COLUMBIA UNIVERSITY

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

FALL 2014 826schermerhorn

1 from the chair’s office TRAVEL SEMINAR TO GREECE: Sacred Space from Greek Antiquity to Byzantium s a sequel to their spring 2014 graduate seminar, Sacred Space from Greek Antiquity to Byzantium, Professors Holger Klein and Ioannis Dear Alumni and Friends, Mylonopoulos led a travel seminar to Greece in late May. Covering over 1,000 miles in a rather ancient bus, participants from the Depart- ment of Art History and Archaeology and the Classical Studies Program visited twenty-one Greek and Byzantine sites and eight museums. As my three-year term as Chairman of our distinguished department is beginning to wind down, FromA Attica to Boeotia to Thessaly, and finally to the Peloponnese, the students acquired first-hand knowledge of sites, such as the Acropolis of I would like to take this opportunity to express my heartfelt thanks to all of you, who, through Athens, the monastery of Hosios Loukas, the Pan-Hellenic sanctuaries of Delphi and Olympia, and the Byzantine cities of Mystras and Monem- contributions large and small, have helped the Department of Art History and Archaeology to vasia. Thanks to the generosity of the Greek authorities, the seminar participants were able to enter areas that are usually inaccessible to the public: grow in scope and reputation, and to extend its reach well beyond College Walk and the Morning- the interior of the Parthenon, the storage areas and laboratories for pottery and sculpture of the National Archaeological Museum in Athens, side campus. and the galleries of the katholikon of the monastery of Hosios Loukas. Often strengthened only by a snack rather than a proper lunch, students studied sites and monuments in-situ and addressed issues such as the definition of space, the dynamic relations between image and architecture, the 2014 has been marked by exciting new initiatives such as the Anna Hyatt Huntington research interconnections between imaginary and physically experienced spatial environ- and exhibition project led by Professor Anne Higonnet (p. 9) and the research collaboration ment, the religiously motivated transformations of sacred areas, and finally the on the Frank Lloyd Wright Archive led by Professor Barry Bergdoll and the Director of Avery political as well as social uses and abuses of sacred sites. All participants in the Library, Carole Ann Fabian (p. 10). Significant honors were bestowed on our faculty and students: travel seminar had already acquired a deep knowledge of ritual and architectural Professor Ioannis Mylonopoulos was a recipient of Columbia University’s Distinguished Faculty Award, which, through practices as well as theories of sacred space and postmodern geographies in the the generosity of trustee Gerry Lenfest, recognizes faculty members for their demonstrated merits as teachers as well as for graduate seminar that had preceded the trip to Greece. In an attempt to bridge theories and materials, Professors Klein and Mylonopoulos began the trip with outstanding scholarship and service to the university. Equally impressive is the achievement of our PhD student Roberto an intensive hands-on workshop on Ancient and Byzantine ceramic production Pesenti, who was honored for his skill and dedication as a teacher of Art Humanities and Art History with a Presidential that supplemented the academic course program and helped students famil- Award for Outstanding Teaching. I encourage you to find a full list of faculty and student achievements in the faculty iarize themselves with the techniques and practices of pottery production. The highlights (pp. 14–16) and student fellowships and prizes (pp. 17–19) sections of this publication. difficulties in the manufacture and decoration of even a simple bowl taught students and professors alike that studying art requires a deep understanding of This has also been a year of profound loss: David Rosand, Meyer Schapiro Professor of Art History Emeritus, our much the technical aspects of artistic production, just like space needs to be physically admired colleague, trusted friend, and beloved teacher of many generations of Columbia students, passed away on August experienced before it can be imagined. 8, marking an end of an era in the department. On pages 4 and 5, we have included testimonials from a few of David’s Students visiting the monasteries of Meteora. holger a. klein, early christian and byzantine art and archaeology many loving students as well as an all-too-brief tribute to his rich and accomplished career. A much longer acknowledge- Photograph by Holger A. Klein. ment of gratitude would be required to capture David’s many contributions to the field of art history and the university. ioannis mylonopoulos, greek art and archaeology To continue to honor David’s legacy as a great teacher and scholar, the department has initiated, in close collaboration with the Rosand family, the David Rosand Tribute Campaign that supports three distinct fundraising projects: the David Rosand Professorship in Italian Renaissance Art History; the Casa Muraro Program Fund in support of the department’s study center in Venice; and the David Rosand Chair of Art Humanities. For further details about these fundraising proj- UNDERGRADUATE SEMINAR: Travel to the Holy Land ects and how to donate, please see the information on page 5. The city of Jerusalem served as a case study for the spring 2014 travel seminar that critically examined how a city becomes and remains holy. Sacred to Judaism, Christianity, and Islam Last year, I asked you especially to consider supporting two archaeological fieldwork projects in Italy and Greece led by throughout history, Jerusalem has been made and remade as a sacred space. After several weeks Professors de Angelis and Mylonopoulos. These projects are now firmly established and have yielded some exciting results. of preparatory instruction, and accompanied by Professor Avinoam Shalem and PhD student (p. 12) I also asked you to consider donations to the Fund for Graduate Language Training, which enables our students to Lindsay Cook, the undergraduates in Medieval Jerusalem: The Making of the Holyarrived in Israel acquire the language skills necessary to immerse themselves in the scholarly literature and primary sources of their area of at the beginning of spring break to take what they had learned in Schermerhorn Hall and Avery study. I am delighted to report that through a generous bequest of our alumna Sheila Edmunds (PhD ’61), we are now able Library to the streets—and walls, sacred buildings, palaces, and museums— to create an endowment that will support graduate student language training in perpetuity. Jerusalem, Bethlehem, and Jericho. The trip commenced with an exploration of the topography and image of Jerusalem: begin- Once again, I thank you on behalf of our faculty and students for your unwavering commitment and support to the ning on the Mount of Olives, the group descended to encircle the city walls, then proceeded Department of Art History and Archaeology. Enjoy reading about the activities you so generously supported in the past! I from gate to gate in an academic equivalent of a stational procession. look forward to welcoming many of you back to Schermerhorn Hall for our annual CAA Alumni and Friends Reception The following days focused on the Jewish, Christian, and Muslim narratives of the city. Aware on February 13, 2015, held in the Judith Lee Stronach Center on the eighth floor of Schermerhorn Hall from 5:30–7:30pm. of its historical layers and approaching its monuments from a critical perspective, participants hiked through the Kidron Valley; walked along the Via Dolorosa and to the Holy Sepulcher; and With best wishes for a joyous holiday season, visited several sites within the sacred precinct of the Haram al-Sharif including the Dome of the Rock, al-Aqsa mosque, the fountain of Qayt Bay, and the Qubbat al-Nahawiyya. Seminar participants also spent a significant portion of the trip viewing the country’s muse- ums and active excavations. Highlights included visits to the Rockefeller Museum; Yad Vashem; The Tower of David Museum; the Israel Museum; and the new Museum on the Seam, which displays contemporary art that deals with different aspects of socio-political reality. Holger A. Klein The carefully researched student presentations delivered at most stops on the itinerary Professor and Department Chair breathed life into the intense ten-day excursion, and continued to drive the dialogue in the sem- inar room back in New York for the remainder of the semester. The Riggio Program Fund for Jerusalem, Tomb of Zechariah. Undergraduate Support made the trip—by all accounts, the highlight of the seminar—possible. Photograph by Lindsay Cook.

