Monuments convention of the French Society Shelves: Nineteenth-Century and assumed directorship of the Rosetsu: Ferocious Brush dissemination of art in and Are Good to Think With.” Her of Architectural Historians. Architectures of Data and continues Center for Comparative Media between countries and continents; fieldwork in Iraqi Kurdistan His co-edited volume of essays to serve as an editor of Grey Room. at Columbia. He gave lectures at The story of Rosetsu is the story of a painter becoming an artist. presents and analyzes innovative continued with the fourth season (with Jonathan Massey), Marcel the Institute of Fine Arts, Freie He starts buried deep in the pages of Who’s Who of Kyoto in 1782, research concerning intellectual of Mapping Mesopotamian Breuer: Building Global Institutions, Last year saw the publication Universität Berlin, University of listed a few rungs below older and better-known painters and content-making in Central and Monuments: https://mcid.mcah. was published in June, as well of a new, revised edition of the Chicago, University of Pittsburgh, emerges in the 1780s as a dexterous practitioner of kyo’s style, South America and the Caribbean; columbia.edu/art-atlas/mapping- as the catalogue to a small exhibi- textbook Italian Renaissance Université de Lausanne, and signing and sealing his works with his own names. Through and broadens the public for new mesopotamian-monuments tion on Mies van der Rohe’s Art, which michael cole co- MoMA, and was a fellow at the first his journey to Nanki in 1786 and subsequently through scholarship on the area. The McCormick House at the authored with Stephen Campbell. Center for Advanced Studies’ other sojourns outside Kyoto, he makes a name for himself and series features titles in English as frédérique baumgartner Elmhurst Museum of Art in In the spring, Cole collaborated BildEvidenz. History and Aesthetics discovers his own, individual manner. The economic, social, and well as translations of studies by participated in “The Art of Illinois. He was elected president with Keith Christiansen and at the Freie Universität Berlin. intellectual context of late eighteenth-century Kyoto creates Central and South American and Revolutions,” a conference of the Center for Architecture, others at the Met on the pilot an environment fertile for the discovery of personal artistic Caribbean scholars. organized by the American New York, for a two-year term. version of a “Curatorial Practices” A selection of david freedberg’s styles and in which Rosetsu flourishes, supported first by Zen Philosophical Society. An expanded seminar for PhD students across articles on iconoclasm was priests dedicated to spreading the teaching of Hakuin and version of her talk, which focused zainab bahrani published During her spring 2018 leave, fields; he hopes to make this a published in Spanish in later by the scholar Minagawa Kien and such culturally active “The Phenomenal Sublime” in on revolutionary iconoclasm, is prepared the diane bodart regular feature of the graduate Iconoclasia: Historia y Psicología patrons as the scions of the Kishimoto, Fujii, and Uematsu the volume Time in the History of forthcoming in the conference manuscript for her new book, curriculum. de la violencia contra las imágenes merchant houses. Permanently allied with neither a temple, urban atelier, nor the domain of a Art (Routledge, 2018) and three proceedings. She gave a lecture on La peinture au miroir de l’armure – – (Sans Soleil Ediciones, 2017). feudal lord, Rosetsu, like Jakuchu, Buson, Taiga, and Shohaku before him appears to have remained catalogue essays: “L’art Sumeri Robert Nanteuil, sponsored by (Brepols), which investigates jonathan crary presented This subject is not far from independent of institutional affiliations for most of his career. Free to pursue his own vision after i l’avantguarda” for Sumer i el Avery Library and Avery Friends, reflections on armor in Freedberg’s continuing work some of his current work on his pivotal passage to the southern coast, Rosetsu set his own artistic agenda, producing works paradigma modern at the Fundació in conjunction with an exhibition Renaissance painting from Van Turner in a lecture at the Clark with neuroscientists in the US, of increasing whimsy and imagination. In their humor, their self-conscious display of virtuosic Joan Miró, Barcelona; “Archaic” curated by MA students and Eyck to Caravaggio. She published Art Institute titled “Turner and Britain, and Italy on the neural draftsmanship, their reengagement with and recasting of traditional themes, and their constant for Archaic at the Iraq Pavilion supervised by Baumgartner and “Les visages d’Alexandre Farnèse, the Untimely.” He appears as a substrate of emotional and motor tension between representation and abstraction lies Rosetsu’s distinctive vision and his modernity. at the Venice Biennale; and “Dia Roberto Ferrari, curator of Art de l’héritier du duché de Parme commentator in the award- responses to art and images. He Azzawi’s Modern Antiquity” Properties (see p. 12). au défenseur de la foi,” an essay on winning documentary film TIME gave public lectures at places that Excerpt from Matthew McKelway’s Rosetsu: Ferocious Brush, co-authored with Khanh Trinh (Prestel/Museum Rietberg, for Dia al-Azzawi Retrospective, portraits of Alessandro Farnese, THIEVES, a French/Spanish ranged from Universidad de los 2018), p. 296. held in Doha. In February 2018, Duke of Parma and Piacenza, in production directed by Cosima Andes in Bogotá and Universidad

14 826 SCHERMERHORN 15 faculty highlights

