GRADUATE PROGRAM IN THE HISTORY OF ART

Williams College/Clark Art Institute

Summer 2001 NEWSLETTER

~ '" ~ o b iE

The Class of 2001 at their Hooding Ceremony. From left to right: Mark Haxthausen, Jeffrey T. Saletnik, Clare S. Elliott, Jennifer W. King, Jennifer T. Cabral, Karly Whitaker, Rachel Butt, Elise Barclay, Anna Lee Kamplain, and Marc Simpson

LETTER FROM THE DIRECTOR CHARLES W. (MARK) HAx'rHAUSEN Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program

With this issue we are extremely pleased to revive the Graduate Program's ANNuAL NEWSLETTER, in a format that is greatly expanded from its former incarnation. This publication will appear once a year, toward the end of the summer, bringing you news about the program, Williams, the Clark, our faculty, students, and graduates. The return of the newsletter is a fruit of one of the happy developments of a remarkably successful year-the creation of the position ofAsSOCIATE DIRECTOR of the Graduate Program. In recent years, with the introduction of the QualifYing Paper and Annual Symposium, the workload in the Graduate Program had seriously outgrown the capacities of its small staff. With the naming ofMARc SIMPSON to the new post, we have the resources not only to handle existing administrative demands but to expand our activities into neglected areas, one ofwhich is the publication of this newsletter, for which Marc serves as editor. We feel especially fortunate to have added Marc to the Program. A leading scholar of American art, he received his Ph.D. from Yale and served from 1985 to 1994 as Ednah Root Curator ofAmerican Paintings at the Fine Arts Museums of San Francisco. After moving back to New England in 1994, he joined the staff of the Bibliography of the History of Art (BHA) , a project of the Getty Trust housed at the Clark. He has also had visiting faculty appointments at Berkeley, Stanford, and in the Graduate

LETTER FROM THE DIRECTOR PAGE ONE Program, in which latter capacity he has generously advised a number of students over the past six years. reunion. This is the largest donation ever made to the Graduate Program, and will be used to establish Marc has a distinguished record as a curator, guest curator, and scholar. He has organized or co-organized its first endowed fellowships. Bob Geniesse has served since 1974 on the Clark's Board of Trustees, from exhibitions on William Michael Harnett, EastmanJohnson, and Winslow Homer, to name but a few; and 1987 to 1998 as its President. He was thus as well informed about the Graduate Program's needs as he while working at BHA he curated Uncanny Spectacle: The Public Career ofthe YoungJohn Singer Sargent (1997) was about its reputation for excellence, and it was on his initiative that the Class of 1951 designated us as for the Clark, which was a tremendous success with both the public and the critics. He has just finished one of its gift targets. Thanks to these three new sources of fellowship support-annual giving, the writing five essays for the catalogue of the forthcoming Thomas Eakins retrospective, which will open at Lehman grant, and the Class of 1951 fellowship endowment-the program is in its strongest financial the Philadelphia Museum of Art this October and subsequently travel to the Musee d'Orsay and the position since its first decade of operation. Metropolitan Museum of Art. In addition to sharing the administrative duties of the director, Marc Not all good news of the past year was administrative or financial. One of the most exciting teaches one seminar a year and advises students on their Qualifying Papers and Symposium presentations. developments of recent years was the inauguration of the Clark's new FELLows PROGRAM in the fall. Marc's appointment was but one of several salutary events in the Graduate Program during the Under the auspices of the division of Research and Academic Programs, headed by MICHAEL ANN HOLLY, 2000-2001 academic year. One of the most gratifying developments over the last several years has been a seventeen Clark Fellows were in residence over the course of the year, for periods ranging from one to steady improvement in the Program's FISCAL HEALTH. When I came to Williams eight years ago, the ten months. These visiting scholars have quickly become an integral part of life at the Clark, decisively Graduate Program was a "tub on its own bottom," meaning that it received extremely modest direct enriching the intellectual mix. Each gives a public lecture on his or her research, so that we have a financial support from the College and the Clark, and had to cover its operating costs out of its own diverse and tempting menu of presentations and discussions throughout the academic year. Some of the funding, which came entirely from tuition. Consequently, deficits were a way of life, the shortfalls fellows generously conferred with graduate students on their research, and Michael Leja, a distinguished covered by an ever-shrinking reserve fund. Gradually, this has begun to change: in the coming academic Americanist from the University of Delaware, went even further, reading two student Qualifying Papers year the Graduate Program will rely on tuition for less than 45 percent of its annual operating revenues; and occasionally participating in rehearsals for the Annual Symposium. Ties to the Graduate Program it now draws more than 30 percent of its income from two endowment funds and receives an additional were enhanced by two new research assistantships in the Fellows Program. For more on the Clark Fellows $100,000 from the College in support of financial aid. These encouraging trends gained a dramatic . and the Clark's Academic and Research Programs, as well as a list of lectures from 2000 and 2001, see boost from several developments during the past year. Michael Holly'S article later in this newsletter. In the fall we launched an ANNUAL GIVING PROGRAM. In its first year this campaign netted $6,995 In an effort to get out the word about the Graduate Program and to keep the information current, from donations by forty-one alumni and alumnae-for a first effort a generous and gratifying result in October the Graduate Program launched its all-new WEBSITE, designed by PENNY RICHARDSON, our indeed! These funds will be used in partial support of fellowships during the coming academic year. Our secretary, with input from Marc, Karen Kowitz, and myself. With detailed information about the faculty, goal in the coming year will be to raise $10,000, enough to fund our highest fellowship stipend, and we curriculum, symposium, and winter study itinerary, and with hyperlinks to the Clark, the Clark's library, the will be grateful to all of our graduates for their assistance in helping us reach that goal. Williams College Museum ofArt, Chapin Library, and MASS MoCA, this website effectively conveys a sense In recent years our students have become quite active on the conference circuit, taking of the Graduate Program and the extraordinary resources at its disposal. Although the link is not the particular advantage of the rapidly proliferating number of graduate student symposia. Obviously, travel easiest to locate from the Williams website, we received 151 requests for application materials from the web, to such events is costly, and in the past, even in deficit years, we have covered transportation expenses for so people seem to be finding it. As we go to press we are preparing to unveil version 2.0, which has a students delivering papers. Last summer MRS. FRANCES HILL Fox, grandmQther of TOM BEISCHER ('96), completely new look and is densely illustrated with objects from the collections of the Clark and the contributed $10,000 for this purpose, augmenting a fund established by Tom's class five years ago as its Williams College Museum ofArt. These images will do more than the most evocative words can do to class gift, with the understanding that it could be used once it reached a balance of $10,000. As its convey the range and quality of objects available in Williamstown for the advanced study of art history. You graduation gift the Class of 2000 contributed $1,340 to this fund; now, with Mrs. Fox's generous will find the new site at www.williams.edu/gradart/. (The bad news is that Penny, after sixteen remarkably donation, the balance of the account is almost $17,000 and it becomes available for its designated productive months here, has moved to Oklahoma City, where her husband, Dave, a physicist, has taken a purpose. Moreover, thanks to the generous understanding of the Class of '96, we are extending the use teaching position. Our website will serve as a monument to her contribution to the Graduate Program, one of this fund to cover student expenses-for travel and research-related to the preparation of the that is all the more laudable-indeed, astonishing-considering that she worked only twenty hours per Qualifying Paper and Symposium presentation. At their hooding ceremony, the Class of 2001 announced week.) We will be seeking to fill her position late this summer, so that the amazingly efficient KAREN KoWITZ a generous gift of $400 for this purpose. The consolidation of these funds to support student scholarship will be able to continue fulfilling her administrative responsibilities not only with the warmth and good strengthens the program in a significant way. cheer that is her special gift to us all, but with secretarial assistance. The year brought two major developments for the all-iIpportant area of FINANCIAL AID. First, this Finally, there was impressive news on the academic front. This coming fall nine graduates of the spring we learned that the ROBERT LEHMAN FOUNDATION has awarded the Williams/Clark Graduate program will be entering art history PH.D. PROGRAMS, a record number for a single year. Two, JENNIE Program a grant of $150,000 to endow two fellowships. Moreover, the gift was generously supplemented KING ('01) and SCOTT.ALLAN ('99), will be studying modern art at Princeton. Another two, ANGELA Ho by an additional $50,000 from ROBERT A. BERNHARD, a Lehman Foundation board member, to ('98) and OLIVIA VITALE ('00), will pursue doctorates in Baroque art at Michigan. JENNY GREENHILL ('00) commemorate the fiftieth anniversary of his graduation from Williams College. The name of Robert will specialize in American art at Yale, while classmates KATE BUSSARD will concentrate on photography at Lehman has long been identified with appreciating and fostering excellence in the visual arts, not only CUNY and ROBIN SCHULDENFREI will study modern architectural history and design at Harvard. ALExIs at the Metropolitan Museum of Art but in many other musC(ums, as well as in colleges and universities, GOODIN ('98) will investigate nineteenth-century British art at Brown, andJEFFREY SALETNIK ('01) will and we in the Graduate Program feel specially honored to receive this recognition and support. explore twentieth-century art at the University of Chicago. Beginning with the Class of 2003, entering this fall, there will be one Lehman Fellow in each class. As we begin the 2001-2002 academic year, the thirtieth year of operation for the Graduate Program, Then, an already auspicious year ended with a dramatic surprise when, at the Williams alumni we look with pride on its accomplishments and on the achievements of its alumni and alumnae. reunion weekend inJune, ROBERT J. GENIESSE (Williams '51) announced that the CLASS OF 1951 had elected to dedicate to the Graduate Program $1,000,000 of the monies pledged to mark its fiftieth