avinoam shalem, art of islam and lindsay cook, phd student

2 3 Ensuring David Rosand’s Legacy: The David Rosand Tribute Campaign David Rosand Mindful of their enduring impact for him, his teachers, students and colleagues, David was a devoted To make contributions to the David Rosand and grateful supporter of the Department, the College and the University. To honor David’s legacy Tribute Campaign please use the enclosed David Rosand David Rosand was of that rare David himself was an accomplished painter and draftsman, and and ensure that his contributions and the values he upheld be available to future generations, the mailer and check the box for the Rosand family and the Department of Art History And Archaeology have initiated the David Rosand Memorial Fund, visit our secure website for and blessed breed: both a consum- his academic work was marked by his deep interest in artmaking. It Tribute Campaign to support the three core initiatives that were closest to David’s heart: online giving at: http://www.columbia.edu/cu/ mate scholar and a much-loved and accounts for his interest in the role of the hand in producing the strokes arthistory/rosand, or contact Shalini Mimani, popular teacher. His academic career of the brush and the lines of the pen. It generated the exhibitions on The David Rosand Professorship of Italian Renaissance Art History will ensure that there will always be a Senior Director of Development for the Arts was spent at Columbia—first as an Motherwell’s drawings and prints and on Edward Koren’s cartoons at distinguished scholar and teacher devoted to the Italian Renaissance at Columbia. & Sciences at Columbia at (212) 851-7980 or undergraduate (ba 1959), then as doc- Columbia’s Wallach Art Gallery (to which he was devoted and which [email protected]. toral student (PhD 1965), and finally he was instrumental in establishing). Above all, it lay at the heart of his The Endowment for Casa Muraro will secure programmatic and restoration funds for the house and as professor of art history for over intensely visual approach to works of art, both in his writing and his library of David's teacher and colleague Michelangelo Muraro, which was bequeathed to Columbia in forty years. His teachers included the teaching. 2005. Embodying the welcoming spirit Muraro showed David in introducing him to the history and great art historians Rudolf Wittkow- David was a scholar and teacher of unparalleled generosity. He culture of Venice, it has served as the core of Columbia’s Summer Programs in Venice ever since. er, Julius Held, and Meyer Schapiro. devoted a good portion of his energy to the protection and conserva- The David Rosand Chair in Art Humanities will provide permanent support for the faculty member When he joined the Department tion of the Venice he loved, especially in his untiring work on behalf who supervises Art Humanities as well as for course-related programming. David’s name will thus be of Art History and Archaeology at of Save Venice Inc. He led one successful fundraising campaign after permanently associated with the course through which his impact on Columbia undergraduates was so Columbia, they became his col- another for the benefit of the Department of Art History, securing fundamental. leagues. Soon he was the equal of funds for the establishment of several endowed chairs in both Western the best of them. and non-Western art. He was responsible for securing the home of his Although David wrote his dissertation on Titian’s pupil, Palma closest Venetian friend and colleague Michelangelo Muraro for Colum- Giovane, Titian remained his first love, and his great area of expertise. It bia. Given his focus on the making of art from the Renaissance to the Tributes to David Rosand was not long before his standing as the foremost authority in America 20th century, it was only fitting that he should have been named the Venice energized him. His pace quickened when “Start with the object” Professor Rosand would My sharpest image of David Rosand is that of on Venetian painting became clear. His monograph on Titian (1978) first Meyer Schapiro Professor Art History at Columbia (in 1995); two he was there. Standing on the scaffolding cov- always say. It took me years to understand what him seated behind a desk, framed by tottering was followed by his magisterial Painting in Cinquecento Venice: Titian, months before he died he received the University’s highest honor, the ering Titian’s Assumption of the Virgin, Professor that really meant. Perhaps I began to compre- stacks of papers while listening patiently to my Veronese, Tintoretto. Eloquent testimony to his long-standing interests degree of Doctor of Letters honoris causa. Rosand was a sight to behold, and an inspiration. hend when I had the privilege of attending words regardless of the number of fidgeting in the phenomenology of painting and drawing appeared in his The Everyone who knew David Rosand The enormous painting was an old friend, one the Titian, Prince of Painters exhibition at the graduate students waiting outside his door. His Meaning of the Mark: Leonardo and Titian (1988), and then, magnifi- —students and colleagues alike—loved he knew so well, but his delight in being so close Palazzo Ducale with him in Venice in 1990. warm interest in my newest idea (no matter how cently, in his Drawing Acts: Studies in Graphic Expression and Representa- him. His lectures on Italian painting was that of someone seeing it for the first time. I marveled at how intensely he searched the far-fetched) was enough to transfigure the darkest tion (2002). The final monograph, on the work of Veronese (the subject were legendary, and they attracted large He listened intently to the conservators as they surface of the canvas, seemingly oblivious to dissertation-writing gloom into the spectacular of his first and last articles on Italian art) appeared in Paris in 2012. It audiences. Without ever compromising shared their latest discoveries about the painting’s fatigue, while I, much younger, had to prop hues of a Venetian canvas. It was a thrill, of was a monumental work, the fruit of a lifetime’s engagement with the his rigorous intellectual standards, he condition, its pigments, and the restorations myself against the wall in exhaustion. For him, course, to study with such a phenomenal Renais- from its afterlife. “I always learn so much from it was the interaction of oil paint and canvas, sance scholar. There will be others—I hope—as artist whom he loved almost as much as Titian. became an unfailingly popular teacher you,” he told them. He beamed when he saw the of pen and paper, of chisel and stone that held good, though it is hard to believe that any of David was equally concerned with painting, drawing, and printmak- in Columbia’s Core Curriculum. No visible brushstrokes that Titian had left on the the secret to meaning and that embodied the them will possess the same delicate balance of ing. In his work on Italian art, he transcended the traditional distinc- one could have been a more dedicat- painted surface of the Virgin’s face. He held out essence of image-making. This was something erudition, integrity, eloquence, self-knowledge, tion between colore and disegno, color and drawing, the first usually ed proponent of the Art Humanities his hand to mimic the way the Virgin held hers. that I too, came to believe and have kept that empathy, humor, and grace. Yet it is equally dif- associated with Venetian painting, the second with Florentine. David program within it. One of his most Professor Rosand taught us to look, and to look approach throughout the years. I recently visited ficult to imagine that the spirit of one so selfless produced the groundbreaking monograph Titian and the Venetian remarkable projects was the film he again. the Metropolitan Museum of Art after having will ever abandon his students, department, or Woodcut in 1976. Few knew more about the art of the print than he, made about Raphael’s School of Athens —Lorenzo G. Buonanno ’14 PhD been away for a number of years and, of course, university. and he continued to teach classes on the subject for many years. in the Vatican to accompany the study quickly hurried up to view the Venetian paint- —Irina Oryshkevich: ’03 PhD Always involved with contemporary art, he was close to Robert of that artist in the Core. ings. I gazed at the Venus and Adonis—perhaps Motherwell, and in 1997 edited and contributed to Robert Motherwell Graduate students flocked to work with David Rosand. He produced Oh no—the blank canvas was far too daunt- by Titian’s hand, perhaps by his workshop—and ing,” he said. I had asked if he’d ever painted tears filled my eyes. Professor Rosand was unmatched in his ability on Paper, which also included essays by Arthur Danto, Stephen Addis, almost 100 PhDs. His instruction was attentive and loving, his solicitude again. It was my first year of graduate school, —Paula Carabell ’94 PhD to educate students holistically, to tend to our and Mary Ann Caws. Though he rarely taught the subject, his interest for students endless. His best students have gone on to form a critical and we were talking about our shared histories individuality and teach us how to cultivate our The Invention of Painting in in early American painting produced core of those teaching Renaissance art in the US and of curators in as painters. Understanding the work of art from own voices to impact art history in new and America in 2004, a novel and beautifully concise introduction to the the field. His impact will remain, in New York, Venice, and the wider the point of creation—including its great thrills “It’s all there" he would say, sounding like a seer, exciting ways. Over the course of eight years, I subject based on his 2002 Schoff Lectures. worlds of the history of art and culture. and its fears—made him such a powerful art while twisting his hands as if building my disser- watched how my interests became his interests, historian. His empathy for the artist permeated tation out of the office air. And David Rosand’s how my ideas about Renaissance dance were his approach to his students: he had been there, “all” included everything; he would devote time translated into the swirling motion of his arms above: Prof. David Rosand in Venice. Photograph by struggled with the blank canvas just as the blank to footnotes, text, and of course titles, leafing and the flourish of his hands, and how he never Matteo de Fina, courtesy of page, and smiled knowingly, reassuringly, when through a dictionary finding just the right word failed to transform these graceful gestures into Save Venice Inc. inset: Prof. we came to him with exasperation. Go back to while I tried to absorb each sentence he uttered beautiful words. With sprezzatura, Professor David Rosand and Titian’s the object, he would say, and then come back to later mine for meaning and ultimately insert Rosand choreographed my doctoral studies from Assumption of the Virgin, and talk. And we would, unforgettable conver- into my text. He led me through every step of beginning to end. He taught me that I am more on top of the altarpiece. sations with a scholar and mentor so gracious, the writing process, his editorial hand guiding than just an art historian: I am a dancer who Photograph by Lorenzo human, and full of heart. my way. For him it was all there, and he never studies art history. Buonanno —Aimee Ng ’12 PhD wavered in his generosity and belief in my —Olivia Powell ’12 PhD ability. David Rosand inspired me to write, but more importantly, he taught me and countless others to see. —Anna Hetherington ’13 PhD

4 5 MAPPING MESOPOTAMIAN MONUMENTS

Mapping Mesopotamian Monuments is a project that aims to survey and document the condition of standing monuments and historical architecture in Mesopotamia, from Kurdistan to southern Iraq. A work in progress, the survey covers all historical periods from ancient to mod- ern. Professor Zainab Bahrani first conceived of the idea for this survey of monuments when working in Iraq in 2003–2004. It became clear in the aftermath of the war that a comprehensive survey and condition assessments were needed, as Iraq had been cut off from the world due to years of war and economic sanctions. Work began on site in Iraqi Kurdistan in 2013. The project was awarded a President’s Global Innovation Fund Planning grant that allowed a small team to travel to the region in order to begin fieldwork there, and to meet with colleagues locally with whom the team expects to continue future collaborative work. As a first step, the team was able to document and assess damage of more than twenty major monuments and heritage sites in Erbil, Dohuk and Suleymaniye. They documented ancient Assyrian rock reliefs and sites, early Christian churches and monasteries, early Islamic architecture, Yezidi temples and shrines, and Ottoman era buildings such as sarays and public buildings. The photo- graphic documentation from this field trip is currently being prepared for the Art History Department’s Archmap website: http://archmap. org/mesopotamia. This is a database that invites viewers to explore the multiple layers of the rich historical landscape of Mesopotamia. What Professor Bahrani and her team accomplished in 2013 was the STEFAAN VAN LIEFFERINGE documentation of the standing monuments and rock reliefs high up in the mountains, their state of preservation and condition for his- New Director of the Media torical and conservational purposes. The significance of this work is unfortunately borne out by the horrible events of the summer. Along Center for Art History with the expulsion of populations and slaughter of entire towns and The Art History Department is delighted to welcome Dr. Stefaan Van villages, there have been targeted demolitions of historical monuments Liefferinge as the new director of the Media Center for Art History and shrines. These iconoclastic acts are destructions of history, but they (MCAH). Van Liefferinge’s research combines science, technology, and are also well known forms of ethnic cleansing. Heritage sites, histori- architectural history. He is especially interested in fostering the use of cal architecture and monuments are now in grave danger throughout current technologies and means of communication for generating new the region. As they continue to be destroyed as a means of erasing avenues of research and developing innovative knowledge exchanges in the diverse ethnic and religious communities, the project has both art art history and archeology. historical-archaeological scholarly value and has aspects that are directly Before becoming the director of the Media Center, Van Liefferinge linked to human rights. taught medieval art and architecture at the University of Georgia, and was the principal in- In 2014, the project received an additional three–year Columbia vestigator of a federally funded research project involving artificial intelligence. His disserta- President’s Global Innovation Fund grant. The award will enable the tion, Columbia University 2006, investigated medieval mathematical knowledge in relation- continuation of this fieldwork in the region, including more sites in ship to the design of the Gothic choir of the cathedral of Notre-Dame of Paris. His research Iraqi Kurdistan, in Eastern Anatolia in Turkey, and in Jordan and opposite: Duhok, Iraqi Kurdistan. Maltai Reliefs, has been published in journals on architectural history and in proceedings of conferences in Lebanon. ca. 704–681 BCE. Detail: Assyrian deities carried by computer science. In addition to his PhD, Van Liefferinge possesses a BS in physics and a MS their symbolic animals/creatures. Photograph by in computer science. He has also extensive experience in the computer and software industry Helen Malko. Top: Erbil, Iraqi Kurdistan. Rashid Aga Saray, 19th century Ottoman house, court- where he worked as a developer and project manager for many years. Selected publications yard and fountain. Photograph by Serdar Yalcin. include; “The Geometry of Rib Vaulting at Notre-Dame of Paris: Architectural or Exegetical Bottom: Lalash, Iraqi Kurdistan. Sanctuary of Space?" in Space in the Medieval West: Places, Territories, and Imagined Geographies, (Alder- Sheikh Shemsi. Photograph by Serdar Yalcin. shot, Ashgate, 2014) and the multi-authored "The ARC Project: Reasoning about Represen- zainab bahrani tations of Gothic Cathedrals with Artificial Intelligence" in 16th International Conference on ancient near eastern art and archaeology Information Visualisation IV, (IEEE Computer Society CPS, 2012).