Experimental Music” conference the 2017 Creative Capital/Andy conferences organized by the at the Jnanapravaha Institute in sixteenth-century architectural Emeritus Faculty Palazzo dei Diamanti in Ferrara. Her newest book, Exile Space: organized by the Department of Warhol Foundation Arts Writers German Archaeological Institute Mumbai. He gave the keynote credulity and invented antiquities The exhibition is scheduled to Encountering Ancient and Modern Music at Cornell University. Grant. Her essay “How to Hear and the Belgian Archaeological lecture “Through the Backdoor: at the European Architectural richard brilliant wrote an open in February 2019. America, is forthcoming from Polar What is Not Heard: Glenn Ligon, School at Athens. His paper on The Histories of ‘Islamic’ Art History Network conference in essay on the late-nineteeth-century Bear & Company, Maine. holger a. klein continues to Steve Reich, and the Audible Past” the visuality of nocturnal violence, and Architecture in Italy” at June. He published a short article Italian portrait artist Giovanni esther pasztory lectured for serve as interim director of the appeared in Grey Room. She was first presented at Fondation the symposium Islamic Art and on the long-forgotten estate Boldini, which will be included in the de Young Museum exhibition Sakıp Sabancı Center for Turkish invited to speak at a conference Hardt’s “Entretiens sur l’Antiquité Architecture in Italy: Between of progressive labor activists the catalogue for the forthcoming on ancient Teotihuacan, Mexico. Studies and as faculty director for the exhibition Bruce Nauman: classique” 2017 conference in Tradition and Innovation, held Margaret and Mary Dreier. exhibition of his work at the She appeared in a segment on the of Casa Muraro in Venice (see p. Disappearing Acts at the Schaulager Geneva, was published in August at the American Academy in Olmecs for Civilizations on PBS. 11). During the summer of 2018, Museum in Basel. 2018. Over the summer, he Rome, and gave public lectures at he piloted a new global program conducted the first study season Princeton, Binghamton, American of Art and Music Humanities in matthew mckelway spent of materials excavated at Boeotian University, and Freie Universität dissertation steven niedbala: “Penal GSAS Research Excellence Holy Roman Emperor Charles Berlin with Department of Music much of the past year writing Onchestos. Berlin. He edited volume five of fellowship awards Aesthetics in the United States, Dissertation Fellowship V’s Court” professor Walter Frisch (see Rosetsu: Ferocious Brush (Prestel/ the magazine Espacio, Tiempo, 2018–2019 1950–1985” seher agarwala: “Wondrous piper marshall: “Ericka p. 5), and co-taught a doctoral Museum Rietberg, 2018), eleonora pistis presented the y Forma (2017) on the theme Frontiers: Topographical and Beckman: Dreamwork and the travel seminar with Francesco de which accompanies the first paper “History of a Fragment “Treasures of the Sea: Art Before ACLS/Luce Dissertation C.V. Starr Finishing Grant Historical Painting in Persian Emergence of Pictures” Angelis on “Roman Germany” in comprehensive exhibition devoted and a Fragment of History” at Craft.” Fellowship in American Art xiaohan du: “On a Snowy and Mughal Manuscripts” diana mellon: “Painting, conjunction with the Center for to Nagasawa Rosetsu’s painting the international symposium courtney f iske: “Rethinking Night: Yishan Yining (1247–1317) müge arseven: “Reality and Miracles, and Vernacular the Ancient Mediterranean (see held outside Japan. In May, he and on “Il Catalogo Universale” at z. s. strother was scholar-in- Post-Minimalism: Gordon Matta- and the Development of Zen Representation: Depictions of Healthcare in the Early Italian p. 5). Among other publications, Midori Oka, associate director of Humboldt University in Berlin and residence at the Getty Research Clark and the Cut c. 1970” Calligraphy in Medieval Japan” Sacred Space in Greek Antiquity” Renaissance” he contributed an essay on Fritz the Mary Griggs Burke Center for was a moderator for the “Spanish Institute in spring 2018. Her abbe schriber: “For a Politics of alvaro luis lima: “Art in bailey barnard: “Beyond crystal migwans: “Selvage and Koenig’s Great Caryatid Sphere, Japanese Art, took eight Columbia Italy and the Iberian Americas” book Humor and Violence: Seeing Obscurity: David Hammons and Mozambique at the End of the Face: A New Approach to Salvage: Natural Fiber Weaving in N.Y. to the catalogue of the artist’s colleagues on a study trip to Japan workshop at Columbia. She Europeans in Central African Art Black Experimentalism, 1974–1989” Socialism” Hellenistic Royal Portrait Statues” Anishinaabe-aki, 1860–1960” Retrospective at the Uffizi in (see p. 9). organized and moderated a study (Indiana University Press, 2017) jacob stavis: “The Formation raymond carlson: steven niedbala: “Penal Florence. day on Piranesi, which took place received an Honorable Mention The American Institute for of Achaemenid Art: Beyond “Michelangelo between Florence Aesthetics in the United States, ioannis mylonopoulos’s in the department and at Avery for the Melville J. Herkovits Award Maghrib Studies Fellowship Iconography and Attribution” and Rome: Art and Literary 1950–1985” janet kraynak spent the exhibition A World of Emotions: Library in March (see p. 11). for “the best scholarly work on natasha marie llorens: alex weintraub: “Authoring Culture in Sixteenth-Century teresa soley: “Tomb Sculpture academic year on leave to work on Ancient Greece, 700 BC–200 AD Africa published in English” from “Imagining Violence, Imagining Art in Nineteenth-Century France, Italy” in Portugal, c. 1460–1570” her current book, Contemporary won a 2017 Global Fine Art In January 2018, avinoam the African Studies Association. the Nation: Algerian National 1793–1902” emogene cataldo: “Living brian van oppen: “Cast of Art and the Digitization of Everyday Award. He was invited to present shalem delivered a series She delivered lectures at UCLA, Cinema between 1965 and 1979” leah werier: “From Vitrine to Stones: An Ecology of Gothic Bodies: Lighting the Gaze upon Life (University of California papers at the Universities of of lectures entitled “Islamic UCSB, the Virginia Museum of Screen: An Archaeology of the Vegetal Sculpture, c. 1140–1330” Etruscan Candelabra Statuettes” Press), for which she was awarded Mainz and Zurich and at Aesthetics: Spiritual Beyondness” Fine Arts, the Egmont Institute, Ary Stillman Finishing Fellowship Shop Window” karin christiaens: cathy zhu: “Born in a Golden and the Belgian Royal Institute for susannah blair: “Constantin joseph woldman: “Look at “Passageways to Public Space: Light: Images of Omens and BOOK EXCERPT International Relations. Guys and Modern Life: 1840–1870” Me: Faces and Gazes