PAGE Two LETTER FROM THE DIRECTOR LETTER FROM THE DIRECTOR PAGE THREE ;\ t1 FACUL'IY NEWS "Gegenwart im Riickspiegel: Kunstkritik aIs kunstgeschichtliche court paintings in the expression of political ideology and Praxis," at the Deutscher Kunsthistorikertag in Hamburg how these paintings functioned as rhetoric ClCroSS a range MICHAEL CONFORTI Warburg's The Renewal ofPagan Antiquity appeared in in March. At the CAA Annual Meeting in Chicago he co­ of dynasties. Scarlett's most recent publication was an Michael continues to teach in the Graduate Program The Higher Education Supplement in September 2000. The chaired a session, ''The Good, the Bad, and the Ugly: essay, "Representations of Exemplary Scholar-Qfficials, ("Museums: History and Practice" alternating with next month, his review of Mitchell Merback's The Thief, New Perspectives on Art in Central and Northern Past and Present," in the catalogue accompanying Arts of "Studies in Decorative Arts, Material Culture, Design the Cross, and the Wheel: Pain and the Spectacle of Europe," in which he also spoke on "The Peculiarities of the Sung and Yiian: Ritual, Ethnicity, and Style in Painting History, 1700-2000") and serves on the boards of the Punishment in Medieval and Renaissance Europe came out German Art History." In April he presented a gallery talk (Princeton University Art Gallery, 1999). From 1998 to Association of Art Museum Directors and the American in the American Historical Review. For the first time in for the exhibition Franz Marc and the Blue Rider at the 2000, she was a fellow at the Oakley Center for the Academy in Rome. While he is an accreditor for the many years, this spring Sam missed the Hooding Walker Art Center in Minneapolis. In the spring he Humanities and Social Sciences; she presented two American Association of Museums and is frequently Ceremony-he and his wife, Dottie, were away finished editing the papers from the first Clark lectures there, as well as, in the spring of 2000, a series of asked to advise museums on an 'ad hoc' basis, he celebrating their fiftieth wedding anniversary. Conference, ''The Two Art Histories: The Museum and three for the Berkshire Institution of Lifelong Learning. reports that he has not done an original lecture or the University," which he organized. The book is HOllY EDWARDS LIBBY KIEFFER article this past year except for "Mind and Matter: scheduled to be published by the Clark this fall. Holly's exhibition and catalogue for the Clark, Noble Libby succeeded Dustin Wees (see Beth Carver Wees's Williams College and the Development of the Clark's GUYHEDREEN Research and Academic Mission" in the latest Clark Dreams, Wicked Pleasures: Orientalism in A merica, update in "Graduates' News") as Slide Librarian at the 1870-1930, toured this year to the Walters Art Gallery in Guy's second book, Capturing Troy: The Narrative Journal (and he says even this work was made possible Clark Art Institute. One might predict a slight enhancement Baltimore and the Mint Museum of Art in Charlotte, Functions of Landscape in Archaic and Early Classical Greek only through the exacting research of Adam of the German-Austrian slide holdings, as she has many Art, was published this spring by the University of Greenhalgh '00). Michael suggests he is becoming like North Carolina, where it closed in April. years of the Anglophile Dustin's Stubbs andJohn Martins Michigan Press. Mter serving three years as Chair of the all other American museum directors as he focuses on to counterbalance! This is fortunate given the Clark's ZIRKA F1LIPCZAK Art Department, he will take a yearlong sabbatical as a the planning and fundraising associated with the Clark's summer 2002 exhibitions focusing on Austria, which will Zirka has recently answered a long-standing question in Fellow at the National Humanities Center in North expansion project. in turn provide interesting texts for German 509. her article "Why Are There No Old Women in Heaven," Carolina. During his sabbatical he will be working on a Jaarboek NICOLE S. DESROSIERS in the of the Koninklijk Museum voor Schone new project entitled "Myths of Ritual in Ancient Greek EUGENEJ. JOHNSON Kunsten (2000). She also reviewed Hans Vlieghe's Nicole, who has taught French in the Graduate Program Dionysiac Art." EJ. served as the exhibition curator for ON SITE, Travel Flemish Art and Architecture 1585-1700 for Art Bulletin 82 since 1974, also served this spring as the president of the Sketches by Architects at theLeubsdorf Art Gallery, Hunter (June 2000) and Kristin L. Belkin and Carl Depauw's MICHAEL ANN HOllY Western Massachusetts Chapter of the American College of The City University of New York, contributing Images ofDeath: Rubens Copies Holhein in Visual Resources. In her second year as Head of the Clark's Research and Association of Teachers of French. She presented a an essay to the catalogue, In the Eye of the Architect. His In 2000 she ran a two-day lecture and discussion session Academic Programs and her first as a member of the paper called "Understanding Cultural Differences: article 'Jacopo Sansovino, Giacomo Torelli, and the at the Folger Institute, Washington, D.C., on "Mapping Graduate Program's faculty, Michael was extraordinarily Projet Cultura" at the AATF Convention in Paris, inJuly Theatricality of the Piazzetta in Venice" was published in the Early Modem Passions." active on the lecture and conference circuit, even after 2000. In the spring issue of The Germ she and poet M. the Journal ofthe Society ofArchitectural Historians 59, no. 4 declining the Ernst Cassirer Professorship at the University (December 2000). Gizzi translated Dominique Fourcade's "Compact pour JAMES GANZ of Hamburg for the spring of 2000. Since then