6 7 when you can redefine big? Rotational photog- raphy from MCAH captured a new 360-de- THE gree image of the 1915 Riverside Drive Joan of Arc. By hoisting their camera aloft, they ANNA HYATT HUNTINGTON allowed viewers to (virtually) fly around the monument. Then the larger-than-life digital image was projected on an entire wall of the PROJECT Wallach Art Gallery. The exhibition was thus able to display Huntington’s work on every the author of, among other scale, from the monument to the medal. public works, the 1915 Joan The exhibition is over. Thanks to a generous of Arc at Riverside Drive, anonymous donor, however, a print catalogue and a 1922 Joan of Arc in the and a website remain. Essays and catalogue en- Cathedral of Saint John the tries preserve the work of a whirlwind semester. Divine. Casts of her life-size Meanwhile, Huntington’s jaguars still hover bronze 1922 Diana grace the in the Metropolitan Sculpture Court, ready National Academy of Design to pounce, and the Riverside Joan of Arc, still and the New-York Historical holding her sword high, is about to celebrate Society. Columbia itself, it her 100th anniversary. Now we know much turned out, owns a major more about the woman who created them, and sculpture of cranes by Anna about the city which nurtured her art. Hyatt Huntington, languish- ing in the storage of Art anne higonnet Properties. 19th century arts, history of the history of art clockwise from top: Attributed to Leone Leoni, Four Profile Studies for the Head of Andrea Doria and Three The Hispanic Society of Sketches of a Horse Tamer, Morgan Library and Museum, New York. Benvenuto Cellini, Mourning Woman, 1552, America was willing to work Musée du Louvre, Paris. Baccio Bandinelli, Hercules from a Side View, 1560, Uffizi, Florence. Michelangelo, Pietà, with the The Miriam and ca. 1538–44, Isabella Stewart Gardner Museum, Boston. Ira D. Wallach Art Gallery to make an exhibition of the forgotten sculptures possible. Donatello, Michelangelo, Cellini: Excited by the discovery of the cache, the Metropolitan Museum of Art agreed to Sculptors’ Drawings from Renaissance Italy lend with exceptional alacrity, leading to similarly expedited he sculptor Baccio Bandinelli was one of the greatest loans from other collections. draftsmen of the Renaissance, producing hundreds of The New-York Historical surviving drawings. The sculptor Giambologna, who was Society’s Diana was just barely Tequally long-lived and prolific, left only a handful of works on hen is an exhibition not just an squeezed into the Schermer- paper. This difference in the surviving material record corre- exhibition, but also a course, horn elevator by inserting her diagonally from sponds to competing accounts from contemporaries about what a print catalogue, and a web- corner to corner. the sculptor’s art encompassed. The writer Pomponius Gauricus, site?W When it’s the Anna Hyatt Huntington But how to mount an exhibition in record for example, remarked that drawing was so essential to sculpture project. In fall of 2013, twenty-one PhD and MA time? Project proposal: May 2013. Exhibition that Donatello used to tell his students that the entirety of his art students, together with Barnard and Colum- opening: January 2014. By turning the exhi- could be taught to them in a single word: “draw.” Giorgio Vasari, bia undergraduates, worked collaboratively bition into a course. Energized by the tight by contrast, remarked that most Renaissance sculptors did not with Professor Anne Higonnet to create a new schedule, which offered a rare opportunity draw, could not draw, and had no need of the practice. hybrid. The result, Goddess, Heroine, Beast: to prepare an exhibition one semester and The exhibition Donatello, Michelangelo, Cellini: Sculptors’ Anna Hyatt Huntington's New York Sculpture, see it open the next, the students divided up Drawings from Renaissance Italy, to run at the Isabella Stewart Gardner Museum in Boston from 1902–1936 (January 22–March 15, 2014), went research, curatorial, and administrative tasks October 23, 2014 to January 19, 2015, confronts these contradictions by surveying the graphic on public display in January 2014. and got to work. left: Anna Hyatt Huntington, Joan of Arc, 1915; cast practices of Italian sculptors over two centuries. It brings together works on paper from major It began with the Media Center for Art Students did original work in archives all after 1917. Bronze; 50 1/4 x 11 x 28 1/2 inches x 13 in. (130.2 x 72.4 x 33 cm.) Lent by Munson-Williams- History (MCAH) website devoted to the over New York. For instance, second year PhD collections in Europe and the United States, as well as related three-dimensional objects by the Proctor Arts Institute Museum of Art, Utica, New featured artists. The exhibition allows visitors to compare various sculptors’ approaches to similar Hispanic Society of America. MA student student Daria Foner went to the Bronx Zoo to York; gift of the Scottish Deerhound Club of America problems (the study of an ancient fragment, the composition of a fountain) and to see the differ- Kitty Dare got involved, and discovered at the hunt down Anna Hyatt Huntington’s jaguar (52.5).Photo courtesy Munson-Williams-Proctor Arts ence between sculptors who took up chalk or pen for the very occasional practical purpose and Hispanic Society of America a forgotten cache sculptures, and Lydia Ferraro (Barnard ’14) went Institute Museum of Art, Uticas, New York. Right: those who cultivated exquisite skills in the medium. Ultimately, it allows us to ask why sculptors of sculptures by Anna Hyatt Huntington to New York University and Bronx Community Anna Hyatt Huntington. Diana of the Chase, ca. 1922; cast between 1923 and 1939. Bronze and marble; 99 (1876–1973). Once one of New York’s most College to excavate the history of the Hall of made the choice to draw or not to draw. A full-color catalogue with more than two dozen con- x 33 x 29 1/2 in. (251.5 x 83.8 x 74.9 cm). Collection tributors accompanies the show. successful public sculptors, Huntington is an Fame of Great Americans, to which Huntington The New-York Historical Society, gift of Mr. and Mrs. artist whose work is everywhere around us in contributed paintings and served as a juror. Archer B. Huntington (1939.252). Photo courtesy The michael cole New-York Historical Society. italian renaissance art the city, yet who had been forgotten. She is Why stage an exhibition of small sculpture

8 9 weeks of MoMA’s Le Corbusier exhibition and the reading room of the research usually reserved for our doctoral students in their years away Avery Department of Drawings and Archives as their classroom. Mem- from campus conducting archival research for their dissertations. bers of the seminar each adopted one of Wright’s skyscraper projects, or The exhibition was both the result of the group’s research and an an aspect of “Broadacre City,” his polemical design for a de-centralized invitation to ponder the paradoxical legacy of Wright’s engagement with city, as the subject of a seminar report. At the same time they studied urban issues—rather than the issue of redefining the American domestic the drawings in the archive to analyze the evolution of a single project sphere for which he is more famous—as well as to contemplate how de- and to place it in relationship to current debates on American cities, as bates that go back to the Great Depression when Wright articulated his well as to situate it in the evolution of Wright’s ideas and designs. They ideas seem quite contemporary with the issues of sprawl, transportation, also discussed how the materials might be displayed. Research and cura- and sustainability in the 21st century. torship merged, and the students were immersed in a type of first hand

Messages and Means: MURIEL COOPER at MIT Co-curated by Robert Wiesenberger, phd candidate in the Department of Art History

February 25 – April 17, 2014, Arthur Ross Architecture Gallery, Columbia University GSAPP

Muriel Cooper (1925–94) worked at MIT for over four de- cades as a graphic designer, teacher and researcher, and is one of the 20th century’s few pioneers in both print and digital media. Hired at MIT in the 1950s to collaborate with the designer Gyorgy Kepes, FRANK LLOYD WRIGHT Collaboration Cooper went on to become the first design director at MIT Press, In August 2012, after more than a year’s discussions and negotiations, Density vs. Dispersal curated by Professor Barry Bergdoll together with where she created their iconic seven Columbia University and the Museum of Modern Art announced a Avery Director Carole Ann Fabian and Janet Parks, Avery’s Curator of bar logo and designed or oversaw historic agreement between the Frank Lloyd Wright Foundation, the Drawings and Archives, not only proposed a view of Wright’s work with some 500 publications, including Museum of Modern Art, and the Avery Architectural and Fine Arts resonance of historic and current debates over the form of the American The Bauhaus (1969) and Learning Library for the transfer of the archives of the great American architect city, but involved Columbia students in the preparation of the display. from Las Vegas (1972). Frustrated (1867–1959), and those of the Taliesin Fellowship he founded, to the Students in Professor Bergdoll’s fall 2013 undergraduate seminar, Frank with the limitations of publishing, in 1974 Cooper established the joint custody of the museum and university. The Wright archive is Lloyd Wright and Le Corbusier: City and Nature, used both the final Visible Language Workshop in MIT’s Department of Architecture one of the most extraordinarily comprehensive and rich archives of an as a site for experimental printing. In the early 1980s, foreseeing the eight-decade career in architecture—including tens of thousands of importance of software, Cooper was a founding researcher and the drawings, photographs, letter and manuscript pages, alongside archi- first woman tenured at the MIT Media Lab, where she devoted her tectural models, fragments, building material studies, and even films. energies to reimagining the human-computer interface and advising The Wright archive represents, a cross section of American culture and a generation of leading designers. international architectural interchanges over the decades that marked Messages and Means: Muriel Cooper at MIT was the first exhibi- the rise of modernism in the arts. tion of the designer’s work since her death in 1994, and included As part of the agreement, Columbia and MoMA committed to photography, books, prints and videos. It was organized by Robert opening the archive to researchers and to stage an exhibition within a Wiesenberger, PhD candidate in the Department of Art History and year or so of the agreement. Avery opened the Wright drawings and Archaeology, and David Reinfurt, a graphic designer and instructor correspondence for onsite research in fall 2013. At the same time, at Princeton who has also taught at Columbia Graduate Sschool of MoMA and Avery worked together to prepare for the February 2014 Architecture, Planning, and Preservation (GSAPP). The exhibition opening of the first exhibition of many to come in the Architecture was designed and produced by Mark Wasiuta and Adam Bandler of and Design galleries at MoMA. Frank Lloyd Wright and the City: Columbia GSAPP Exhibitions, and will travel to the École can- Left: Muriel Cooper, self-portrait with Polaroid SX-70, video imaged and printed tonale d’art de Lausanne in Lausanne, Switzerland. An exhibition at the Visible Language Workshop at MIT, c. 1982. Courtesy of the Massachusetts above: Installation view of Frank Lloyd Wright and the City: Density vs. Dispersal on catalog, supported by the Graham Foundation, is forthcoming from College of Art. top: Muriel Cooper with Ron MacNeil, Messages and Means barry bergdoll view February 1–June 1, 2014 at The Museum of Modern Art. Photo: Thomas Griesel. course poster, c. 1974. Courtesy of the Massachusetts College of Art. Bottom: 19 20 MIT Press. th- and th-century architectural history, © 2014 MoMA, N.Y. Inset: Barry Bergdoll with undergraduate seminar students Installation view at Arthur Ross Architecture gallery. Photo: James Ewing theory and criticism Frank Lloyd Wright & Le Corbusier: City & Nature Avery Architectural & Fine Arts Photography. Library carole ann fabian director, avery library