in Sixth–Fifth Monumentalizing the Greek Polis Imperial Ambition in the Southern rattanamol singh johal: Century Etruria” in the Hellenistic and Imperial Song Dynasty” Periods” The Chasuble of Thomas Becket: A Biography lisa trever published The “Dissolving Margins: Indian Art Archaeology of Mural Painting at in the Globalized 1990s” Fulbright Fellowship nicholas croggon: GSAS Research Excellence “Reconstructing the Utopian Finishing Fellowship The Islamic textiles that reached the Latin West during medieval Pañamarca, Peru (Dumbarton nicholas morgan: “Displaying nina horisaki-christens: Moment: Experimental Video Oaks/Harvard University Press, Queerness: Art and Identity, “VIDEO HIROBA: Contingent mikael muehlbauer: times are amazing in their quantity, quality, and variety. In fact, and Publics and Video Communication, Practices in the Late 1960s and “‘Bastions of the Cross’: Medieval 2017) and saw her project’s 1989–1993” although no corpus on this category of medieval travelling textiles 1966–1985” 1970s” Rock-cut Cruciform Churches excavations featured on the has yet been published, textiles were by far the most popular rachel julia engler: “Adolphe of Tigray, Ethiopia” artefacts in the Middle Ages. Moreover, and because of their ubiquity, cover of Archaeology magazine Center for Advanced Study in the Visual Arts, David E. Finley GSAS-CU International Travel Appia’s Time and Space” alex weintraub: “Authoring they were the best providers of knowledge about new techniques (September/October, 2017). Her Predoctoral Fellowship Fellowship matthew gillman: “Medieval Art in Nineteenth-Century France, of textile production and, more importantly, transmitters of new article “A Moche Riddle in Clay: rachel boyd: “Experimentation tiffany f loyd: “Dreams of Glass and the Aesthetics of 1793–1902” motifs. Their rich decoration, which usually includes innovative new Object Knowledge and Art Work in Ancient Times: Antiquity, Simulation” Ancient Peru” is forthcoming in The and Specialization: The Glazed forms of vegetal images, fabulous rare animals, fantastic figures, Archaeology, and the Struggle nina horisaki-christens: Koç University Research Center Art Bulletin, as is an invited essay on Terracotta Sculpture of the Della and inventive approaches to the use of inscriptions in a decorative for Contemporaneity in Modern “VIDEO HIROBA: Contingent for Anatolian Civilizations “Pre-Columbian Art History in the Robbia Workshop, ca. 1430–1550” context, inspired new possibilities in the arts of the west and Iraqi Art” Publics and Video Communication, (ANAMED) Fellowship Age of the Wall,” which will appear ani kodzhabasheva: 1966–1985” ay ˛se ercan: “Fashioning a stimulated artisans working in other media. in the new journal Latin American Christ Church, Oxford University, Junior Research Fellowship “Architecture at the Intersection of jeewon kim: “Liberating the Medieval Capital: The Topography and Latinx Art and Visual Culture in Brush: Art and Geopolitics in The popularity of textiles as objects of movability par excellence brigid von preussen: Empires: Building a Balkan Nation and Archaeology of the Mangana January 2019. between the Ottoman, Tsarist, Post-1945 Korea” Quarter in Constantinople can be easily explained. In ancient times and today, textiles were “Manufacturing Classicism: and Austro-Hungarian Domains, kathryn kremnitzer: (843–1453 C.E.)” extremely portable. They could, if necessary, be folded and compressed, typically without being broken Reproduction and Authorship michael j. waters was awarded 1864–1912” “Transition and Translation: or damaged, and could thus be carried by a traveller without great difficulty. Their compactness made in Late Georgian Britain” a 2018–19 I Tatti Fellowship and alexis wang: “Intermedial Manet’s Watercolors in the 1860s” Meadows Museum Curatorial them the ideal objects for transport and their fine décor and colors represented a specific sought-after a Lenfest Faculty Development C.V. Starr Dissertation Fellowship Sites, Sanctified Surfaces: Framing rozemarijn landsman: Fellowship aesthetic ideal for export. Grant. He presented a paper at crystal migwans: “Selvage and Devotional Objects in Medieval “Art, Technology, and the City: daniel ralston: “Painting in Stanford in March on architecture, Church Decoration” The Work of Jan van der Heyden Spanish: Fortuny, Manet, and the Excerpt from Avinoam Shalem’s edited volume The Chasuble of Thomas Becket: A Biography (Munich: Hirmer Salvage: Natural Fiber Weaving in intermediality, and the rise of Anishinaabe-aki, 1860–1960” (1637–1712)” Spanish Tradition in Paris in the Publisher, 2017), p. 8. printing, and gave a talk about adam harris levine: “Divine Later Nineteenth Century” Gifts: Relics and Reliquaries at

16 826 SCHERMERHORN 17 alumni news

Metropolitan Museum of Art, undergraduate Motherhood in the Art of carrie cushman: “Temporary cynthia bronson altman Haggerty Museum of Art in Mil- College and the Clark Art Insti- script about Charles Lang Freer Chester Dale Fellowship awards and prizes Oswaldo Guayasamín” Ruins: Miyamoto Ryūji’s Architec- ’77 MA gave lectures and waukee and as program manager tute, rachel burke ’14 entered and his collection of Japanese margot bernstein: 2017–2018 tural Photography in Postmodern published catalogue essays on of WaterMarks, a citywide public a doctoral program in art history ceramics. “Carmontelle’s Profile Pictures Summer Thesis Travel Grants Japan” (Jonathan Reynolds) Rockefeller family collections. She art initiative by artist Mary Miss. at Harvard. and the Things that Made Them Departmental Honors natasha coleman, CC ’19 to is curator at Kykuit, the John D. susan j. cooke ’85 MPhil edited Modern” alicia schleifman visit ancient tomb sites in China. catherine damman: Rockefeller estate. alexander bortolot ’08 PhD, allison caplan ’11 BA joined David Smith: Collected Writings, alexandra solovyev alexandra germer, CC ’19 “Unreliable Narrators: Staging content strategist at the Minne- the Met as the 2018–2019 Sylvan Lectures, and Interviews (University Metropolitan Museum of Art, sam velasquez to visit exhibition archives in Performance in the 1970s” mary annunziata ’17 MA apolis Institute