she has Claude." She and Isabel K. Roche are at work on a Jim completed and successfully defended his dissertation presented "Reading and Writing Art History" and ''The MICHAEL J. LEwIs translation ofJ. Gaudemet's Le mariage en Occident for at Yale University last December, "Robert Robinson Monograph and Critical Theory" at the College Art Mike spent the 2000-2001 year as a scholar at the Notre Dame University Press. (1651-1706): Painter Stainer and Peintre-Graveur." His Association Annual Meeting (New York, February 2000); Institute for Advanced Study, Princeton University, recent publications include "Cross-currents in Painting "Mourning, Method, and the Millennium" (Bucknell where he has been researching the architecture of SAMUEL Y. EDGERTON JR. and Photography," for the newJournal of the Clark Art University, March 2000); "Melancholy, Art History, and communal societies. Most recently he has published Last fall Sam led a Williams College tour through Institute 1 (Spring 2000), and "A Thousand Words on the Fin-de-Siecle in Vienna" (International Congress of Frank Furness: Architecture and the Violent Mind (W.W. Germany and Czechoslovakia, traveling by boat down the Panoramas of Lincoln Russell," in Lincoln Russell: the History of Art, London, September 2000); "Visual Norton, 2001), the first biography ofAmerica's most the Elbe and Moldau rivers from Potsdam to Prague, Portraits ofSeiji Ozawa and Other Photographs, 1978-1998, Culture" (University of New York at Stony Brook, original Victorian architect (http://wwnorton.com/ lecturing on the German Renaissance, the Bauhaus at an exhibition at the Berkshire Museum in Pittsfield December 2000); "Vienna, 1900" (Soros Center for NPB/nparch/ffurness.htm). Recent articles include Dessau, and the Rococo splendor of Dresden. In the (1999). Jim's exhibitions last year at the Clark included Contemporary Art, Bratislava, Slovakia, January 2001); "Mumbling Moments" in Commentary (February 2001) spring he was Gastwissenschaftler at the Zentrum fUr Victorian Photography from the Collection of the Clark Art "Mourning and Method" (New Europe College, on the architecture of the modern memorials on the Literaturforschung in Berlin's Humboldt Universitat. Institute (winter 2001) and Piece lJy Piece: Putting Art Bucharest, Romania, January 2001); a commentary on Mall in Washington, D.C.; an essay on the architectural While in Berlin he delivered two public lectures: "Als Together, Taking Art Apart (autumn 2000). "Style" at the CAA (Chicago, 2001); "Iconology's history of Hamburg, Germany, in the exhibition sogar Kiinstler die Todestrafe forderten" at the Nachleben" (Hamburg, Germany, March 2001); and catalogue Alexis de Chateauneuf, 1790-1853 (Hamburg Humboldt Zentrum and "Leon Battista Alberti vs. CHARLES W. IIAxrnAUSEN "Finders Keepers, Losers Weepers" (National Gallery of Museum fUr Kunst und Gewerbe); and several book Quetzalcoatl: Renaissance Art Theory in the Service of In his eighth year as Director of the Graduate Program, Art, Washington, D.C., March 2001). She is the chair of reviews in the Wall Street Journal. the Christian Conversion of Mexican Indians, Mark published two articles: "Zwischen Darstellung und the Association of Research Institutes in Art History PETERD. Low 1523-1600" at the Freie Universitat. This latter was the Parodie: Klees 'auratische' Bilder," in the collection Paul (ARIAH) through 2003 and holds a place on the Board subject of an article published in Trajecte I, no. 2 (April Klee: Kunst und Karriere: Beitriige des intemationalen of Directors of the College Art Association until 2004. Havingjoined the Art Department as its medievalist in 2001). In June he gave a talk at the Dallas Museum of Symposiums inBem (Stampfli Verlag, 2000); and '''Wenn 1999, in the fall of 2000 Peter completed his dissertation Art, whose title seconds that of his most recent book, Welten zusammenstoBen': Sigmar Polkes Frau Herbst JU-Yu SCARLETT JANG with distinction at the Johns Hopkins University, writing Theaters of Conversion: Religious Architecture and Indian und ihre zwei Tochter," in Jenseits der Grenzen: Scarlett is at work on three book projects: Art and Politics on "Envisioning Faith and Structuring Lay Experience: Artisans in Colonial Mexico (University of New Mexico Franzosische und deutsche Kunst von Ancien Regime bis zur in Ming China (1368-1644), which examines how art was The Narthex Portal Sculptures of Sainte-Madeleine de Press). The handsome volume, filled with color Gegenwart: Thomas w: Gaehtgens zum 60. Geburtstag used by the Ming imperial court to disseminate its political Vezelay." Peter's recently delivered papers include "All photographs byJorge Perez de Lara, includes drawings (DuMont, 2000) He also gave the Lovis Corinth Lecture ideology, demonstrating the ties between art-making and Roads Lead to Cluny: Anselm of Canterbury and the by the author. Moreover, the German translation of his at Emory University in October ("Aura as Parody: Paul political power at court; The Popularization ofImages, Triune Deity at Sainte-Madeleine de Vezelay" at the Renaissance Rediscovery ofLinear Perspective (1974) is due Klee and Walter Benjamin"), lectured on the problem of which studies the woodblock-printed and illustrated Thirty-sixth International Congress on Medieval Studies, out soon. He has also been reviewing the work of others: style in Klee's art at Munich's Zentralinstitut fUr materials of the Ming dynasty; and Painting and Political Kalamazoo, Michigan (May 2001), and "Cluniac a response to the translation/re-publication of Aby Kunstgeschichte inJanuary, and delivered a paper, Rhetoric in Imperial China, which investigates the role of Monasticism and the Challenge of Popular Pilgrimage:

PAGE FOUR FACULlY NEWS FACULlY NEWS ~/~ PAGE FIVE

A An Early Twelfth-Century Burgundian Response" at a coordinating curator at the Clark for both Impression: CLARK VISITING PROFESSORS IN THE HISTORY OF ART conference at Princeton University called "Encounters Painting Quickly in France, 1860--1890 and Rossetti in the Between Elites and Non-Elites in the Middle Ages, 1860s: The Blue Bower. He presented a paper, "Painted in The academic life of the community was enriched greatly this year through the presence of two scholars 400-1400: The Challenge of New Methodologies" (April an Hour: Fragonard's Portraits de fantaisi£ and Impressionism," brought to campus under the auspices of the Robert Sterling Clark Visiting Professorship: HARRy FRANCIS 2000). Current research interests include further work at a symposium accompanying the former exhibition at on Vezelay, questions concerningJoan of Arc and the National Gallery, London, in 2000. MALLGRAVE (fall 2000) and KErrn MOXEY (spring 2001). fifteenth-century image theory, and the use in medieval Harry has served as editor of the Architecture and Aesthetics series of the Getty Research art of the text from Ephesians 2: 11-22. HARTLEY SHEARER Institute, as well as having edited and translated specific volumes within the Getty's Texts and Documents Hartley has just completed an interactive CD-ROM NANCY MOWll MATHEWS series, including Otto Wagner's Modern Architecture (1988) and the collection Empathy, Form, and Space: related to the graduate seminar, "Contemporary Art and Nancy is bringing two enterprises to fruition this fall. Problems in German Aesthetics, 1873-1893 (1994). He has recently completed a translation of].]. Film," that he and Linda Shearer teach. First, she served as project manager, editor, and Winckelmann's History ofthe Art ofAntiquity (1764), along with one of Gottfried Semper's Style in the contributor for American Dreams: American Art to 1950 in LINDA SHEARER Technical and Tectonic Arts (1860-1863) and a collection of essays on historicism. Harry was also a the Williams College Museum ofArt (Hudson Hills Press, Linda remains extremely engaged in the responsibilities practicing architect for nine years; he taught at the University of North Carolina at Charlotte, the 2001), which will include a book of essays on highlights of seeing the Williams College Museum ofArt through Eidgenossische Technische Hochschule in Zurich, the University of Minnesota, and from 1993 to 1997 of the collection written by 47 different authors, along its 75th anniversary year. Especially exciting is the with an on-line searchable listing of approximately 3,000 he was Willard K. Martin Visiting Professor at the University of Oregon. He is widely recognized as a objects with full cataloguing information and reproductions. project to install a Louise Bourgeois outdoor sculpture distinguished historian of architecture and architectural theory; his monograph Gottfried Semper: Architect Second, her text Paul Gauguin: An Erotic Life, which in front ofWCMA. of the Nineteenth Century, published by Yale in 1996, won the prestigious Alice Davis Hitchcock Award from examines the artist's use of sexuality and violence as a MARc SIMPSON the Society of Architectural Historians as the best book on architecture for the year. strategy in his life and art, is due out from Yale University Keith has had a distinguished teaching career at the University of Virginia and, since 1988, at Press in October. These were underway, of course, while Marc has lectured at several institutions in the past year: Columbia University and Barnard College, where he is the Ann Whitney Olin Professor. He seemed an her work on the Prendergast brothers continued-the "Pure Tact ofVision: The Early Paintings ofJohn Singer most recent major project being The Art ofLeisure: Sargent," at the New Orleans Museum of Art in April ideal person to hold the Clark Professorship for at least two reasons. First is his distinguished record of Maurice Prendergast in the Williams College Museum ofArt, a 2000; "Brilliancy, Verve, Subtlety, Truth: John Singer scholarship in his period specialty, Northern Renaissance art. Since completing his dissertation at the series of essays on aspects of turn-of-the-century Sargent and the Painting of Rooms" at the Museum of University of Chicago in 1974, Keith has been an extremely productive and important scholar in the American leisure as represented by ten of the artist's works. Fine Arts, Houston, in March 2001; and "Winslow field, in which he has published numerous articles and two books: Pieter Aertsen, Joachim Beuckelaer and the Homer: Early Paintings 'Full of Significance'" at the Rise of Secular Painting in the Context of the Reformation (1977), based on his dissertation, and, in 1989, EUZABETH MCGOWAN Newark Museum in May 2001. An article, Liz, along with Guy, Rosie, and George, is headed off to "Offenbarungen fur das Auge: Winslow Homers Peasants, Warriors and Wives: Popular Imagery in the Reformation. A second reason is because Keith has been North Carolina for sabbatical. 'Milkmaids,'" appeared in the Belvedere: Zeitschrift fur one of the major voices in the methodological and theoretical debates within the discipline of art history. His publications in recent years have favored that area, having co-edited three books-Visual Theory: CHARLES PALERMO bildende Kunst 6, no.' 1 (May 2000). He also had a review of the Eastman Johnson exhibition, organized by the In his first year in the Art Department, where he is Painting and Interpretation, with Michael Ann Holly and Norman Bryson (1991); Visual Culture: Images and Brooklyn Museum, published on-line at CAA Reviews. teaching late-nineteenth- and twentieth-century art, Interpretation, again with Holly and Bryson (1994); and The Subjects ofArt History: Historical Objects in His principal professional energies-outside the Charles published two articles: "Tactile Translucence: Contemporary Perspective, with Holly and Mark Cheetham (1998)-and written two others-The Practice of graduate program-have been devoted toward five Mira, Leiris, Einstein," in October97 (summer 2001); and Theory: Poststructuralism, Cultural Politics, and Art History (1994) and The Practice ofPersuasion: Politics and essays for the catalogue accompanying the Thomas an exhibition review of Daumierin Nineteenth Century Eakins exhibition being organized for this fall by the Paradox in Art History (2000). French Studies (2001). He is in the process of preparing a Philadelphia Museum of Art. The two recipients of the Robert Sterling Clark Visiting Professorships for the academic year book that grows from his dissertation, "Fixed Ecstasy: 2001-2002 have been named. During the fall semester, MICHAEL ZIMMERMANN, co-director of the The Early Artistic Maturity ofJoan Mira and Michel STEFANIE SoLUM Leiris," which was passed with distinction at the Johns Zentralinstitut fUr Kunstgeschichte, Munich, will be on campus, teaching an undergraduate course Stefanie joins the Williams art history faculty as an Hopkins University in 2000. Automatism as a theme in centered on Marcel Duchamp ("Against Sense: Marcel Duchamp's Critique of Modernist Culture") and a assistant professor this fall. She comes from the modern painting and writing and the early career of graduate seminar called "Alienation: Searching for the Self, Manet-Duchamp." Michael has written and University of California, Berkeley, where she recently Pablo Picasso are other areas of current research. lectured widely on questions in nineteenth- and twentieth-century French art: his books include Seurat completed her doctorate in Italian Renaissance art. Her RICHARD RAND dissertation, "Lucrezia's Saint: The Child Baptist and and the Art Theory ofHis Time (1991), Bilder der Macht, Macht der Bilder: Zeitgeschichte in Darstellungen des 19. Richard, Senior Curator and Curator of Paintings and Medici Redemption in Fifteenth-Century Florence," Jahrhunderts (co-editor, 1997), Barbizon: Malerei der Natur-Natur der Malerei (co-editor, 1999), and Jenseits Sculpture at the Clark, has regularly taught seminars in argues that Lucrezia Tornabuoni de' Medici prompted der Grenzen: Franzosische und deutsche Kunst vom Ancien Regime bis zur Gegenwart (co-editor, 2000). He is the Graduate Program devoted to eighteenth-eentury an innovation in the visual tradition of the young St. scheduled to deliver a public lecture-titled "The Public Body of Pipilotti Rist"-on 11 October. French art topics, as well as leading portions of the John the Baptist that changed the face of devotional art During the spring semester, DAVID PERLMUITER will serve as the Clark Visiting Professor. David, Winter Study trips in 2000 and 2001. Richard has several in Quattrocento Florence. The dissertation provides new who is an Associate Professor at the Louisiana State University'S Manship School of Mass Communication evidence for profound female influence on the art of the works in press: "Fragonard dans Ie jardin d'amour," in in Baton Rouge, will teach "War and Images: From the Stone Age to the Internet Age" as his the journal of the Centre allemand d'histoire de I'art, period, while questioning the conceptions of power and undergraduate offering, and "Pictures and Politics in the Twentieth Century" as a graduate seminar. His Paris; a~ well as entries for the collection catalogues of patronage that have shaped Medici historiography. Other the Sammlung Oskar Reinhart "Am Romerholz," projects in progress include article-length studies on books include Photojournalism and Foreign Policy: Framing Icons of Outrage in International Crises (1998), Winterthur, Switzerland, and the National Gallery ofArt, Botticelli's Birth of Venus and Peruzzi's Sala delle Prospettive Visions of War: Picturing Warfare from the Stone Age to the Cyberage (1999), and Policing the Media: Street Cops Washington, D.C. He has recently published a review of in the Villa Farnesina. Devotional culture and domestic and Public Perceptions ofLaw Enforcement (2000). His interests in mass media and political culture link Mark Ledbury's Sedaine, Greuze and the Boundaries of Genre art, and the representation oflandscape in religious art, directly to issues studied in political science, history, and journalism. David will deliver a public lecture, in The Burlington Magazine. He served this past year as are among her areas of interest for future research. "Can Pictures Save the World?" on 12 March 2002.