10 Excavating Art, Architecture, and More, The Infinite Image: Plotting Gothic at Hadrian’s Villa Art, Time and the Aesthetic Dimension in Antiquity In June 2014 the Advanced Program of An- crucial node for the rituals governing access cient History and Art (APAHA), led by Profes- to the Villa, not only brought to light new [B]etween 1927–1935, the Surrealist sors Francesco de Angelis (Art History) and structures and dozens of large architectural sculptor, Alberto Giacometti, after Marco Maiuro (History), conducted the first fragments made of different marble sorts, viewing and sketching ancient statues fieldwork season at Hadrian’s Villa in Tivoli. but revealed that the architectural history of at the Louvre, including a series of Twenty-four students at all levels, from Co- the area is far more complex than previously sketches of Gudea, the ruler of the lumbia and other universities, enthusiastically thought. ancient city of Lagash, incorporated participated in the project.The dig was com- At the so-called Macchiozzo, a previously ancient Near Eastern art forms and plemented by workshops, onsite presentations, unexplored sector placed roughly at the center types into his work. Giacometti made and fieldtrips (which included sectors of the of the Villa, the dig revealed a large compound a number of studies of Mesopo- Villa that are privately owned and inaccessible of the Hadrianic age combining elements of tamian and Egyptian works of art to the public). luxury architecture (e.g., marble-faced walls) that were exhibited at the Louvre, The campaign addressed all of APAHA’s with utilitarian structures. In addition to copi- but also several more Near Eastern main research goals, namely the investigation ous amounts of kitchenware—an unusual fea- sculptures that were housed at other of the role of everyday life at the Villa vis-à-vis ture for Hadrian’s Villa, which is better known museums in Europe. The Giacometti the grandeur of its architecture and deco- for the finds of statues—a highly exciting sketches of Mesopotamian antiquities, many of them drawn in blue rative apparatus; the documentation of the result was the identification of late antique and ball point pen, have a sense of immediacy in the line that is evocative post-Hadrianic life of the site; and the study of medieval phases: their analysis will contribute of the direct encounter with the work, an aesthetic experience that the its transitional and liminal spaces. in a substantial way to filling the gap in our Surrealists valued and sought in non-western and in ancient artefacts. The exploration of the so-called Lararium, knowledge of the history of the Villa between They exemplified what Giacometti’s contemporary, the jazz musician a shrine located off the Great Vestibule, at a 300 and 1300. and assistant director of the Trocadéro Ethnographic Museum, Georges Gothic may be said to live “out there” in the forms of thousands of Henri Rivière, had called for in his 1926 essay on Archéologismes pub- churches, cathedrals, and other buildings and artifacts—including lished in the leading art journal, Cahiers d’art, a means of dealing with extraordinary edifices that appear to speak directly to the visitor, francesco de angelis roman art and archaeology a new range of art forms that had entered their world. The aims of [The moving him or her to the core. Today our great cathedrals—Chartres, Surrealist journal] Documents, which included ancient Near Eastern Notre-Dame of Paris, Florence—are overwhelmed by a continuing sculpture, was thus to include a wide range of works from outside the flood of tourists and pilgrims. No mode of artistic production—other west, including pre-Classical antiquity. The journal’s self-proclaimed than, perhaps, music and modern media, especially film—has anything Professor Francesco De Angelis and his team excavating at Hadrian’s Villa. aim was the promotion of experimental thinking spurred by these new like this kind of direct impact on so wide an audience. discoveries and encounters with other worlds, both the ancient and Yet the phenomenon was not created through the media of masonry, unfamiliar, as well as the distant and exotic. wood, and glass alone: “Gothic” is also a rhetorical construct. Far At the same time, New York City was fast becoming the world’s new from being content to allow the great church to communicate directly Columbia University’s Excavation of the art hub for Modern art. The city’s premier Museum of Modern Art through architectural form, space, light, and liturgical performance, Sanctuary of Poseidon in Onchestos opened in 1929 to much acclaim and became central to the construc- visitors continue both to demand and to provide rhetorical responses: tion of the narrative of the Modern. The flow chart of the historical verbal explanations delivered by an interlocutor who interposes self The summer of 2014 saw the beginning of Columbia University’s excavation of the sanctuary of development of Modernism created by Alfred H. Barr, the museum’s between building and audience, pointing and speaking for the build- Poseidon in Onchestos, the seat of the Boeotian Confederacy. Its director, Professor Ioannis My- first Director, in an attempt to raise the level of investigation to that of ing. We are all familiar with the sight of the group of weary tourists lonopoulos, led a group of graduate students on a fascinating journey into the secrets of a major a science, was central to the seminal exhibition of 1936 called, ‘Cubism struggling through the crowded cathedral, led by one who pauses sacred site of Greek antiquity. The team spent six weeks (June 2 to July 13) exploring two large and Abstract Art’. It was not only the cover of the catalogue, but also periodically to point and talk as they dutifully look and listen. By ex- areas (Site A: 0.6 ha; Site B: 1.03 ha) between Thebes and Haliartos. The campaign began with a the genealogy or topology that guided the exhibition and the narrative tension, interlocutors can also provide mediation in the pages of books, geomagnetic survey that provided much information about the two areas and identified several of modern art advanced by the newly established museum. The chart classroom lectures, or media productions. Inspired by the synchronic, points that are bound to become future foci of the project. Site A corresponds to the sanctuary’s constructed a logic for the organization of the museum’s galleries, a and interactive potential of the space of the computer screen, I propose center, the site of the temple. Here, an impressive rectangular building with three, probably logic which formed the underpinning of the early history of Modern- in the following pages to lay out a spatial mechanism capable of recon- wooden, interior columns was explored. The structure dates back to the 6th century BCE and was ism and especially abstract art. It channelled the various trajectories ciling the various kinds of story... enlarged in the late 4th or early 3rd century. Site B corresponds to the sanctuary’s administrative of modern art through Fauvism and especially Cubism, culminating center and includes a large square building with an interior courtyard surrounded by colonnades. in either to ‘non-geometric abstract art’ or to ‘geometric abstract art’. Excerpt from Stephen Murray’s Plotting Gothic The survey also revealed the existence of additional buildings, one of which – a substantial round Importantly, Barr’s diagram gave ancient Near Eastern Art a prominent (University of Chicago Press, 2014) p. 1. structure with a diameter of over 131 feet – remains a puzzle. The excavation has already yielded position of external influence on Cubism and Abstract art, a fact that a rich array of finds: vases and vase-fragments (several bearing graffiti), numerous bronze objects has somehow escaped later scholarship. (including a strigil), bronze and silver coins, weapons (among them a fully preserved sword), objects associated with horse and chariot races, and a Doric capital with traces of color from the Excerpt from Zainab Bahrani’s The Infinite Image: Art, Time and the 4th or 3rd century BCE. Aesthetic Dimension in Antiquity (Reaktion, 2014) pp. 16–17.

i Silver hemidrachmon from Sikyon, first half of the 3rd ioannis mylonopoulos Georges Henri Rivière, ‘Archaéologisme’ above: Cover Illustration from Dictionnaire raisonné de l'architecture française cent. BCE, Onchestos/Site A © Onchestos excavation greek art and archaeology Cahiers d’art I:7 (1926) 177–180. du XIe au XVIe siècle (1856) by Eugène Viollet-le-Duc.

12 13 Excerpt from Robert E. Harrist, Jr.’s faculty highlights Color and Time: Paintings by Roy Newell (Pollock-Krasner House and Study Center, 2014)