of Art, led major C. Coleman and Pam Coleman of California Press, 2018). Theodore Rousseau Fellowship Kassel, Germany. (Branden W. Joseph) joined the Institute of International digital, print, and installation Memorial Fund Fellow in the isabella lores-chavez: “Craft, Senior Thesis Prize sofia hernandez, CC ’19 Education’s Artist Protection Fund projects this year. He represented Department of the Arts of Africa, michael cothren ’80 PhD Artifice, and the Discerning Eye in alicia schleifman to study the eighteenth-century robert fucci: “Landscape as a program officer. Mia in a consortium of museums Oceania, and the Americas. retired in 2017 as Scheuer Family Seventeenth-Century Dutch Still prints of Francesco Panini. into History: The Early Printed advising on Smarthistory’s “Seeing Professor Emeritus of Humanities Life Paintings” Meyer Schapiro Book Prize for emerson jones, CC ’19 for Landscape Series by Jan van caitlin beach ’18 PhD was America” project. david cast ’70 MPhil edited in the Art Department at Swarth- Excellence in Art History research on the architecture firm de Velde II (1593-1641) (David appointed assistant professor of Observation: Notation: a selection of more College. He is co-author of Museum of Modern Art, Andrew irene anastazievsky: “The Mewès and Davis in England. Freedberg) eighteenth- and nineteenth-cen- caroline boyle-turner ’81 the critical writings of Andrew Forge: the sixth editions of two intro- W. Mellon Museum Research Eumachia Building: Intersections nicole-ann lobo, CC ’19 tury art in the Department of Art PhD, president of the Paul 1955–2002 (Encounter Books, ductory art history textbooks first Consortium Fellowship of Gender and Architecture in for research on Francis Newton sof ia gans: “‘A whole chapel History at Fordham University. Sérusier Committee, curated 2018). written by Marilyn Stokstad:Art michaela de lacaze the Forum of Pompeii” Souza’s years in London. cast and engraved with images’: Paul Sérusier et la Bretagne: History and Art: A Brief History. mohrman: “Counter-Spectacles aimée auguin: “Drawing with kellie zhao, CC ’19 to visit New Perspectives on the Tomb colleen becker’s ’08 PhD légendes et sortilèges at the indira cesarine ’93 BA curated and the Inception of Argentine Light: Gjon Mili’s Photography mausoleum sites in Eastern of St. Sebald in Nuremberg” biotech company, Sampson, National Museum of Kazakhstan, ONE YEAR OF RESISTANCE at kevin h. cronin ’83 BA Mass Media Art: Marta Minujín’s of Picasso’s Light Drawings and Europe. (Stephen Murray) is now in residence at the Astana. Her book Paul Gauguin her gallery, The Untitled Space, in completed his fifteenth year as Happenings and Environments of the Distillation of Creation within Sustainable Technologies and the Marquesas: Paradise Tribeca. Her work was featured a volunteer with the Parade the 1960s” the Studio” caleb smith memorial elizabeth gollnick: Business Acceleration Hub at Found? (Éditions Vagamundo, in several exhibitions and her the Circle, sponsored by the adam j. elkhadem: “Pathetic “Diffusion: Women Light Artists fellowship 2017–2018 the University of Bath. 2016) now appears in French. sculpture “I Believe in Free Love Cleveland Museum of Art. Philadelphia Museum of Art, and Popular: How Fourth-Century in Postwar California” (Branden (Victoria Woodhull)” received Suzanne Andree Fellowship Greece Belonged to the Maenad” sarah bigler, ’18 MA: “A W. Joseph) ’95 BA, associate barbara braun ’77 PhD sends an award from the Mattatuck ’s ’17 BA clare kobasa: “Sacred yuanya feng: “Transcending the Turn-of-the-Century Tastemaker: juliet bellow benjamin davidoff professor of art history in the word that a solo show of her work Museum. senior thesis, “The Ancient Impressions: Printmaking in Temporal Heterotopia in Realm of Frederick Keppel and American maggie mustard: “Atlas opened at NYU’s Kimmel Center Synagogue at Sardis: Religious Seventeenth-Century Sicily” Reverberations: Chen Chieh-jen’s Print Collecting” (Anne Novus: Kawada Kikuji’s Chizu Department of Art at American Documentary Fiction” Higonnet) (The Map) and Postwar Japanese University, contributed “Beyond this fall. Her literary agency, elizabeth chiles’s ’97 BA solo Pluralism in the Late Roman Barbara Braun Associates, Inc., exhibition Weave was held at Empire,” which won the 2017 Pierre and Marie-Gaetana Matisse jonah goldman kay: “Specters jeffrey paul, ’18 MA: “Printing Photography” (Jonathan Movement: Auguste Rodin and Finishing Fellowship of the South: Populating Sally Poetics: Wade Guyton’s Index of Reynolds) the Dancers of His Time” to the continues to represent authors grayDUCK gallery in Austin. Senior Thesis Prize, has been vivian crockett: “‘The Skin Mann’s Landscapes Through Translation” (Branden W. Joseph) catalogue for Rodin and Dance of a wide range of nonfiction and published in the Bowdoin Journal of All’: The Racial Politics of an Memory, History, and Time” türkan pilavcı: “Drinking (Courtauld Institute of Art/Musée fiction books. heather clydesdale ’16 PhD of Art. Anthropophagic Return in Hélio sam lim-kimberg: “Between dissertations a God and Sacrificing a Drink: Rodin, Paris). Her article “Léger’s completed the first year of a three- Mechanical Ballets: On Dance jane braun ’11 MA is project year teaching position at Santa lillian davies ’02 BA published Oiticica and Lygia Pape” Lupe and Che: José Rodríguez deposited 2017–2018 Agency of the Hittite Libation yasmine espert: “Epicenters -Soltero and New York Vessels” (Zainab Bahrani) and the Machine Aesthetic” manager at Harvard Art Museums. Clara University. She presented a a feature article on the work of of Transnational Media” Underground Film” caitlin beach: “Sculpture, is forthcoming in Modernism/ paper at the Art and Archaeology Enrique Ramírez in Artforum diana winfield luber: Slavery, and Commerce in the joseph scheier-dolberg: “Yu modernity. isolde brielmaier ’03 PhD is of the Silk Road symposium in and participated in a doctoral Rudolf Wittkower Finishing “Power and Magic: On the Perfor- Nineteenth-Century Atlantic Zhiding (ca. 1646–ca. 1716) and executive director of Art, Culture Portland, Oregon; published an workshop at the École des hautes