PAGE SIX FACULIY NEWS VISITING PROFESSORS PAGE SEVEN

J THE STERLING & FRANCINE CIARK ART INSTITUTE LECTURES BY THE CIARK FELLOWS 2000-2001 GRADUATE PROGRAM ExPANDS ITS SCHOLARLY PROFILE 12 September MICHAEL LEJA (University of Delaware), "Eakins SPONSORED LECTURES MICHAEL ANN HOLLY and Icons" Head, Division of Research and Academic Programs 2000-2001 29 September MA'ITHIAS BRUHN (Warburg-Haus), "On Stock The Clark Art Institute, for a long time home both to a major graduate program and a major library 4 October 2000 Photography" collection, also now hosts a complex of other research and academic activities. The new Research and Clark Visiting Professor Lecture Academic Programs division at the Clark is officially only a year old, but much has already transpired. 17 October MARK CHEETHAM and EuzABETH HARVEY This academic year we have seventeen international scholars in residence, from both academia and the HARRy FRANCIS MAu.GRAVE (University of Toronto), "Imagining Interiority: museum world. We have also organized a number of intellectual events, ranging from a spring "The 'Rediscovery' of Greece: Le Anil's Ghost and the Anatomy of Caves" Conference to smaller invitational colloquia. Let me tell you a bit about each enterprise. Roy, Piranesi, and Each year, the Clark now offers between twelve and eighteen Clark Fellowships to visiting Winckelmann" 12 December HOWARD COUITS (Bowes Museum), "The Bowes Collection" scholars, mostly art historians. These generous stipends enable the fellows to take up residence in Williamstown and work on projects that make use of the vast resources of the Institute and the Williams 24-25 October 2000 23 January MIEKE BAL (University of Amsterdam), "Second­ community at large. Fellows are provided with well-equipped offices in the library, and they are housed Hamilton Lectures Person Art: Response to Thierry de Duve's in a wonderfully refurbished Victorian house across the road. Their stays with us range from one to nine PETER SCHJELDAHL, art critic for Exhibition Voici" months, and they eagerlyjoin the intellectual life of Williamstown. Applications are due in November for The New Yorker the following academic year; this past winter-with the help of an outside advisory committee-we 13 February TODD PORTERFIELD (Rice University), "On "Painting" followed by "Beauty" selected a handful of scholars of the large number who applied for 2001-2002. National and Narration and the Resacralization ofArt after international scholars, critics, and museum professionals are welcome to propose projects that extend the French Revolution" and enhance the understanding of the visual arts and their role in culture. We have been encouraging in 18-19 April 2001 particular studies that promise to deepen, transform, or challenge those methods currently practiced Held Lectures 20 February SANJA CVETNIC (Strossmayer Gallery of Old within art history or that have the prospect of enhancing an underst anding of the role of images in Masters, Zagreb), '''Inter Arma Silent Musae': JAMES MARRow, Professor other disciplines in the humanities. Subjects of investigation represent many periods, places, and genres. But What about Museums?" Emeritus of Art History, Museum professionals can pursue independent research or such institutional projects as exhibitions. Princeton University, and 6 March STEPHEN BANN (University of Kent), "Like While scholars might be invited by Williams faculty to teach an individual class or two during the term, Honorary Keeper of Manuscripts Father, Like Son? The Ironic Paintings of they are primarily free to pursue their own reading and writing. Each Clark Fellow delivers a public and Rare Books, The Fitzwilliam U~onor Mhimee" lecture during his or her stay. For a list of current fellows and their topics, we encourage you to meet Museum, Cambridge University, them at our website at www.clarkart.edu. presented two lectures in a series 13 March LAURE DE MARGERIE (Musee d'Orsay), "The This spring (4 and 5 May) we held our third Clark Conference, "Art History, Aesthetics, Visual called "Pictorial Invention in Sculpture of Charles Cordier: Ethnography Studies." Conferences are designed to encourage noted scholars to deliberate on major themes and Netherlandish Painting of the or Art?" issues in the history of art over the course of a two-day stay in Williamstown. Proceedings from the Late Middle Ages: Case Studies previous two conferences, "The Two Art Histories" and "Compression vs. Expression: Containing and in the Shape of Meaning": "The 3 April OLIVIER MESlAY (Musee du Louvre), "Henri­ Explaining the World's Art," will be published this year. Daylong Symposia are smaller gatherings of Shape of Meaning in Two Pierre Danloux: Emigre Artist During the Illustrated Dutch Manuscripts of thinkers who present papers and discuss issues around more focused themes. This past fall, we presented French Revolution" "Institutionalizing the Aesthetic: Museum Practices and Museum Personalities between the Two World the Turn of the Fifteenth Century" followed by "Illusion Wars." Already in the works for this year are a symposium organized in conjunction with the exhibition 12 April MICHAEL LEJA (University of Delaware) , and Meaning in the Art ofJan Impression: Painting Quickly in France, 1860-1890 this summer and one in the fall on "Culture, Criticism, "Touching Illusions: The Paintings ofWilliam van Eyck" and the Art of Norman Rockwell." Invitational Colloquia bring together between six and eight scholars Harnett" who come to the Clark to discuss common interests in a particular genre, artist, or period. Consisting mostly of private discussion, they can have a public component as well. Numerous other intellectual 24 April 2001 17 April DEBRA BRICKER BALKEN (independent scholar), events punctuate our year, from Clark/Getty Workshops to guest lectures to Clark Conversations. Each is Clark Visiting Professor Lecture "Philip Guston's Poor Richard" listed in the Clark calendar and most are open to all. Especially welcome, of course, would be graduates KEIlH MOXEY of Williams's distinguished M.A. program. 8 May GARY SHAPIRO (University of Richmond), "Two "Between Memory and Oblivion: Stories of the Eye: Nietzsche, Foucault, and Art" (Note: As mentioned above, to keep abreast of all the lectures by the Clark Fellows, as well as other programs German Artists of the held at the Clark, including Graduate Program-sponsored lectures, check out the website page Renaissance" 15 May MARIET WESTERMANN (Rutgers University), www.clarkart.edu/make_a_visit/calendar_oCevents_category.cfm?nav=3&category=Public%20Lectures.-M.S.) "'Costly and Curious, Full of Pleasure and Home Contentment': Desire and Distinction in the Dutch Interior"