Stepping into the Chelsea gallery where I first saw Roy Newell’s paintings in the winter of 2010, I, like Alexander Alberro published es- June of 2014. The book is a publi- Louvre’s Grande Galerie. Her SAH. He contributed an essay to Spaces: Social Media and Museum most people, knew nothing about this artist, who had says in the journal Modernism/Mo- cation of Bahrani’s Slade Lectures essay “Peinture d’histoire et the catalogue for the US Pavilion Structures symposium held at died four years earlier at the age of ninety-two. My dernity, the anthologies Parachute: in the Fine Arts, delivered at Ox- histoire de l’art: Léonard de Vinci at the Venice Architecture Bien- the Whitney Museum, and the The Anthology: Volume II, and ford in 2010–2011. From October mourant dans les bras de François nale, and lectured from Princeton keynote address at the “Fields of response to the paintings, none of them very large, John Knight, and the exhibition to November 2013, Bahrani began Ier par F.-G. Ménageot” is coming to Porto in conferences. Vision: Observation and Surveil- was immediate and intense. I loved their glowing catalogues Julio Le Parc: Kinetic a new fieldwork project that out in November in Le Salon lance” symposium at the Whitney colors and compositions made up of interlocking Works, and Whitney Biennial 2014. documents and assesses damage de l’Académie Royale de Peinture Diane Bodart co-directed, with Humanities Center at Yale. geometric shapes. I was fascinated by their surfaces, He presented public lectures in to standing monuments in Iraq, et Sculpture: Archéologie d’une Valérie Boudier, the last mono- which resembled fine-grained relief maps of a colored New York, Nuremberg, Germa- Kurdistan, and the surrounding institution, a volume edited by graphic issue of Predella (Pisa, Francesco de Angelis directed the lunar landscape. I loved also the way the paintings looked old. Although the top layers of paint ny, São Paulo, Brazil, Sydney, regions. With a small team of Isabelle Pichet and published by ETS, 2014 ) on Le banquet de la first fieldwork season and study Australia, Karlsruhe, Germany, archaeologists, she documented the Éditions Hermann (Paris). Renaissance: images et usages (avail- abroad program at Hadrian’s Villa were fresh and luscious, everywhere there were traces of earlier layers underneath; in some areas and Palo Alto, California. He also sites in Erbil, Dohuk, and Suley- able online: www.predella.it:). She in Tivoli (with Marco Maiuro, the pigment was so thick it resembled strips of felt. Overlapped by strata of red, blue, yellow and organized and moderated “Hélio maniye. The project, which was Barry Bergdoll was appointed has published an essay on the scale History Deptartment), involving bright green, the edges of some of the unframed paintings exposed roughly-constructed wooden Oiticica in New York: Baby- awarded a Columbia President’s Meyer Schapiro Professor of Art of public statues in urban space: 24 students and 6 team members supports that looked as venerable as those of a Renaissance altarpiece. lonests, Cosmococas, and other Global Innovation Fund grant, History, and returned to full “La statue à l’échelle urbaine”, in during June 2014 (see p. 12). He Projects at the Threshold of Art, will continue to document histor- time teaching. He began the year Stephanie Hanke and Alessandro published articles and book chap- Cinema and Architecture,” an in- ical architecture and monuments with a week’s stint as Bruce Goff Nova (ed.), Skulptur und Platz. ters on ancient technical treatises, ternational symposium that took in the region (see p.6). Visiting Professor in Creative Raumbesetzung – Raumüber- myth in Roman art, Trajan’s Col- place at Columbia University in Architecture at the University of windung – Interaktion (Berlin, umn, and contrapposto in Etruscan Antiques, and a website (see p.9). Yale University Press. Professor Service to the Core Curriculum at November 2013 with the support Last spring Frédérique Oklahoma, and ended it antipi- Deutscher Kunstverlag, 2014). art. He has been invited to speak In the spring, she gave a three- Jones’s latest exhibition, Wit- Columbia. Professor Klein con- of the Institute for Studies on Baumgartner was invited to odally giving the keynote address at the conference “Wandering part lecture series for the events ness, Art and Civil Rights in the tinues to direct the joint summer Latin American Art (see p. 19). speak at “Rendez-vous: An to the Society of Architectural Over the past year Michael Cole Myths” in Oxford, participated in program of the Metropolitan Mu- Sixties—celebrating the fiftieth program with Boğaziçi University International Seminar on French Historians of Australia and published articles on discovery a panel on antiquarianism at the seum of Art. She is now design- anniversary of the Civil Right in Istanbul, which added a new Zainab Bahrani’s new book, The Art” held at NYU’s Institute of New Zealand. His 2013 MoMA and invention in Renaissance art annual meeting of the Renaissance ing and organizing a prototype Act—opened at the Brooklyn course on Ottoman architecture Infinite Image: Art, Time and the Fine Arts; she spoke about the exhibition catalogue on Henri history, on scale in the sculpture Society of America and gave talks undergraduate digital humanities Museum in March 2014. It will during the summer of 2014, and Aesthetic Dimension in Antiquity representation of women artists Labrouste received the Philip of Francesco Mochi, and on the at the IFA, the University of Illi- seminar, thanks to a major grant travel to the Hood Museum of the Istanbul Research and Docu- (London: Reaktion) appeared in in Hubert Robert’s views of the Johnson Award from the US new art history of sixteenth-cen- nois, and Washington University from the Mellon Foundation. Art at Dartmouth College, and mentation Project. tury Spanish Italy. With Christo- in St. Louis. the Blanton Museum of Art at the pher Wood, he also co-authored The highlight of Elizabeth University of Texas, Austin. Matthew McKelway was a review essay for The Art Bulletin Noam M. Elcott’s first book, Hutchinson’s year was a trip to promoted to full professor in the on Eugenio Battisti’s classic Artificial Darkness: A History of Beijing to give a keynote address Branden W. Joseph published spring of 2014. Over the course Excerpt from Michael Cole’s Donatello, Michelan- book L’antirinascimento. For the Modern Art and Media, was accept- at the opening conference of the the essays “Fake Rock: Mike of the year he published articles gelo, Cellini: Sculptors’ Drawings from Renaissance 2014–15 academic year, he will ed by the University of Chicago World Art History Institute at Kelley’s Music” in the catalogue to in the Japanese journal Shūbi and Italy (Paul Holberton, 2014) be a member of the Institute for Press. He gave invited lectures at Tsinghua University where she the artist’s retrospective at MoMA The Art Bulletin, and was invited Advanced Study in Princeton. the Institut national d’histoire de presented a paper about an inter- PS1 and “Minor Threat: The Art to lecture at the Metropolitan The drawing also illustrates what an artist could not l’art in Paris, the Stedelijk Museum nationally-circulating exhibition of Cameron Jamie” in the Octo- Museum, Asian Art Museum in Since its publication last year, Jon- in Amsterdam, the Oslo National of Edward Curtis photographs in ber 2014 issue of Artforum. He San Francisco, the Japan Society, easily do with models—compare multiple versions of a athan Crary’s 24/7 was featured Academy of the Arts, and the light of contemporary global indig- lectured at Södertörn University, the University of Michigan, Princ- figure to see which one worked best. When Benvenuto as a “Book of the Week” in Le CUNY Graduate Center. enous rights struggles. The con- Stockholm, the Yerba Buena Cen- eton University, and the St. Louis Cellini wrote about using wax and clay, he described Monde and as the “Paperback of ference and the publication of the ter for the Arts, San Francisco, Art Museum, where he delivered how, “beginning with the front view, and before it is the Week” in the Guardian, and Robert E. Harrist, Jr. curated papers were supported by the Terra and the University of Melbourne, the Nelson Wu Memorial Lecture. completely resolved, [the sculptor] raises and lowers the interviews with him have appeared an exhibition, for which he also Foundation for American Art. Australia. His edited collection of He is spending the current aca- limbs of the figure, pulling them forward and pushing in Libération, Newsweek, Telérama, wrote the catalogue, titled Color Kim Gordon’s writings, Is It My demic year on sabbatical at Seijō Le Point, Tages-Anzeiger, Süddeut- and Time: Paintings by Roy Newell Kellie Jones was the recipient of Body? Selected Texts, also appeared University in Tokyo. them back, bending and straightening them.” After sche Zeitung, Die Tageszeitung, and shown at the Pollock-Krasner a Creative Capital / Warhol Foun- on Sternberg Press. that the artist rotates the figure, determines which parts on Globo TV in Brazil. Excerpts House and at Long Island dation Arts Writers grant in sup- In 2013 Kent Minturn received of his invention do not work from the new point of from the book were published in University. port of her upcoming book Art is Holger A. Klein delivered two a fellowship from The Drawing view, and continues the process. Cellini’s description Le Nouvel Observateur, Le Monde An Excuse: Conceptual Strategies, distinguished lectures at the Institute at the Morgan Library implies that each new design idea erased the previous diplomatique, and Politis. Twelve Anne Higonnet, together with 21 1968–1983. During spring 2014, University of Virginia, Char- and Museum. In the spring of one. Once the artist had moved the model’s arm, only foreign translations are in print or graduate and undergraduate stu- she delivered the three-part Rich- lottesville (McIntire Lecture 2014 he led a MODA curatorial forthcoming. His public lectures dents, carried out the Anna Hyatt ard Cohen Lectures in African Series) and Penn State University travel workshop to Madrid, the memory of an earlier pose remained. Drawing preserved more, as we are reminded by the penti- included presentations at the Huntington project: a course, an and African American Art at Har- (Dickson Memorial Lecture). He Spain, and gave a lecture entitled menti in Ghiberti’s individual figures, no less than in the group of pensieri his page collects. Media and Modernity Colloqui- exhibition at the Wallach Art Gal- vard University based on her book also received the Wm. Theodore "Toward a Materialist History above: Donatello, Triumph of David, 1446–50, Musée des beaux-arts de Rennes. um at Princeton, at the Shared lery, a print catalogue, an essay in which is slated to be published by de Bary Award for Distinguished of Art" at the Menil Collection

15 Faculty Highlights continued MA Program Updates

2013–2014 was a productive and rewarding year for students in the As part of the department’s effort to enrich the MA students’ Modern Art: Critical and Curatorial Studies (MODA) program. In coursework experience, the MA program now includes a Methods in Houston. More recently, he of the Prophet between Ideal and (co-authored with Jeremy Howard November, Eva Lu, Juliette Premmereur, and Valerie Werder orga- Colloquium that students take in their first semester. Last year, this was invited to participate in Ideology: A Scholarly Investigation and Irēna Bužinska) will appear in nized a standing room only symposium on “Contemporary Perfor- course culminated with a trip to Washington, DC and Baltimore that NYU’s Institute of Fine Arts’ and authored the two-volume the spring (Ashgate). In 2014, she mance Art and the Political Past.” Participants included scholars John included meetings with curators and conservators from Dumbarton fourth annual Summer Institute corpus of Die mittelalterliche participated in a Brazilian initia- Rajchman, Molly Nesbit, and Michael Hardt, as well as the artist Oaks, the National Gallery of Art, and the Walters Art Museum. In in Technical Art History, and Olifante. He contributed an essay tive to introduce African art his- Rosella Biscotti and the Raqs Media Collective. Students in the fall spring 2015, the MA program will add a second core course, Materials co-translated Hubert Damisch’s to Dalamatia and the Mediterra- tory into the graduate curriculum Critical Colloquium and spring Curatorial Colloquium heard guest and Practices of Art History. Based on the premise that art historians 1962 article, "Dubuffet, or the nean: Portable Archaeology and the of the University of Campinas lectures by artist-activist Coco Fusco, critics Hal Foster, Carter Rat- deal with actual objects, this course will examine a range of practices Reading of the World," in Art in Poetics of Influence (Leiden, Brill, (Unicamp). She gave talks in Sâo cliff, and Michelle Kuo, and met with museum directors and curators, associated with art history, including connoisseurship, curatorship and Translation (2014). 2013) and lectured at Cornell Paolo, Rio de Janeiro, and Riga Thelma Golden, Simon Castes, Christian Rattemeyer, Sarah Suzuki, restoration. The course will also include guest presentations from lead- University and Harvard Universi- (Latvia) and took part in sympo- and Michelle White. In the spring second-year MODA students took ing art professionals based in New York City and another study trip Keith Moxey began teaching ty. On September 16, 2014 he gave sia at the Metropolitan Museum a curatorial travel workshop trip to Spain to attend ARCO, Madrid’s to the DC area In addition to offering MA students a more thorough part-time in anticipation of his the inaugural lecture “Clothing of Art, the Clark Art Institute, International Contemporary Art Fair. And, rounding out the year, academic and practical training, these core courses are also part of a retirement at the end of the 2016 the Ka‘ba in Mecca” to celebrate and the Triennial Convention for Alison Coplan, Heidi Hirschl, and Kathleen Langjahr curated larger aspiration to foster collegiality among MA students and create spring term. A Spanish translation his appointment as Riggio Profes- the Arts Council for the African Hyper-resemblances at Columbia’s Wallach Art Gallery, which was a more lively MA community. of his latest book Visual Time Megan O’Neil published the 2nd sor of the History of the Arts of Studies Association. well-received by the press. (Durham: Duke University Press, revised edition of Maya Art and Islam. He served on the advisory 2013) will be published in 2015 by Architecture, co-authored with board of the Getty’s Connecting kent minturn frédérique baumgartner Sans Soleil press of Barcelona. His Mary Miller (Thames and Hud- Art Histories seminar Framing Emeritus Faculty director, ma in modern art: critical and curatorial studies director, ma in art history talk “Imagining the Times of Art’s son, 2014). In the last year she also Medieval Mediterranean Art and Histories,” was the keynote speech published an essay about ancient Archaeology at the American Richard Brilliant is writing a big at a conference on “Innovation Maya monument breakage and Academy in Rome. book on the imagery of death and and its Contestants” held at Mc- reuse in Striking Images, Icono- he will be teaching a graduate Gill University, Montreal in April clasms Past and Present (Ashgate, Z. S. Strother’s book, Vladimir seminar, Portraits and Identity, in c.v. starr departmental frick collection, anne l. Encyclopédie and the Descriptions 2014, while another talk reflecting 2013) and the multi-authored “In Markov and Russian Primitivism: the spring. In November he will dissertation dissertation fellowship poulet curatorial fellowship des arts et métiers” on “Agency and Time in the Im- Conversation: The New Icono- A Charter for the Avant-Garde be 85. Amara Magloughlin: “Art Adam Eaker: “Van Dyck against Maggie Mustard: “Atlas Novus: age,” was delivered at the Power clasm” in the Journal of Material fellowship awards for 2014–2015 and the City: Walid Raad, Rubens: The Portraitist between Kawada Kikuji’s Chizu (The Map)” Institute of Art History at the Religion (September 2014). She Beirut, and the Question of Court and Studio” Lorenzo Vigotti: “The Origin of University of Sydney in August. delivered a paper on Maya carved From Introduction to Kim Cosmopolitanism” the Renaissance Palace: Private bones at UNAM’s International Nomaduma Masilela: “Set-Setal’s Gordon, Is It My Body? ary stillman departmental getty research institute, Architecture of the Florentine Stephen Murray announces the Colloquium on the History of Art dissertation fellowship Imaginaire: Intervention in Selected Texts, ed. Branden getty predoctoral fellowship Oligarchy, 1382–1444” publication of his new book, Plot- in Merida, Mexico. Upcoming is Stephanie O’Rourke: “Bodies of Public Space, Historiography, Subhashini Kaligotla: “Shiva’s W. Joseph (Sternberg Books, ting Gothic (University of Chicago “Material Markers of Memory” Knowledge: Fuseli, Girodet, and and Conceptualism” Waterfront Temples: Reimagining gsas research excellence 2014). Press, November 2014). for the conference “Things (Re) the Turn of the 19th Century” the Sacred Architecture of India’s dissertation fellowship called: Memory and Materiality c.v. starr finishing grant Deccan Region” Jens Bartel: “Style, Space, and Ioannis Mylonopoulos gave Across the Disciplines” at Yale In “American Prayers,” Kim ary stillman finishing grant Talia Andrei: “Mapping Sacred Meaning in the Large-Scale public lectures in the US at University. Gordon’s discussion of cult Alexandra Helprin: “Art and Spaces: Representations of göttingen university, Paintings of Maruyama Okyo Columbia University, the Bard leader Charles Manson—whom Servitude on the Sheremetev Pleasure and Worship in Shaji graduiertenkolleg, (1733–1795)” Estates” Sankei Mandara” Michael Fowler: “Human Graduate Center, and the Univer- she provocatively (and pre- expertenkulturen sity of Pennsylvania, and in Istan- Marta Becherini: “Staging the Gabriella Szalay: “Materializing Sacrifice in Greek Antiquity: sciently) proposed as the model bul at the German Archaeological center for advanced study in Foreign: Niccolò Manucci (ca. the Past: The History of Art and Between Myth, Image, and Reality” for a generation of Southern Institute. He published several the visual arts, david e. finley 1638–1719) and Early European Natural History in Germany, Roberto Pesenti: “Artistic Circu- Collections of Indian Paintings” articles and book reviews, one California artists—relates to predoctoral fellowship 1750–1800” lation and Saintly Competition in Robert Fucci: “Jan van de Velde Kevin Dumouchelle: “Traditions archaeological bulletin, and edited that of Glenn Branca. Setting the Fourteenth Century Between II (c. 1593–1641): The Printmaker of Modernity in an African City: gsas-cu international travel Venice and Paris” the 2014 volume of the periodical Manson against Andy Warhol as the two iconic figures of the 1960s, as Creative Artist in the Early Continuity and Change in the Julia Vazquez: “The Curatorial Archiv für Religionsgeschichte. In fellowship she describes how Manson testified to the wider domains of social Dutch Republic” Architecture of Kumasi” Rachel Boyd: “From Experimen- Intelligence: Titian, Velázquez, and spring 2014, he was awarded the violence and political repression that represented the underside of Michaela de Lacaze: “Marta tation to Specialization: The Della the Art Collection of Philip IV” Distinguished Columbia Faculty the 1960s’ utopian dreams. This is the significance of Manson’s “My center for advanced study in Minujín and the Politics of Robbia Workshop, ca. 1430–1550” Yu Yang: “At the Crossroads of Award (Lenfest). In the summer the visual arts, robert h. and Participation” Sophia D’Addio: Japanese Regional Modernism father is the jailhouse” speech, wherein he indicted the social and “Adorning the of 2014, he started his excavation clarice smith fellowship Michael Sanchez: “The Rhine re degl’strumenti: Painted Organ and Colonialism: Architectural at the sanctuary of Poseidon political conditioning of himself and his followers. According to Zachary Stewart: “The Inte- System: The Logistics of Ameri- Shutters in Renaissance Italy” Interaction between Manchuria at Onchestos, the seat of the Gordon, an artist like Raymond Pettibon could only engage with grated Interior: Parish Church can Artists in Europe after 1967” Changduk Kang: “Visualized and Western Japan, 1905–1945” Boeotian Confederacy (see p 12). Avinoam Shalem edited (with such material because he had more than one foot in the Do-It- Architecture in Eastern England, Production: Illustrations in the In spring 2015 he will teach Art Christiane J. Gruber,) The Image Yourself (DIY) subculture of Southern California hardcore punk. c.1350–c.1550” Humanities at Reid Hall in Paris.