Fellowship mative and Talismanic Properties World” (Elizabeth Hutchinson) the Envisioning of the Early Qing annette blaugrund ’87 PhD & Community at the Oculus at article in Humanities for their June études en sciences sociales in daria rose foner: of Monumental Mudejar in Medie- World” (Robert E. Harrist Jr.) published The Way Back: The the World Trade Center; assistant 2018 special issue, “Further Explo- Paris. “Collaborative Endeavors in the val Zaragoza” thomas campbell: “Picturing Paintings of George A. Weymouth professor in the Department of rations Along the Silk Road;” and Career of Andrea del Sarto” amber noé: “Love to Willem the System: Counter-Institutional matthew teti: “From (Rizzoli/Skira, 2018) for the Photo, Imaging, and Emerging participated on a panel on China’s ashley duhrkoop ’15 MA is a de Kooning’s Prints of 1971: Practices in British Art of the Minimalism to Performance Brandywine River Museum of Art, Media at Tisch; and curator-at- Hexi Corridor at AAS-in-Asia, curatorial research associate for Scaliger Institute, Leiden Lines To and From Japan” 1970s” (Branden W. Joseph) Art: Chris Burden, 1967–1971” where she gave a lecture in March. large at the Tang Museum at held in New Delhi. African art at the Virginia Museum University, Brill Fellowship alicia schleifman: “Something (Branden W. Joseph) She also lectured on American Skidmore College. of Fine Arts on an initiative for rozemarijn landsman: Really Messy: Ed Ruscha’s sonia coman: “New Values fine art frames at the New Britain adam s. cohen ’86 BA completed the conservation and technical “Art, Technology, and the City: Avant-Garde Foundations, in Art: Japanese and Japoniste robert wiesenberger: “Print Museum of Art in May. timothy anglin burgard his second term as editor of Gesta, analysis of the museum’s African The Work of Jan van der Heyden 1974–1976” Ceramics, 1866–1904” (Anne and Screen, Muriel Cooper at ’88 MPhil, Ednah Root Curator the journal of the International art collection. (1637–1712)” alexandra solovyev: “A Higonnet) MIT” (Barry Bergdoll) babette bohn ’82 PhD was a in Charge of American Art at Center of Medieval Art, and Suprematist Fairy Tale: Text, 2017–2018 Samuel H. Kress Senior the Fine Arts Museums of San published Signs and Wonders: 100 tracy ehrlich ’95 PhD was Solomon R. Guggenheim Museum, Image, and the Infantilist Aesthetic emily cook: “Legacies of Matter: yu yang: “At the Crossroads Fellow at CASVA, where she Francisco, edited Revelations: Art Haggada Masterpieces (Toby Press, promoted to associate professor Hilla Rebay International in the Post-Revolutionary The Reception and Remediation of Japanese Modernism and worked on her book manuscript, From the African American South 2018), a history of the illustrated at Parsons School of Design. Fellowship Children’s Books of El Lissitzky of Material Traditions in Roman Colonialism: Architecture and “Women Artists, Their Patrons, (Prestel, 2017), which documents Passover service book. julia vázquez: “The Artist and Vladimir Lebedev” Sculpture” (Francesco de Angelis) Urban Space in Manchuria, and Their Publics in Early Modern sixty-two major artworks acquired After fourteen years in the Impres- as Curator: Diego Velázquez, scott sonnenberg: “The 1900–1945” (Jonathan Reynolds) Bologna.” for the museum’s permanent sonia coman ’18 PhD received sionist and Modern Department 1623–1660” Way Things Are, or a Theory of lindsay cook: “Architectural collection. the 2018–2019 Anne van Biema at Sotheby’s, jeremiah evarts Decorative Arts in the Modern Citation of Notre-Dame of Paris gillian young: “Telepresence: mary ann bonet ’10 BA began Fellowship from the Smithsonian ’04 BA was appointed director at Cathedral Fund Summer Museum” in the Land of the Paris Cathedral Joan Jonas and the Emergence of as manager of community engage- After receiving an MA in the Institution’s Freer Gallery of Art. Di Donna Galleries in New York. Fellowship sam velasquez: “El Abrazo Chapter” (Stephen Murray) Performance and Video Art in the ment at Marquette University’s history of art from Williams She is working on a book manu- margot bernstein Tierno: The Politicized 1970s” (Branden W. Joseph)

18 826 SCHERMERHORN 19 alumni news

yuan fang ’14 MA co-founded Century Art Worldwide and The National Gallery of Art in March, kathryn kramer ’93 PhD pub- University Press, 2018). She con- richard a. pegg ’01 PhD : A Retrospective, nancy patterson sevcenko NICHOLAS HALL, a private Economic History Review. and contained a catalogue essay by lished “Person of the Crowd: The tinues to teach at the University of presented lectures and conference which is now on view at MIT’s ’73 PhD was a visiting scholar at gallery and art advisory lorenzo buonanno ’14 PhD. Contemporary Art of Flânerie” in British Columbia. papers on historical East Asian List Center and Harvard’s Carpen- Dumbarton Oaks for the spring specializing in European art amber moyles harper ’15 MA Frederick serves as chairman of Afterimage: The Journal of Media maps at Stanford University, ter Center for the Visual Arts, and term. from the thirteenth to twentieth organized Raha Raissnia: Alluvius Save Venice, a private committee Arts and Cultural Criticism. isabel losada ’13 BA was pro- Renmin University, University will travel to the ICA Philadelphia centuries. She presented a talk at the Drawing Center. In fall 2018, conserving art and architecture moted to assistant manager in the of Leiden, Purdue University, next spring. She also curated julia siemon ’15 PhD was at the inaugural Museum 2050 she entered a doctoral program in in Venice. elizabeth kubany ’91 BA has Membership Department at the Huntington Libraries, and the We the People: New Art from the appointed assistant curator of symposium at the Long art history at Stanford. helped reposition the Museum Frick Collection. Indianapolis Museum of Art, and Collection, which opened in Drawings, Prints & Graphic Museum, Shanghai. karen e. jones ’03 MA pub- of Jewish Heritage for more published several book chapters October 2018; reviewed “Art in the Design at Cooper Hewitt, Smith- frederick d. hill ’72 MA lished Archive Bound (Center for cultural coverage; worked on a nancy lynn ’96 