PAGE EIGHT RESEARCH AND ACADEMIC PROGRAMS LECTURES PAGE NINE

/ THE JUDITH M. LENETI MEMORIAL FELLOWSHIP AND LECTURE WILLIAMSTOWN AND NORTH ADAMS MUSEUMS Judith M. Lenett enrolled in the Graduate Program in the fall of 1981, with a particular and dedicated It was a busy year for area museums, and thus for many of the students and graduates of the Program. interest in American art and art conservation. Her studies and career were cut short when she became ill The WILLIAMS COllEGE MUSEUM OF ART produced its usual dynamic roster of exhibitions and events, with cancer, to which she succumbed in 1987. Shortly after her death, her husband, Paul, conceived the among them The Art OfLeisure: Maurice Prendergast in the Williams College Museum ofArt, Pulling Prints from idea of honoring her by establishing an endowment in her name, to which he and a number of their the Collection (organized in part by LISA DORIN, '00), Labeltalk 2001 (organized by Stefanie SPRAY JANDL, friends contributed. In consultation with Paul, we decided that the most appropriate use of this fund '93), Video Interventions in Observation ofDay Without Art/World AIDS Day (co-organized by GRETCHEN would be to provide support to a graduate student whose interests most closely coincided withJudith's WAGNER, '02), Photography EXPOSED (co-organized by VIVIAN PATTERSON, '80), A Wall Drawing by Sol own. Because the donors also envisioned an annual Lenett Memorial Lecture, it seemed appropriate that LeWitt, American Pop (organized by Vivian), Masterpieces Ancient to Modern (organized by Vivian) , the lecturer be the Lenett Fellow, who would give a public lecture on his or her year's work. The Lenett Celebrating 75 Years-American Dreams: American Art to 1950 in the Williams College Museum ofArt (co­ Fellow was chosen from among the second-year students, contingent on their having demonstrated an organized by Vivian), and Stones ofAssyria: Ancient Spirits from the Palace ofAshurnasirpal II (co-organized interest in conservation, a willingness to work in the Williamstown Art Conservation Center, and an by, among others, Vivian and ELYSE GONZALES, '00). One of these titles announces that WCMA has enthusiasm for some aspect of American art. The Fellow works in close concert with one of the attained its 75th year of service to the community. The institution is celebrating in part with the conservators of the WACC, often on a specific object that is in the lab for examination and treatment. commission of an outdoor sculpture series by Louise Bourgeois, which is being installed this summer at During the past seven years, the Lenett Memorial Lecture has established itself not only as one of the front of the building, and will be "unveiled" in October during convocation weekend. The whole the highpoints in the academic calendar but as a demonstration piece for the Graduate Program. It front lawn is being landscaped, so visitors to campus will see a new face to the museum come the fall. exemplifies to the fullest degree the integrated collaborative art history research that can be done here, Across Route 2 at the CHAPIN LmRARY, the summer exhibition is Herman Melville: A Retrospective of where graduate students, in satisfying their academic requirements, work on original art objects, draw on His Works on the 150th Anniversary ofMoby-Dick. This supersedes Leonard and Virginia Woolf as Printers: the resources of the Clark's outstanding art library, and receive training in conservation at the WACC. Handprinted Books from the Hogarth Press from this spring. And, of course, the Founding Documents of the Our first Lenett Fellow, in 1995, was Lydia Hemphill, who delivered a stunning lecture on an United States remain on permanent display. eighteenth-century weathervane from the Shelburne Museum. She set a high standard, which all Lenett In North Adams, MASS MoCA's major project is the multiple-part Game Show, organized by Fellows since have more than lived up to: Sue Canterbury in 1996 (Frederic Remington's Bronco Buster LAURA STEWARD HEON ('98) to explore the world of games and its impact on art of the 1990s. Concurrent from WCMA) , Ashley West in 1997 (a Flathead-Salish [Montana] eradleboard from the collection of the exhibitions include a selection of works from the Gilbert and Lila Silverman Fluxus Foundation (worked Berkshire Museum), Mikka Gee in 1998 (Jose Clemente Orozco's preparatory studies for The Epic of on by TARA McDoWELL, '02) and a retrospective of work by Oyvind Fahlstrom. These augment the American Civilization at Dartmouth College), Austen Barron in 1999 (watercolors by Charles Hovey ongoing shows of Mona Hatoum's Domestic Disturbance and Tim Hawkinson's Uberorgan. Pepper from the collection at Colby College), and Adam Greenhalgh in 2000 (Sanford Gifford's Twilight At the ClARK ART INSTITUTE, the curators and their guest collaborators treated us to a wide in the Catskills, 1861, now in a private collection). variety of different kinds of exhibitions. Jim Ganz organized Piece by Piece: Putting Art Together, Taking Art This year, on 2 May 2001,JENNIFER CABRAL '01, delivered the Seventh AnnualJudith M. Lenett Apart about the process of art-making, and Victorian Photography from the Collection of the Clark Art Institute, Memorial Lecture, which she called "Fugitive Media, Forgotten Meanings: Conserving a 1950s American which was about, in part, art collecting, featuring this new area of institutional interest. Interventions: Collage." The lecture focused on a collage by the San Francisco-based artistJess, When My Ship Comes Sin, Griselda Pollock Looks at Alfred Stevens initiated a series that puts the art historian in the foreground of the now in the collection of the Mount Holyoke College Art Museum-a work in whose conservation endeavor; the famed theorist and historian pondered the works by the 19th-century Belgian artist in the treatment, under the supervision ofWilliamstown Art Conservation Center Staff,Jen had participated. Clark collection, then shared her thoughts directly with the viewer through text panels and juxtapositions both more overtly didactic and more openly questioning than we frequently see. Rossetti in the 1860s: The Blue Bower focused on the late work of the British Pre-Raphaelite master, examining his THE WILLIAMS COLLEGE GRADUATE PROGRAM AT CAA 2001 production as both painter and poet, as well as his cultural context. This was succeeded by the Clark's A good number ofWilliams Program graduates participated at the College Art Associate Conference in major summer exhibition, Impression: Painting Quickly in France 1860-1890. It was, in sum, a rich year for Chicago this past winter. Among those giving papers or chairing sessions: JULIA BERNARD presented special exhibitions in this corner of the Berkshires. "Sculpture after Stunde Null:. The Post-Holocaust Implications of Minimal Art in Germany"; DIANE DIlLON co-<:haired "The Still Life in Motion: Reconsidering the Genre in Europe and the Americas"; KATHRYN CALLEY GALITZ co-<:haired the session "Channel Crossings: Britain, France, and the Tradition ofArtistic THE GRADUATE SYMPOSIUM 2001 Exchange"; LAURA GELFAND presented "Death and Dying in Devotional Imagery: 15th-Century Portrait To the best of our knowledge Williams is the only graduate program, M.A. or Ph.D., that organizes a Diptychs and the Doctrine of Purgatory"; LAURA M. GILFS served as discussant for "Painting and Drawing in symposium in which all its graduating students participate. Initiated on a trial basis for the Class of 1996, 17th-Century Italy"; MARNI KEsSLER presented "The Flaneuse at the Gap"; DIANA L. LINDEN presented the symposium has become a showpiece for the Graduate Program. Before 1996, each student took an "Detroit Rock City: Revisionist Art History, Museum Studies, and Practical Pedagogy"; RACHEL LlNDHEIM oral exam in the fourth semester, but these exams did little more than demonstrate how far even the presented "Gustave Moreau and the 'Modern': Recasting a Paradigm"; DAVID LITTLE presented "The Times best M.A. student is from mastery of a field after only two years of graduate work. The process that Square Show: The Most Successful Mess in Colab History"; PAMElA A. PATTON co-<:haired "Medieval culminates in the symposium, by contrast, pushes students to an unprecedented level of scholarly Narrative Revisited"; and JANET TEMos presented "A Community of Craftsmen: The Artisan and the performance. They conclude their studies, not with a deflating rediscovery of how little they know, but Architectural Treatise in 18th-Century Westminster." Among the faculty, MARK lIAxTHAUSEN co-<:haired "The with a tangible achievement and a newfound confidence in their own capacities. Good, the Bad, and the Ugly: New Perspectives on Art in Central and Northern Europe," while MICHAEL Symposium papers are developed from the longer (7,500 word) Qualifying Paper that each - .ANN HOLLY served as discussant for "Style: Problems and Prospects for Aesthetics and Art History." student writes during the second-year Winter Study period, this essay being a revision and refinement of