16 17 harvard art museums, museum of modern art, Ellen Belcher: “Embodiment SeungJung Kim: “Concepts of Anna Lee Spiro: “Reconsidering and Modern German Culture, summer thesis travel grants stefan engelhorn curatorial museum research of the Halaf: Sixth Millennium Time and Temporality in the the Career of Nicholaus Artifex 1918–1933” (Jonathan Crary) undergraduate Sarah Bell (for research on the fellowship consortium fellowship Figurines from Northern Visual Tradition of Late Archaic (Active c.1122–c.1164) in the awards and prizes Jackson House of Portsmouth, Robert Wiesenberger: “Visible Rachel Silveri: “The Art of Living Mesopotamia” (Brian Boyd) and Classical Greece” (Ioannis context of Later Twelfth-Century Serdar Yalçin: “Seals, Identity New Hampshire) Language: Muriel Cooper at in the Historical Avant-Garde” Mylonopoulos) North Italian Politics” (Holger and Patronage in the Ancient senior thesis prize Angel Jiang (for research on the MIT” Lorenzo Buonanno: “Stone Klein) Near East (ca. 1550–1050 BC)” Shirlynn Sham: “A Shocking Norwich Cathedral in the United national museum of african Mediators: Sculpted Altarpieces in Soyoung Lee: “Interregional (Zainab Bahrani) Split: Intrusions of the Phan- Kingdom) japanese government art, smithsonian predoctoral Early Renaissance Venice” (David Reception and Invention in Alena Williams: “Movement tasmagoric into the Embodied Elizabeth Lightfoot (for research (monbukagakusho/mext) fellowship Rosand) Korean and Japanese Ceramics, in Vision: Cinema, Aesthetics, Perceptual Model” (Sponsor: on Edith Elmer Wood in Europe) scholarship for research Giulia Paoletti: “La Connaisance 1400–1800” (Matthew McKelway) Jonathan Crary) students du Réel: Fifty Years of Photogra- Anne Hunnell Chen: “From the Frank Feltens: “Performative phy in Senegal (1910–60)” Seed of the Gods: Art, Ideology, Jessica Maratsos: “The Devo- Pictures: The Arts of Ogata Kōrin and Cultural Exchange with the tional Imagination of Jacopo (1658–1716)” pierre and marie-gaetana Persian Court Under the Roman Pontormo” (David Rosand) matisse finishing grant Tetrarchs, 284–324 ce” (Francesco kress foundation, kress Thomas Campbell: “Real to de Angelis) Heather O’Leary McStay: CALEB SMITH MEMORIAL FELLOWSHIP institutional fellowship at Reel: The Cassette Publication as “‘Viva Bacco e viva Amore’: When Caleb Smith became the discipline. With his untimely passing, the department has sought to cre- the courtauld institute of Networked Space” Joshua Cohen: “Masks and Bacchic Imagery in the Renais- art Colby Chamberlain: “George the Modern: African/European sance” (David Rosand) director of the Media Center in ate a fitting memorial to honor these two passions. Through a generous Brigid von Preussen: “The Maciunas and the Art of Encounters in 20th-Century Art” 2009, he brought with him a com- donation from his family, the department is pleased to announce the Antique Made New: Commer- Paperwork” (Z.S. Strother) Debra Nagao: “An Interconnect- mitment to enhancing the study of creation of the Caleb Smith Memorial Fellowship Endowment. This en- cial Classicism in Late Georgian Connie Choi: “A Matter of ed World? Evidence of Interaction art history through the use of new dowed fellowship will be awarded annually to support the research of a Britain” Building Bridges: Photography Christopher Dueker: “The in the Arts of Epiclassic Cacaxtla and innovative digital documenta- master's student with the best thesis proposal that uses or develops new and African American Education Entangled Aesthetics of Alex and Xochicalco, Mexico” (Esther tion techniques. He also recognized insitu digital photographic and documentation techniques that Caleb kunsthistorisches institut in across the Century” Janvier” (Elizabeth Hutchinson) Pasztory) that students in the department’s believed so strongly were an essential part of the art historian’s craft in florenz, max planck predoc- Sandrine Colard: “Photography masters programs—the MA in Art the 21st century. The department hopes in the future to be able to ex- toral fellowship in the Colonial Congo” Frederick Ilchman: “Jacopo Neeraja Poddar: “Krishna in his History and the MA in Modern pand the endowment to support larger or more awards, and donations Francesca Marzullo: “Overdoors Tintoretto in Process: The Making Myriad Forms: Narration, Trans- Art: Critical and Critical Studies—should be given a chance to explore can be made to the Fellowship fund to support this goal. in Medieval and Renaissance tübingen university, teach @ of a Venetian Master, 1540–1560” lation, and Variation in Illustrated these techniques to further their development and understanding of the Italy” tübingen fellowship (David Rosand) Manuscripts of the Latter Half of Michael Fowler: “Human Sacri- the Tenth Book of the Bhagavata metropolitan museum of art, fice in Greek antiquity: Between Katherine Isard: “The Practice Purana” (Vidya Dehejia) hagop kevorkian curatorial Myth, Image, and Reality” of Theory in Vincenzo Scamozzi’s fellowship (summer) Annotated Architecture Books” Sarah Schaefer: “From Sacred “Hélio Oiticica in New York City: Babylonests, Colette LeRoux: “In the Be- Matthew Peebles: “Act as (David Rosand, Francesco to Spectacular: Gustave Doré’s Cosmococas, and other Projects at the Cambridge-Columbia ginning was the Picture: Visual Attribute: The Attacking Body in Benelli) Biblical Imagery” (Anne Threshold of Art, Cinema and Architecture” Culture in the Uruk Expansion” Archaic and Classical Greek Art” Higonnet) (fall) Symposium metropolitan museum of art, The November 1, 2013 symposium On April 4, 2014, the department hosted the fourth annual Cam- jane and morgan whitney the walters art museum, “Hélio Oiticica in New York City: bridge-Columbia Graduate Student Symposium. A group of twelve fellowship mellon fellowship Babylonests, Cosmococas, and other students—six from each institution—presented papers tied to the Aaron Rio: “Painting China in Susan Wager: “Boucher’s Bijoux: Projects at the Threshold of Art, theme of “The Spaces of Art” that were as broad in scope as they were Medieval Kamakura” Luxury Reproductions in the Age Cinema and Architecture” brought ambition. The morning sessions included a study of the iconographies Tina Rivers Ryan: “‘Lights in of Enlightenment” together an international array of of Hindu temples in Assam, India, a critical reconstruction of the pri- Orbit’: The Howard Wise scholars to explore numerous aspects vatization of public space in Renaissance Florence, and an examination Gallery and the Rise of Media of the projects the artist Hélio Oiti- of an 18th-century gambling table. After lunch, the focus shifted toward in the 1960s” graduate teaching cica designed during his eight-year works from the more recent past. One talk concerned the “mediatized” awards stay in New York City from 1971 to work of choreographer Trisha Brown, and another examined the re- metropolitan museum of art, 1978 from the rationale that led to sponses of Japanese contemporary artists to the devastation of the Great sylvan c. coleman and pamela Roberto Pesenti was awarded their production, to the formal and Hanshin Earthquake of 1995. In the evening Dr. John Weber, whose coleman memorial fund the Presidential Award for thematic components of the artworks generous support has made possible the ongoing exchanges between fellowship Outstanding Teaching. William Gassaway: “Extraordi- as they were initially exhibited by the Cambridge and Columbia, hosted a dinner at his home for symposium nary Bodies: The Art of Deforma- artist, to the various types of specta- participants. The next day students joined Professor Robert Harrist tion in Postclassic Mexico” 2013–2014 torial response they received in the on a stroll through the former garages and factories that now house 1970s. The conference featured papers by the following scholars: Sabeth the galleries of Chelsea. As participants parted ways, everyone agreed dissertations museum of modern art, beau- Buchmann (Austria), Max Jorge Hinderer-Cruz (Germany), Juan Suarez that there was perhaps no better place to hold a conference about “The mont and nancy newhall defended (Spain), Paula Braga (Brazil), and Ricardo Basbaum (Brazil). It was mod- Spaces of Art” than New York City, where art is continuously finding erated by Barnard Professor Alexander Alberro, who also convened the new kinds of spaces to occupy. The next symposium will take place in curatorial fellowship Heidi Applegate: “Staging Andrew Sawyer: “Walker Evans’ Modernism at the 1915 San events, and was made possible by the generous support of the Institute Cambridge in March 2015. Cultures of Work and the Politics Francisco World’s Fair” for Studies on Latin American Art (ISLAA). of Style” (Elizabeth Hutchinson) Sarah C. Schaefer receiving her prize for the Ary Stillman Departmental Dissertation Fellowship. Photograph by Emily Shaw. gregor quack, phd student