BA, senior vice this year. Age of the Internet” for Artforum; sonian Design Museum. She chelsea foxwell ’08 PhD spent continues, in partnership with Book Arts). new preservation initiative in president of strategic partnerships and presented on the closing panel curated The Silver Caesars: the 2017–2018 year on sabbatical his daughter, Daisy Hill Sanders, Columbus, Indiana; and helped at the BrightFocus Foundation, With the assistance of fellowships of NYU’s conference on time- A Renaissance Mystery at the from the University of Chicago operating their private art lewis kachur ’88 PhD pub- several architectural firms position produced Turning Point, a from the NEH, the Met, and based media art conservation. Met and Waddesdon Manor, as a Fulbright researcher at the dealership, Collisart, LLC, based lished a catalogue essay in The themselves to get more work and documentary feature film on Rockefeller’s Bellagio Center, Buckinghamshire, and took part University of Tokyo. in New York. They participate in Nature of Arp, a retrospective at launch monographs. Alzheimer’s research. stephen polcari ’80 PhD donald sanders ’84 PhD in the travelling seminar the annual Masterpiece Fair in the Nasher Sculpture Center in completed the study Jackson prepared several videos for an “Drawings Connoisseurship and danielle gaier ’04 BA practices London, where they aim to foster Dallas, and presented at the eric kunzendorf ’85 BA was megan mccarthy ’15 PhD was Pollock: Mass Man Agonist. exhibition on ancient Nineveh for the Art Market,” organized by the art law with the firm of Danziger, an interest in American art among opening day symposium. promoted to full professor of ani- appointed vice president of major the Leiden Museum of Archaeolo- Morgan Library & Museum. Danziger & Muro, LLP, in New private and institutional collectors. mation at Jacksonville University. gifts at the Philadelphia Academy george nelson preston ’73 gy. His virtual heritage companies York. subhashini kaligotla ’15 PhD He published six 3-D modeling of Fine Arts. PhD published “Araújo, Brazil, created a full-scale CNC-carved rachel silveri ’17 PhD was alison l. hilton ’79 PhD pre- was appointed assistant professor and rigging courses with Udemy Minimalism and Neo-Africanism” replica of the spoils panel from the appointed assistant professor of peter galassi’s ’86 PhD Brassaï sented papers at the conferences of Indian and South Asian art in this year. bill mcintyre ’83 BA teaches at in Emanoel Araújo: A Ancestrali- Arch of Titus for an exhibition at Modern art history at the Univer- retrospective for Fundación “Translations and Dialogues: The the History of Art Department at Georgetown University and leads dade dos Símbolos (Museum of Art the Yeshiva University Museum. sity of Florida. MAPFRE, held earlier this year in Reception of Russian Art Abroad” Yale. She published her first col- dan kushel ’72 MA, Distin- communications for the Center São Paulo, 2018). Barcelona and Madrid, opened at in Venice in October 2017 and lection of poems, Bird of the Indian guished Teaching Professor for Excellence in Education. drew sawyer ’16 PhD was ap- kristin s. simmons ’12 BA SFMOMA in November 2018. “Impressionism in the Avant- Subcontinent, which was selected Emeritus in the Art Conservation aaron rio ’15 PhD was named pointed Phillip Leonian and Edith exhibited her work at two solo garde” in Moscow in June 2018. by poet Arundhathi Subramaniam Department at SUNY Buffalo kent mitchell minturn ’07 Andrew W. Mellon Associate Rosenbaum Leonian Curator shows: Desperate Pleasures at alex gartenfeld ’08 BA was for the (Great) Indian Poetry State, received a SUNY Chancel- PhD, visiting assistant professor Curator of Japanese and Korean of Photography at the Brooklyn Galerie Mourlot in New York and named artistic director of the jim hoekema ’74 MPhil present- Collective’s Emerging Poets Prize. lor’s Award for Exemplary at the Institute of Fine Arts, NYU, Art at the Minneapolis Institute Museum. American Expense at Denis Bloch Institute of Contemporary Art, ed the talk “Art Game: An Early Research and Scholarship, as contributed a catalogue essay to of Art. Fine Art in Los Angeles. Miami, where he organized an Interactive Design from the Office marni elyse katz ’94 MA writes well as the AIC Robert E. Feller Jean Dubuffet: Theaters of Memory sarah schaefer ’14 PhD was exhibition on the work of Donald of Charles and Ray Eames” at the about design for the Boston Globe Lifetime Achievement Award, (Pace Gallery, 2017) and partici- gail harrison roman ’81 PhD appointed assistant professor of jeffrey chipps smith ’79 PhD Judd and the first posthumous Interaction Design Association’s and is building a curatorial and art upon his retirement in 2012. pated in a roundtable discussion at co-curated and authored the cat- Modern art at the University of published essays on Wenzel survey of Terry Adkins. He also “Interaction 18” conference in consulting business. She juried the NYU’s Maison Française. alogue for Turn the Page: Cartoon Wisconsin, Milwaukee. Jamnitzer, Albrecht Dürer, Peter co-curated the 2018 New Museum Lyon, France. New England Collective at Galatea debra laefer’s ’89 BA/’91 BS and Comic Art, held at the Rye Dell the Elder, Renaissance triennial. Fine Art in Boston and a small high-density aerial laser scanning joan mirviss ’76 MA assembled Arts Center. allen schill ’73 BA continues to portraiture, and classical In September 2017, jeffrey works show at the Cambridge Art work of Dublin, Ireland, was the exhibition Three Giants of the work as a photographer and artist architecture in Renaissance As an Emmy-nominated producer hoffeld ’73 MPhil was a guest Association. featured in a two-page spread in North: Kamoda Shoji, Matsui Kosei donald rosenthal ’78 PhD in various media. Germany, among others. He took at CNN, contessa gayles ’10 speaker at the Duke University in the February 2018 issue of National and Wada Morihiro in New York published the second part of an his graduate seminar to Cologne BA directed the feature-length New York program. He is a trustee noelle king ’85 MA was Geographic. and authored an accompanying article on Belgian avant-garde rachel schwartz ’86 