PAGE TEN LENETI FELLOWSHIP/ CAA MUSEUMS/SYMPOSIUM 2001 PAGE ELEVEN

/J work presented earlier during one of the student's first three semesters. Through the extended process curator for Pleasurscape-an exhibition at the Rice University Art Gallery, Houston, on view this pastJanuary of repeated presentation, critique, and revision the student learns invaluable lessons about scholarship, and February.) As the students received their hoods, they also gave in return, announcing their CL\SS Gwr: along the way picking up concrete techniques for writing, rhetoric, effective use of slides, and the establishment of a fund to assist students with travel, research, and presentation expenses. Their compelling oral presentation. At the end, every student leaves Williams with a twenty-minute paper that inspiration for this fund came from a generous allocation from the Clark Art Institute, at the initiative of meets the standard of a scholarly conference. MICHAEL CONFORTI, that reimbursed individual travel costs this pastJanuary, allowing them to travel to New The extensive symposium preparations represent the most effective mentoring that goes on in York, Buffalo, Philadelphia, and New Haven to further work on their Qualifying Papers and Symposium the Graduate Program. To assist him or her in preparing the symposium paper, each student is assigned an ad hoc committee consisting of four, five, or even more members: the Director, the Associate presentations. The class hopes that other classes (and alumni/ae) will be inspired to contribute to the fund, Director, the faculty supervisor of the Qualifying Paper, and at least one graduate student from each class so that future students will be able to enjoy the benefits that they found so useful. As noted by Mark in his year. Ad hoc committees are so constituted that each spring every graduate student in the program "Letter from the Director," this joins the newly enlarged and rededicated fund launched by the class of 1996 serves on at least one committee. Each presenter gives three dry runs over a six-week period, which are and augmented by the class of 2000-a fine example of one generation of students helping those that follow attended by the members of the ad hoc committee, all of whom receive an advance copy of the text. them. Student committee members have proven to be just as active and often just as effective in their critiques As a special note: the symposium this year coincided with an auspicious event. The Burlington Magazine as the faculty members, and in the end the symposium brings, among other fruits, a heightened sense of published an article by DOROTHY Moss-'John Singer Sargent, 'Madame X' and 'Baby Millbank"'-based on collegiality and an enduring appreciation of the value of peer critique. the symposium paper she delivered two years ago as a member of the Class of 1999. We look forward to see­ What makes the symposium the most fitting conclusion to the two-year course of study, however, ing other symposium papers in print in future years. is the element of public scholarly performance. The spring 2001 symposium, held on 1June, the Friday of commencement weekend, in the Clark auditorium before an audience of families, friends, fellow THE CLASS OF 2002 students, staff, and Clark Fellows, represented the professional debut of most of the speakers, their entry into the larger community of scholars. As has become customary, the eight graduating students delivered BRETT ABBOTT Francisco Museum of Modern Art over the summer, a set of highly polished, uniformly clear, and enlightening talks. Mter introductory remarks by Mark Brett worked at WCMA under the supervision of assisting in the Department of Paintings and Sculpture under the direction of curatorJanet Bishop. Haxthausen, each speaker was introduced by his or her respective faculty adviser. Jim Ganz moderated curator Nancy Mathews, helping especially to organize a symposium on Edward Hopper that took place in the the morning session, and Zirka Filipczak the afternoon. The speakers were: spring. Over the summer he holds an internship in the KATHRYN PRICE Department of Photographs at the National Gallery of Katie served as a Research Assistant for the Clark Fellows JENNIFER E. CABRAL "Double Vision: A Gauguin Woodcut Reconsidered" (James A. Ganz) Art, Washington, D.C., working with curator Sarah during the school year. Over the summer she will be Greenough on the gallery's Alfred Stieglitz collection. working as a curatorial intern at the Clark. CLARE ELuOTI "Nana Meets Dada: Charles Demuth's Zola Illustrations in Context" (Rachael Arauz, ABIGAIL GUAY VICTOKIA A.-T. SANCHO Williams College) Abigail played a dynamic role in two Clark Art Institute Apart from competing in the Faculty Squash League, JEFFREY T. SALETNIK "Le paysfmile: Pierre Boulez and Paul Klee" (Charles W. Haxthausen) departments this year-Curatorial and Education, in the Victoria also worked as a Teaching Assistant in the latter doing research, gallery talks, and visitor surveys. undergraduate art history department (ART 101-102). JENNIFER W. KING "The Dangerous Allure of Hybridity in Jorge Pardo's Project" (Charles W. Haxthausen) She will be continuing these activities over the summer, She has just published a review of Sam Edgerton's latest augmented by her principal commitment of working book, Theaters of Conversion in the spring issue of Review: EliSE BARCLAY "Portrait of the Woman as an Artist: Two Eighteenth-Century Case Studies" (Zirka Z. Filipczak, with Linda Shearer at WCMA. Latin American Literature and Arts. For the summer, she Williams College) will be at the Andover Academy, teaching courses on SARAH KOZLOWSKI etymology and English language. ANNA LEE KAMPLAIN "An 'Aesthetical Daguerreotype': Southworth and Hawes's Portrait ofa Young Girl" Sarah was a Teaching Assistant for Art History 101-102 (Rachael Arauz) during her first year. Over the summer she will be ROBERT S. SLIFKIN working with Nancy Mathews at WCMA, installing the Rob was a curatorial intern at the Clark during the RACHEL Burr "Thomas Eakins's The Artists Wife and His Setter Dog: A Reinterpretation" (Marc Simpson) American Dreams exhibition and preparing the school year, researching provenance and topics related accompanying gallery guide, as well as preparing for the to exhibitions and general maintenance of curatorial KARLy WHITAKER "Centre Lines of Form and Thought in Thomas Eakins's Portrait ofProfessor Leslie Millei' next of the Prendergast exhibitions. files. Over the summer he will be working on a research (Marc Simpson) PAUL MARTINEAU project initiated by the Guggenheim Museum-The Paul's work-study position during the school year was as Worlds of Art-under the supervision of its director, The uniqueness of the symposium among graduate programs is certainly in no small part due to the a Prints, Drawings and Photographs Room Assistant, Tom Krens. tremendous demands such an event makes not only on participating students and faculty but on support staff during which time he catalogued a group of cartes-de­ GRETCHEN WAGNER as well as the staffs of the Clark library and slide library. In short, this annual event mobilizes large numbers of visite from the Juynboll Collection and 18 stereocards by For her work-study project during her first year, Roger Fenton. Over the summer he is continuing his people for two months each spring, and their extraordinarily generous spirit, year after year, has been Gretchen served as the Graduate Assistant to Linda work there. indispensable to its success. Shearer at WCMA. Chief among her projects was the Mter the triumph of the symposium and their two years of academic work, the Class of 2001 held a TARA McDOWELL Day With (Out) Art exhibition: Video Interventions, 1-3 Hooding Ceremony on Saturday, 2June, then participated in the general Commencement exercises on Tara worked at MASS MoCA during the school year­ December 2000. Gretchen is spending the summer as an Sunday. ANNA KAMPLAIN and JENNIFER KING shared the honor of Clark Fellow award, which goes to the assisting with exhibitions on Marcel Duchamp and intern in Germany, splitting her time between the Karl­ Fluxus that are on view in conjunction with the Ernst-Osthaus Museum in Hagen and Plattform, a student or students with the highest overall GPA for two years. Both Anna andJennie achieved a perfect 4.0 institution's Game Show. She is working at the San contemporary art space in Berlin. average. Uennie had been busy-in addition to her classes and work-study positions, she served as the guest

PAGE TwELVE SYMPOSIUM 2001 CLASS OF 2002 PAGE THIRTEEN 2001: AN ART ODYSSEy-THE JANUARY EUROPEAN STUDY TRIP GRADUATES' NEWS