18 19 alumni news

In October 2014 Laurie In 2014 Adrienne Baxter Bell book manuscript, Moses the Egyp- a Riley Fellow at the Huntington Jim Hokema ’77 MPhil contin- conducted a week-long online Angeles, a partnership with “Democratization and Northwest Schneider Adams ’67 phd ’05 phd, associate professor of art tian in the Illustrated Old English Library, and in London as a fellow ues to work as a user experience Q & A with readers regarding Claremont Graduate University Coast Art in the Modern Period: will publish 19th-Century Art with history at Marymount Manhat- Hexateuch, has been accepted of the Bibliographical Society of design consultant at Accenture. New York City monuments. and the Masatoshi Ito and Peter F. Native Emissaries, Nonnative Oneworld Publications. She has tan College, published essays in for publication by University of America, researching the profes- Last year he helped design the In June he curated Tomorrow’s Drucker School of Management. Connoisseurship and Consump- recently contributed the entry A Seamless Web: Euro-American Notre Dame Press. sional networks of manuscript healthcare exchange for the state World: The New York World’s Fairs They offer a master’s degree in Art tion” to Northwest Coast Native on “Art and Psychoanalysis” to Art in the Nineteenth Century illuminators in London. of California (one that he happily and Flushing Meadows Corona Business with the option, begin- Art: An Anthology of Changing Oxford Online Bibliographies: (Newcastle upon Tyne: Cam- In February David Cast ’70 phd reports did not make the national Park at Central Park’s Arsenal ning next fall, of concentrations Ideas (Vancouver: University of Art History, edited by Thomas bridge Scholars Press, 2014) and published A Companion to Giorgio Mary Douglas Edwards ’86 news). Gallery. As director of Art and in Asian art, Latin American art, British Columbia Press, 2013). DaCosta Kaufmann. American Art Quarterly (Winter Vasari (Surrey: Ashgate Press, phd has endowed in memory of Antiquities for NYC Parks since and contemporary art. 2014). In February 2014, she 2014). her parents an annual two-week Michael A. Jacobsen ’76 phd 1995, he continues to direct the Richard Pegg ’01 phd is the Noit Banai ’07 phd was the gave the Wanda Hollensteiner residency for a female Native publishes on the history of auto- Citywide Monuments Conserva- Michelle Walters Nevius director of the Asian Art Museum inaugural critic-in-residence at Conservation Endowment Lynne Catterson ’02 phd American painter at the Virginia motive styling and road racing. tion Program, which this summer ’94 MPhil has just published her and Map Library at Chicago’s the Irish Museum of Modern Art/ Lecture at the Wright Museum published Finding, Fixing, Faking, Center for the Creative Arts, and He has recently competed in the conserved Eduardo Ramirez third book about New York City, MacLean Collection. He recently National College of Art and De- of Art, and chaired a session on Making: Supplying Sculpture in two annual travel grants for an Brickyard Invitational at the Villamizar’s Columnade sculpture Footprints in New York: Tracing published a new book entitled sign in Dublin from May 5–June nineteenth-century and con- ’400 Florence (Todi: Ediart, 2014) ABD woman to read a paper at Indianapolis Speedway and at in Fort Tryon Park. the Lives of Four Centuries of New Cartographic Traditions in East 9, 2014. After seven years at Tufts temporary American landscape with generous support from the the International Congress on the Monterey Historics. Yorkers (Guilford: Lyons Press/ Asian Maps with University of University she has accepted a representation at CAA. Kress Foundation. She works Medieval Studies in Kalamazoo In 2013 Cornelia Lauf ’92 phd Globe Pequot, 2014). Co-written Hawaii Press. professorship of contemporary art full-time on the Florentine dealer and at CAA. Lewis Kachuer ’88 phd co-au- was appointed the scientific direc- with her husband, James, the in the Department of Art History Phyllis Braff is the co-editor of Stefano Bardini (1836–1922), and thored a book on a New York tor of European Glass Experience, book uses the lives of two dozen Jeanette Favrot Peterson at the University of Vienna and, the Thomas Moran Catalogue recently completed the first pro- Lisa Florman’s ’94 phd book, collection of American modern a two-year European Union notable New Yorkers to explore ’65 MA co-edited Seeing Across beginning in September 2014, will Raisonné Project. She recently cessing of his archive in Florence, Concerning the Spiritual—and the art. He has given lectures in the project to valorize glass-blowing the history of the city from the Cultures: Visuality in the Early be making Central Europe her curated Tracing Moran’s Roman- with support from American Phil- Concrete—in Kandinsky’s Art, was past year on Marcel Duchamp traditions throughout Europe. Dutch settlement in the 17th Modern Period (Ashgate, 2012) home. ticism & Symbolism at the Guild osophical Society. In the coming recently published by Stanford and exhibitions, Maurizio Cat- She continues to teach at Uni- century to today. When not in which she wrote a chapter on Hall Museum in East Hampton, year she has research fellowships University Press. She is now chair telan’s Guggenheim “un-retrospec- versità Iuav di Venezia, and lives lecturing, researching, or leading the Black Christs in the Ameri- Colleen Becker ’08 phd pub- NY, and lectured at the Pollock at the Staatliche Museen zu Berlin of the History of Art Department tive,” and Kirk Varnedoe’s “Artist’s mostly in Rome. tours in New York, she lives on cas. This year University of Texas lished “Aby Warburg’s Pathosfor- -Krasner House and Study -Preußischer Kulturbesitz and at Ohio State University. Choice” series at MoMA. the island of Maui. published Visualizing Guadalupe: mel as Methodological Paradigm,” Center. She is preparing a book CASVA. Jeffrey Lee ’01 ba is a partner at From Black Madonna to Queen of in Journal of Art Historiography on eastern Long Island artists, As the founding director and Rachel Katz ’10 BA has been Ryan Lee Gallery, which recently Aimee Ng ’12 phd was named the Americas, a book that follows (December, 2013). In the past scheduled for publication in Elizabeth Childs,’89 phd chief curator of the Institute for working at the Breman Museum moved to a new 8000 square foot associate curator at The Frick the trajectory of several devotions year she has presented confer- spring 2016. published an essay on Gauguin’s Contemporary Art, Miami Alex in Atlanta for the past three years. space in Chelsea overlooking the Collection, a post she will begin to the Virgin of Guadalupe. She ence papers at the University of sculpture in the exhibition catalog Gartenfeld ’08 BA recently She was recently promoted to High Line. He helped launch RL- in February 2015. is currently working on a new London, the Chelsea School of Herbert R. Broderick ’67 BA ’78 for MoMA’s Gauguin: Metamor- organized the US museum debut director of membership and Window, an art program designed Spanish edition of her 1993 book Art and Design, and Queen’s phd recently published “Northern phoses. She recently delivered the of work by Virginia Overton. visitor services. to engage with High Line visitors. Judith Ostrowitz ’96 phd on the sixteenth-century murals University Belfast. She also has a Light: Late Anglo-Saxon Genesis Devens Lecture at the Boston Forthcoming are large-scale exhi- currently a research associate of Malinalco as well as a study of new website called “Short Fiction Illustration and the Mosaics of Museum of Fine Arts, and chaired bitions for artists Ryan Sullivan, As part of a New York Times Jonathan Neil ’10 phd was working with Native American the “three texts” in Bernardino de Projects” (http://colleenbecker. San Marco,” in Das Atrium von a session on global Impression- Shannon Ebner, and Barnard feature on park monuments in recently named director of art at the Metropolitan Museum Sahagún’s Florentine Codex. com). San Marco in Venedig (2014). His ism and transnationalism at the scholar John Miller. January, Jonathan Kuhn ’83 MA Sotheby’s Institute of Art, Los of Art in New York, contributed Midwest Art History Society conference. She is the chair of As president of the Historians the Department of Art History of Netherlandish Art, Amy and Archaeology at Washington Golahny ’84 phd helped coordi- University in St. Louis. nate the international conference EDMUNDS BEQUEST of the HNA and the American ATSUMI PROFESSOR EMERITA MIYEKO MURASE Sheila Edmunds PhD ’61, a long-time resident of Aurora, Sonja Drimmer ’11 phd reports Association for Netherlandic 90th Birthday Celebration NY, passed away on November 14, 2013. After graduating that she enjoyed her first year in Studies in Boston this past June. from St. Mary of the Woods College in Indiana, she taught the Department of Art History at art in a public school in Omaha, NE, before pursuing her the University of Massachusetts, Claudia Goldstein’s ’03 phd Generations of graduates in the history of Japanese and East Asian art the Department of Art History and Archaeology for 34 years. Upon PhD at Columbia. She then taught briefly at Smith College Amherst. In addition to present- book, Pieter Bruegel and the gathered at Schermerhorn Hall on March 21–22 for a symposium to her retirement from Columbia in 1996, she took on a decade-long before settling in Aurora, where she taught art history at ing papers at Kalamazoo and RSA, Culture of the Early Modern honor Atsumi Professor Emerita Miyeko Murase and to celebrate her second career as Special Advisor to the Chair, Asian Art Department Wells College from 1965 until her retirement in 1989. Her she published “Beyond Private Dinner Party, was awarded the 90th birthday. The 17 speakers included former and current museum at the Metropolitan Museum of Art, where she curated three major later areas of interest and research included medieval books Matter: A Prayer Roll for Queen 2013 Joop Witteveen Prize for directors, curators, professors, and independent scholars who earned MA exhibitions of Japanese art. Never one to rest for very long, Professor of memory, late medieval and Renaissance playing cards, and Margaret of Anjou,” in Gesta as Best Publication on the History and PhD degrees under Professor Murase’s direction. After earning her Murase continues to guest-curate exhibitions, research, and write about early printed books. The department gratefully acknowledges well as two essays in volumes of Food from the University of PhD at Columbia in 1962 Professor Murase was a professor in Japanese art, and generally keep her former students on their toes. a generous bequest from Dr. Edmunds's estate, which will be devoted to late medieval manu- Amsterdam. She recently pub- used to establish an endowment in her name for the support scripts, literature, and music. She lished the article, “A Fool Goes to of graduate students. spent the summer in California as a Wedding,” in Predella.