BA is and Nuremberg in October 2017. documentary The Feminist on of the Woodman Family Foun- awarded a RISD CE Certificate catalogue. She curated JAPAN/ artists’ responses to the operas of completing an MA in art history Cellblock Y and released the dation. in Painting Studies and an artist’s madeline lazaris ’09 BA NOW, a three-part exhibition on Richard Wagner, focusing on the and museum studies at City leigh tanner ’14 MA launched documentary short Women residency in Finland. was appointed an associate vice contemporary Japanese ceram- Symbolists Fernand Khnopff and College. She works in the Visitor Museum 2050, a China-based Who March: The Movement. She eileen hsiang-ling hsu ’99 president at Christie’s during her ics, for the Gardiner Museum in Jean Delville. Services Department at the Frick platform which investigates key recently left the network to found PhD has been teaching East Asian robert c. klapper ’79 BA spoke seventh year with the company. Toronto. Collection. issues about the future of cultural her own documentary production art history survey courses at NYU at the 100th Annual Alumni karen rubinson ’76 PhD institutions in China and abroad. company, Cocomotion Pictures. and tutoring Institute of Fine Association meeting of the jennifer lee ’14 BA completed ragen moss’s ’00 BA solo co-edited How Objects Tell Stories: johanna seasonwein ’10 In June 2018, the platform held its Arts graduate students in classical Hospital for Special Surgery, her first year at Harvard Business exhibition at Ramiken Crucible Essays in Honor of Emma C. Bunker PhD works with art historians and inaugural symposium, Looking to michiko grasso ’97 BA is direc- Chinese. where he addressed the School. in New York was listed among the (Brepols, 2018). She published other scholars in the liberal arts as new institutional models: China’s tor of development at the Alliance connection between art and top exhibitions of 2017 in ArtNews several articles and book chapters a freelance editor. cultural landscape by mid-century. for Young Artists & Writers, which frederick ilchman ’14 PhD, surgery in his talk “From kathleen mrachek leland and Spike Magazine. on the art and archaeology of the administers the Scholastic Art & chair of the Art of Europe Depart- Michelangelo to ESPN, the ’00 MA is a specialist in Modern South Caucasus and the steppes alex dika seggerman ’05 BA erin thompson ’10 PhD Writing Awards. ment at the Museum of Fine Arts, Klappertron to KlapperVision: and contemporary art at Skinner alexandra onuf ’06 PhD of Eurasia. was appointed assistant profes- was awarded tenure at John Jay Boston, co-curated Casanova’s My Artistic Journey in Orthopedic Auctioneers and Appraisers in published The ‘Small Landscape’ sor of Islamic art history in the College. She curated Ode to the After completing her doctorate at Europe, which featured a catalogue Surger y.” Boston. Prints in Early Modern Netherlands roko rumora ’14 BA entered a Department of Arts, Culture, and Sea: Art from Guantánamo, the Oxford, diana greenwald ’11 essay by susan wager ’15 PhD. (Routledge, 2017). doctoral program in art history at Media at Rutgers University. She first full-scale exhibit of art created BA began as Andrew W. Mellon He also co-curated Tintoretto: yumi koh ’93 BA joined J.P. jillian (taylor) lerner ’06 the University of Chicago. co-organized the Historians of by detainees at Guantánamo Bay Postdoctoral Curatorial Fellow at Artist of Renaissance Venice, which Morgan Private Bank in Atlanta. PhD published Graphic Culture: irene c. papanestor ’99 MA Islamic Art Association biennial Detention Camp. It was featured the National Gallery of Art. She opened at the Palazzo Ducale in Illustration and Artistic Enterprise was elected to the Association of tina rivers ryan ’16 PhD, assis- symposium, held at Yale in Octo- in more than two hundred news, published articles in Nineteenth- September and will travel to the in Paris, 1830–1848 (McGill-Queens Professional Art Advisors. tant curator at the Albright-Knox ber 2018, which featured zainab radio, and television reports, Art Gallery, co-curated Introducing bahrani as keynote speaker. including in ,

20 826 SCHERMERHORN 21 alumni news

With Thanks Guardian, Süddeutsche Zeitung, After completing his dissertation Art: The Enduring Allure of and Architecture as Muse, a series The Independent, Frankfurter in art history and archaeology at Seashells” and “From Invention to of installations drawn from the The strength and renown of Columbia’s Department of Art History and Archaeology derive not only from the expertise and ded- Allgemeine Zeitung, Le Figaro, the Institute of Fine Arts, NYU, Interpretation: Reflections on Art museum’s permanent collection. Hyperallergic, Art Newspaper, andrew ward ’10 BA began a and Time.” She spoke at a faculty ication of the faculty, but also from alumni, parents, and friends who carry forward the intellectual mission of the department Artforum, BBC World Service, lectureship in Greek archaeology seminar at Kenyon College and An active artist in the New York and who provide financial support for professorships, fellowships, symposia, and an array of programs and projects that enhance NBC News, and Al Jazeera. at William and Mary University. presented a paper at the Renais- area, heinz wipfler’s ’68 MA our core offerings. sance Society of America’s 2018 work was exhibited at First Street joni r. todd ’05 MA presented judith wechsler ’67 MA conference. Her article “Drawings Gallery in Chelsea. a paper at the Prince from wrote, directed, and produced from the Gennari Inventory of patrons Minneapolis symposium at the Isaiah Berlin: Philosopher of 1719” was published in a Festschrift elizabeth wyckoff ’98 PhD University of Minnesota. Freedom. She was invited to Duke in honor of david freedberg. co-curated and co-authored Morton C. Abromson and Joan L. Nissman • Anonymous • Robert Beyer • Lori Bowman and John D. Coleman • Angelos Chaniotis • University to present The Passages the catalogue for Learning to Constantine M. Dakolias • Dr. Lee MacCormick Edwards Charitable Foundation • Carol T. and John G. Finley • The Morris and Alma althea viafora-kress ’00 BA, of Walter