20 21 Alumni News continued With Thanks

The strength and renown of Columbia’s Department of Art History and Archaeology derive not only Columbia Art History from the expertise and dedication of the faculty, but also from alumni and friends who carry forward ’09 MA the upcoming Richard Dieben- as well as the dialectic between Kathleen Reckling Johanna "Jody" Seasonwein and Archaeology the intellectual mission of the department and who provide financial support for professorships, joined ArtsWestchester as their ’10 phd was recently appointed the korn Catalogue Raisonné, due Romanticism’s national and inter- fellowships, symposia, and an array of programs and projects that enhance our core offerings. gallery director in 2011. She is senior curator of Western art at from Yale University Press in national manifestations. Advisory Council currently working on the exhibi- the Jordan Schnitzer Museum of 2016. Philip E. Aarons, esq. patrons tion Crossing Borders: Memory and Art at the University of Oregon. Before retiring as curator of Jane & Raphael Bernstein c/o Parnassus Foundation • Mr. Angelos Chaniotis • Geo Global Foundation Armand Bartos, Jr. Heritage in a New America. The She and her family relocated to Ginia Sweeney ’10 ba com- American paintings and sculpture • Mary Livingston Griggs and Mary Griggs Burke Foundation • Raymond Lifchez c/o Raymond Frances Beatty exhibition, which was awarded a Eugene, Oregon this summer. pleted her MA in Art History at at The Metropolitan Museum Lifchez Living Trust • Andrew W. Mellon Foundation • Robert B. Simon • Warren S. Smith & Anne M. grant from the National Endow- Williams College in 2013. She of Art, Barbara Weinberg ’72 Annette Blaugrund Werner-Smith • Leopold Swergold • Mary J. Wallach c/o Mary and James G. Wallach Foundation • ment for the Arts, features com- Aiko Setoguchi ’12 ba is cur- is currently the coordinator of phd worked with Pari Stave, then Nelson Blitz, Jr. and John C. Weber • Gregory A. Wyatt missioned works by artists from rently working on her master’s in museum interpretation at the Curator at AXA Equitable Life In- Catherine Woodard the New York metro area and will International Relations at Salve High Museum of Art, Atlanta. surance Company, to facilitate the Jean Magnano Bollinger benefactors open in March 2015. Regina University. She will be She hopes to see many Columbia company’s transformative gift to Fiona Donovan Morton C. Abromson & Joan L. Nissman c/o Murray and Grace Nissman Foundation • Elizabeth teaching English in Tokyo this alumni at AAM in Atlanta in the Met of Thomas Hart Benton’s Theodore Feder G. Ellis • Kurt A. Gitter & Alice Rae Yelen c/o Gitter Yelen Foundation • Kokon, Inc. • Mary Ann h April 2015. epic mural, America Today. Paint- Lublin • Joan B. Mirviss-Levine • Miyeko Murase • Melinda L. Parry • Rockefeller Brothers Fund, Catherine Roach ’09 p d will summer. Linda S. Ferber be on research leave from Virginia ed in 1930–31 for the boardroom Inc. • Emily J. Sano • Andrew Peter Schwartz • Anna Lee Spiro • Mark S. Weil Sharon Flescher Commonwealth University this David Shapiro ’01 ba is an art Erin Thompson ’10 phd, of New York’s New School for Kate Ganz academic year. She is working on appraiser at Victor Wiener Associ- assistant professor of art crime at Social Research, America Today sponsors two projects; an essay on art and ates, LLC in New York. John Jay College (CUNY), recently is imbued with the spirit of the Marian Goodman Cynthia Bronson Altman • Barry G. Bergdoll • Heather D. Colburn • Sharon Flescher • Ellen Berland the British Navy, and a new book, published a New York Times op-ed Machine Age. It was Benton’s Michael and Georgia de Havenon Gibbs • John Miller • Priscilla H. Otani & Michael Yochum c/o Philanthropic Ventures Foundation The British Institution: A History. Darrell Silver ’03 ba is found- on the looting of archeological first major mural commission and Frederick David Hill Grants • Doralynn Pines • Lara Bonham Tabac-Sheridan • Weston W. Thorn This leave is made possible by er of the education company sites in Egypt. She is working on remains his best-known work. Jeffrey M. Hoffeld support from the National Thinkful. He reports that they are a book, To Own The Past: How An exhibition that recreates the Steve Kossak sustainers Eloise M. Angiola • Lilian A. Armstrong • Kevin J. Avery • Barbara C. Buenger • David J. D. Cast Maritime Museum, UK, the currently hiring with the aim to Collectors Reveal, Shape, and mural’s original installation is on Carol F. Lewine • Maria Ann Conelli • Jonathan K. Crary • Jennifer M. & Wade Feltman • David C. & Ruth Green • Paul Mellon Centre, and the double their staff to 35 by the end Destroy History, on the history of view at the Met in fall 2014. Glenn D. Lowry VCU School of the Arts Dean’s of 2014. the private collecting of classical Andrew & Maeve C. Gyenes c/o Fidelity Charitable Gift Fund • Michael Jacoff • Andrew Jeong-Won Mary A. Lublin Research Reassignment program. antiquities, for Yale University Carter Wiseman ’72 MA, a Kim • Timothy Brian King • Carol Ann Lorenz • Michael & Rona Mallory • Terry H. Robinson • Philippa Feigen Malkin Her first book, Pictures-with- In addition to lecturing in Vien- Press. lecturer at the Yale School of Maria Catherine Ruvoldt • Ann Seibert • Allen Staley • Howard M. Stoner • Verizon Foundation in-Pictures, Lineage, and Recogni- na, London, New York, Paris, and Architecture, published his fourth Philippe de Montebello • Virginia Galston Walsh & John Walsh c/o The Walsh Family Trust • Barbara E. & Leon S. White tion in Britain, 1780–1901, is under Boston in 2014, Jeffrey Chips April Kim Tonin ’99 MA is the book, Writing Architecture (Trinity Amy D. Newman • Irene J. Winter contract with Ashgate Publishing. Smith ’79 phd began his three- director of visual education at the University Press, 2014) in Sep- Doralynn Pines year term as counselor of the Nightingale-Bamford School, a tember. It is a practical guide to Amy Greenberg Poster supporters After three years as editor of the Renaissance Society of America. K-12 independent school for girls writing on design for students and Louise Riggio Anonymous • Susan L. Braunstein • John H. Davis • Mary Douglas Edwards • Ronald F. Fancher • Raymond Andrew Foery • William Geo Foulks • Grace A. & Monroe M. Gliedman • Dean H. New York Observer’s art website, He also edited Visual Acuity and in New York City. She collab- professionals. Terez Rowley Goossen • Doris A. Hamburg • Dimitri & Marlene Hazzikostas • Alison L. Hilton • James A. “Gallerist," Andrew Russeth the Arts of Communication in Early orates with faculty to integrate Steven and Lauren Schwartz museum collections from around In Fall 2014, Hoekema • IBM International Foundation • Lewis C. Kachur • Caroline Anne King • Holger A. ’07 ba was named co-executive Modern Germany, which will be Carolyn Yerkes Bernard T. and Lisa Selz editor of ARTnews. published in December 2014 by the world as part of the school’s ’12 phd started a new position Klein • Doug Kligman • Taylor A. Konkin • Jeff K. Kowalski • Jonathan Lorenz Kuhn • Jack Henry Robert B. Simon Ashgate. curricula. She additionally works as assistant professor in the Art Kunin • Ephraim A. Lewis • Maxine S. Maisels • Nina A. Mallory • David J. Menke • Susan M. Leopold and Jane Swergold Milbrath • Kim-Ly Thi Moynihan • Voichita Munteanu • James H. & Louise North • Lucy A. Oakley Donald Sanders’s ’84 phd is the as a freelance illustrator. and Archaeology department at Dale C. Turza • Richard Anderson Pegg • Jerome J. Pollitt • Sheila Marie Pozon • Anna C. Roosevelt • Donald A. president of Learning Sites, which Della Clason Sperling ’93 phd Princeton University. Rosenthal • Marie L. Schmitz • Kathryn Lee Seidel • Louisa R. Stark • Damie & Diane Stillman • was recently awarded a National worked on an exhibition of the Mary Vaccaro ’94 phd has been Mark S. Weil Science Foundation grant to pur- drawings of the late 19th-century appointed a visiting professor at Marie-Hélène Weill Leslie Bussis Tait • Carrie Todd-Michelson • Thomas William Yanni sue development of a smartphone itinerant folk artist Ferdinand A. Villa I Tatti-The Harvard Univer- Adam Weinberg Contributions provided funding for individual and group study and research worldwide; conferences, app that will translate cuneiform Brader which opens at the Canton sity Center for Italian Renaissance H. Barbara Weinberg symposia, and lectures; projects by the Media Center for Art History; and various other department tablets and build virtual reali- Museum of Art in December Studies for spring 2015. Gertrude Wilmers initiatives. Donations reflect the giving of July 1, 2013 – June 30, 2014. We regret any errors or omissions. ty 3D models of objects from 2014. phone-based photos. They are Alan Wallach ’73 phd is the We would like to thank Gabe also working on a high-resolution Jennifer Moussa Spring ’01 ba co-editor of Transatlantic Roman- Rodriguez ’08 BA for his help with fly-through of the 9th-century is based in San Francisco and con- ticism, British and American Art images and captions; Amanda BCE Northwest Palace at Nimrud tinues to freelance in publishing and Literature, forthcoming from Ruth Young for her editorial (ancient Assyria, present-day Iraq) services and image licensing. She the University of Massachusetts assistance; Chris Newsome for for inclusion in the Metropolitan has edited an art book entitled Press. Derived from a conference all sections related to graduate LEE MacCORMICK EDWARDS Museum of Art’s exhibition Unexpected Art for Chronicle held in London in 2009, the students; and Josh Sakolsky and Dr. Lee MacCormick Edwards passed away on April 19, 2014 at the age the arts and social history of the 19th century, she lectured and taught Assyria to Iberia. Books due Spring 2015, and is book plots the rise of a romantic Sonia Sorrentini for production of 76. A member of the department’s Advisory Council, Lee was an widely in the United States, Europe and Australia. Her generous do- licensing third party imagery for anti-capitalist Weltanschauung management. A special thank you accomplished art historian, consultant, and artist with a MA (1978), nations to the department and the Wallach Art Gallery will be remem- to Lorenzo Buonanno’14 phd for MPhil (1981), and PhD (1984) from Columbia University, which she bered and appreciated for years to come. helping us to find a cover image. earned under the mentorship of Professor Allen Staley. Specializing in

22 23 COLUMBIA UNIVERSITY Non-Profit Org. DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY U.S. Postage 826 SCHERMERHORN, MC 5517 PAID New York, NY NEW YORK, NY 10027 Permit No. 3593

Below: Paolo Veronese, Coronation of Esther, 1556. San Sebastiano, Venice. Photograph by Matteo de Fina, printed with permission of the Curia Patriarcale di Venezia. Editor: Emily Ann Gabor; Design: Florio Design