Benjamin and to the barbara ehrlich white ’65 See: Renaissance and Baroque an art advisor in the secondary Center for Humanities at NYU to PhD lectured about her book Masterworks from the Phoebe Schapiro Fund • The Packard Humanities Institute • Melinda L. Parry • Robert Simon Fine Art, Inc. • Ellen Rosand • The Rubin-Ladd market, teaches at the Sotheby’s present Svetlana Boym: Exile and Renoir: An Intimate Biography Dent Weil and Mark S. Weil Institute of Art. Jointly with the Imagination, which was also shown (Thames & Hudson, 2017) at the Collection (Saint Louis Art Foundation • Lauren and Steven Schwartz • Caroline A. Wamsler and DeWayne Phillips • John C. Weber • Gregory A. Wyatt Tsinghua University School of at the École des haute études en Phillips Collection, the Barnes, Museum, 2017), which focused Economics and Management, sciences sociales in Paris, followed and the Boston Museum. on the art collection of Beijing, she also teaches courses by a panel discussion. mark s. weil ’68 PhD. benefactors in London and New York. She is robert wiesenberger ’18 PhD Lucy A. Adams • Anonymous • Armand Bartos, Jr. • Annette and Stanley M. Blaugrund • Steven E. and Catherine Carlson on the board of the Arts Access ivy (epstein) weingram ’02 was appointed associate curator serdar yalcin ’14 PhD started a Committee for the Columbia BA curated Leonard Bernstein: The of contemporary projects at the tenure-track position as assistant • Heather D. Colburn Clydesdale • John H. Davis • Paul and Elizabeth DeRosa • Hester Diamond • Sharon Flescher • Alumni Association. Power of Music for the National Clark Art Institute. professor in the Department of Museum of American Jewish Art and Art History at Macalester Ellen Berland Gibbs • Dean H. Goossen • Jeffrey Hoffeld • Elliot and Roslyn Jaffe • Carol F. Lewine • Carol Ann Lorenz ’96 PhD curated History in Philadelphia. ’12 MA, College. gary van wyk lisa hayes williams • Dr. Mary Ann Lublin • Charles and Christine Miers • Doralynn Pines• Inge J. Reist • Jonathan M. Rosand and Our Anthropocene: Eco Crises at associate curator at the New the Center for Book Arts, which veronica white ’09 PhD, Britain Museum of American Art, thomas yanni ’86 BA began Judy L. Polacheck • David W. Sussman • Weston W. Thorn • Mr. Jonathan Weiss and Dr. Abigail Wolf • Michael T. Yochum was recommended in a New York curator of academic programs curated several exhibitions includ- a second three-year term as vice Times exhibition review. at the Princeton University Art ing American Post-Impressionism: chair of the City of Palm Springs and Priscilla H.V. Otani Museum, co-organized the panel Maurice and Charles Prendergast; Public Arts Commission. discussions “Conchology and NEW/NOW: Francisca Benítez; sponsors Sarah Ahmann and Doug Kligman • Lewis B. Andrews • Eloise M. Angiola • Anonymous • Rosemary F. Argent • Lilian A. Art History and Archaeology Advisory Council Armstrong • Kevin J. Avery • Matthew Begun • Richard J. and Thea Fuchs Benenson • Nancy A. Houghton Brown • Cristina Philip E. Aarons, Esq. Glenn D. Lowry Brusco and Kirk Sperber • Eliza A. Butler • James Buttenwieser • Petra T.D. and Fen-Dow Chu • Jacquelyn Clinton • Constancio Armand Bartos, Jr. Mary A. Lublin and Elizabeth Del Alamo • Mary Douglas Edwards • Barbara S. and Henry Fields • Raymond Andrew Foery • William Geo Frances Beatty Philippa Feigen Malkin Annette Blaugrund Philippe de Montebello Foulks • Suzanne S. and Richard J. Frank • Susan Tumarkin Goodman • Ruth E. and David C. Green • Maeve C. and Andrew Nelson Blitz, Jr. and Amy D. Newman Gyenes • Adelaide Bennett Hagens • Piri Halasz • Andrea Herbst and Jacques M. A. Paul • Alison L. Hilton • James A. Hoekema • Catherine Woodard Doralynn Pines Jean Magnano Bollinger Amy Greenberg Poster Joyce Anne Houston • Deborah J. Howard • Michael Jacoff • Lewis Karchur • Trudy Kawami • Caroline Anne King • Bob Kirsch Fiona Donovan Louise Riggio • Michael J. Knight • Jeff K. and Mary Kowalski • Rodica Luiza Tanjala Krauss • Jonathan Kuhn and Michelle Herman • Jack Theodore Feder Jonathan Rosand Carol T. Finley Terez Rowley Henry Kunin • Suzanne and Emmanuel Lemakis • Edward Matthew Lewine and Megan Liberman • Carla G. Lord • Stephen Sharon Flescher Steven and Lauren Lowery • Pauline T. Maguire-Robinson • Voichita Munteanu • Janet Nelson • Michael and Carolyn W. Newmark • Lucy A. Frank Gallipoli Schwartz Kate Ganz Bernard T. and Lisa Selz Oakley • Pamela J. Parry • Richard Anderson Pegg • Olivia Powell • Helen A. Raye • Elinor M. Richter • Terry H. Robinson • Lisa Marian Goodman Robert B. Simon M. Romita and Robert J. Bischoff • Donald A. Rosenthal • Maria Catherine Ruvoldt • Victoria Schmidt-Scheuber • Marie L. Michael and Georgia Leopold and Jane Schmitz • David Harris Schneller • Ann Seibert • Kathryn Lee Seidel • Louisa R. Stark • Lee Stewart and Christopher Sherry • de Havenon Swergold Romare Bearden, Patchwork Quilt, 1970. Cut-and-pasted cloth and paper with synthetic polymer paint on composition board, 35 ¾ x 47 ⅞ in. (90.0 x 121.6 cm). MoMA, New York, Blanchette Hooker Rockefeller Fund. Art © 2018 Romare Frederick David Hill Dale C. Turza Bearden Foundation/Licensed by VAGA at Artist’s Rights Society (ARS), New York. Shaalini Stone • Virginia Bush Suttman • Leslie Tait • Lee Z. and Heidi Ullmann • Anne B. Weinshenker • Thomas William Yanni Jeffrey M. Hoffeld Caroline A. Wamsler Emily Ann Gabor, Editor Frederick Ilchman Mark S. Weil Emily Benjamin, Copy Editor, Alumni Information Contributions provided funding for individual and group study and research; conferences, symposia, and lectures; projects by Steve Kossak H. Barbara Weinberg Gabriel Rodriguez and Lisa Peck, Photo Editors Carol F. Lewine Gertrude Wilmer Chris Newsome, Graduate Information the Media Center for Art History; and various other department initiatives. This list reflects gifts received July 1, 2017–June 30, Faith Batidzirai, Sonia Sorrentini, and Jared Stickley, Production Management 2018. We regret any errors or omissions. Linda Florio, Florio Design, Design

22 826 SCHERMERHORN 23 Preparations for Who let these kids in here? at 3 137 Gallery, Athens. Image courtesy of the Columbia Program in Hellenic Studies.