(Note: This aims to be a complete roster of graduates. Information comes from a variety of sources, some of which may be OUt of date; apologies for any inaccuracies. Updates, additions, and corrections will be most appreciated for next year's edition. -M.S.) JUDITH ADAMS '74 LAUREN BARTH-see HEWES, LAUREN B. (The Art Bookshop, Ludlow, Shropshire, Great Britain) CHRISTINE BARTOLO-see KNox, CHRISTINE M. DARSIEALExANDER '91 LUCRETIA BASKIN '99 (Baltimore Museum ofArt, Associate Curator of Prints, Drawings, and (Mount Holyoke College Museum of Art, South Hadley, Mass., regis­ Photographs) trarial intern/volunteer) 1 SCOTI ALLAN '99 KAREN CROFF BATES '92 (Princeton University, Ph.D. student in art history) After years as the Curator of Education and, for a while, as the In June 2000 Scott delivered a paper at a conference organized by J Associate Director of Public Programs at the Isabella Stewart Gardner INCS (Interdisciplinary Nineteenth-Century Studies) at the Universite Museum, Karen recently left that institution to follow other pursuits, de Paris-X, Nanterre, "Ways of Seeing." His talk had the same name most recently teaching a course on exhibitions at the Massachusetts as his M.A. symposium paper: '''The Dream and the Void': Manet, College of Art, guest lecturing for the Museum Studies seminar of Mallarme, and The Raven." An article, "The Metamorphosis of Harvard's Graduate School of Education, and consulting for the edu­ Gustave Moreau's Autumn (Dejanira)," has been accepted by the Revue cation departments of the Fogg Art Museum and Boston's Institute of de l'Art. This essay grew our of research carried on while Scott was a Contemporary Art. Even more exciting: the arrival on 10 June 2001 of graduate intern in the Paintings Department of the Getty Museum (in ON son Andrew. ? June 2000 he was promoted to "research assistant," considering ques­ ::J tions ofWWII-era provenance, standard file bibliography, and acquisi­ AMY OLIVER BEAUPRE '93 ~ tion proposals). He starts at Princeton in the fall, hoping to specialize (Independent fine art appraiser and consultant; Middlebury, Vt.) Cl :E in nineteenth-century French art-one of four modernists in the In 1998 Amy received a Certificate in Appraisal Studies in Fine and incoming class of eight, which includes Jennie King '01. Decorative Arts from New York University. Since then, she has been ~ working as an independent fine art appraiser in the Boston area and BRIAN T. AllEN '92 ~ Vermont. o (Clark Art Institute, Williamstown, Director for Curatorial ~ Programs/Curator of American Art; Ph.D., Yale University '98, "The THOMAS BEISCHER '96 Spanish Subjects of Washington Allston") (Massachusetts Institute ofTechnology, Cambridge, Ph.D. student in art history) The Class of 2002 in Prague: front row from left to right: Brett Abbott, Abigail Guay, Victoria A.-T. Sancho, Katherine Ball, LEONARD N. AMICO '78 Sarah Kozlowski, Kathryn Price; back row: Mark Haxthausen, Gretchen Wagner, Paul Martineau, Robert S. Slifkin Tom is at work on his dissertation, "The Dissemination and JULIE ARONSON '83 Reception of European Modern Architecture: The Case of J.J.P. Oud." (Cincinnati Art Museum, Curator of American Painting and He has delivered numerous conference papers: "Designing the Jersey Mark Haxthausen and Richard Rand (Clark Art Institute) led the Class of 2001 on a three-and-a-half­ Sculpture; Ph.D., University of Delaware '95, "Bessie Potter Vonnoh Homesteads: Louis Kahn's Role in Building a Community and Its week tour of Europe this January. Mark was responsible for most of the itinerary-Berlin, Dessau, [1872-1955] and Small Bronze Sculpture in America") Influence on His Architectural Philosophy," Ohio State University, October 1999; "Eadweard Muybridge's Scientific Narrative: The Prague, Vienna, Munich, Zurich, Basel, Colmar, and Strasbourg-while Richard led the group through LAURIE MCGAVIN BACHMANN '81 Presentation of Women in Animal Locomotion," University of Paris and London. The trip this year included some new destinations. It was the first time that Zurich was GRAHAM P. BADER '95 California, Irvine, November 1999; and "Philadelphia's Boathouse included on the itinerary; in Dessau the group visited the newly restored Master Houses for Klee and (Harvard University, Ph.D. student in art history) Row: The Rise and the Decline of Municipal Control," Boston Kandinsky, designed by Walter Gropius; in London, the Tate Modern. The full itinerary is posted on our Graham is currently splitting time between Austin, Texas, with his University, March 2001 (the topic of his '96 symposium paper). website at www.williams.edu/gradart/itin.html. wife, and Cambridge, Mass., with his dissertation on Roy Lichtenstein. Among the grants he has received are the John Coolidge Scholarship The 2002 trip will focus on fewer cities in greater depth-Dresden, Prague, Vienna, and Munich AUSTEN BARRON BAILLY '99 from the Society of Architectural Historians, for travel during the sum­ mer of 1998; the MIT Department of Architecture's Hyzen Grant­ are on the itinerary. (The Metropolitan Museum of Art, New York, Research Assistant) After graduating from Williams, Austen became a research assistant for travel and research that same summer; and, most recently, a for the landmark exhibition Art and the Empire City: New York, Fulbright Grant for Ph.D. research in the Netherlands, 2000-2001. 1825-1861 (19 September 2000-7 January 2001), which explored the THE CLASS OF 2003 SONYA BEKKERMAN '99 1 visual arts in America during this time and chronicled the ascendancy (Sotheby's, Inc., New York, Modern Painting Department) of New York to its status as art and cultural capital of the nation. Fourteen students from an extremely accomplished applicant pool have been admitted for the incoming DOROTHY BELKNAP-see MUNSON, DOROTHY BELKNAP J Austen researched foreign works of art in the exhibition and con­ It Class of 2003. is a promising group, with a variety of educational and work backgrounds. The new tributed to the production of the catalogue, overseeing countless BRENT R. BENJAMIN '86 students are ESTHER BELL (University of Virginia '01), CHRISTA CARROLL (Temple University '01), KIM administrative and art historical details. She is now on her way to Los (St. Louis Art Museum, St. Louis, Mo., Director) CONA'IY (Middlebury College '99), ELLERy FOUTCH (Wellesley College '00), KATIE HANSON (University of Angeles, where she will work in the American Art Office of the Los JEANNE BERGGREEN-see PLEKON, JEANNE B. Wisconsin, Madison '01), PATRICIA HICKSON (Bates College '85), SHIRLEY KIM (University of California, Angeles County Museum of Art. JULIA BERNARD '82 Berkeley '99), CATHERINE MALONE (Wellesley College '98), DON MEYER (Northwestern University '00), LUCINDA BARNES '78 (Kunstgeschichtliches Institut, J. W Goethe-Universitat; Ph.D., (Berkeley Art Museum+Pacific Film Archive, University of California, LUCAS MURREY (University of California, Berkeley '97), JANE SIMON (Bryn Mawr College '98), BEN University of Chicago '93, "Identification with Christ in Late Berkeley, Senior Curator-Collections) Tn.GHMAN (Lawrence University '99), PAN WENDT (Williams College '93), and EuzABE'IH WINBORNE Nineteenth-Century Self Portraiture: A Modern Conception of the (Georgetown University '99). We are looking forward to their arrival. AUSTEN BARRON-see BAILLY, AUSTEN BARRON Artist's Societal Role")

PAGE FOURTEEN 2001: AN ART ODYSSEY / CLASS OF 2003 GRADUATES' NEWS PAGE FIFTEEN KATE MEREDITH BURKE '96 MICHELE M. BERNATZ '90 BRADLEY B. BRIGHAM '84 Sarah received a degree from the Museum Management Institute, (North River Antiquities, Colrain, Mass., owner/proprietor) Kate, we understand, has left the Maymount Foundation in Berkeley, California, a program of the J. Paul Getty Trust administered JENNIFER BERRY '92 Aside from opening his own antiques business in 1990 in an old tea Richmond, Va., and now works for a design firm in that city. by the American Federation ofArts, in 1996. Her parh to the (Acoustiguide, New Yotk, Manager of Client Development) house (and later a general store and gas station) on his grandparents' PAULA KOROMILAS BURKE '80 Corcoran led through service as the director of the Maier Museum of CAROLYN BFSS '96 dairy farm in western Massachusetts, Bradley spearheaded a non-profit (Country Lane Landscape, Darien, Conn.) Art, Randolph-Macon Woman's College, Lynchburg, Va. (1995-1998) (Dallas Museum ofArt, Head ofAcademic and Public Programs) historic restoration society in 1993 called the Coleraine Land & after stints at the Amon Carter Museum, Fort Worth, Tex., and the ANN MURPHY BURROUGHS '85 Carolyn chaired a session entitled "Integrating Community Voices Histotic Building Preservation Society in his hometown of Colrain. National Gallery of Art, Washington, D.C. Her major exhibitions (St. Louis Art Museum, St. Louis, Mo., Adult Programs Assistant) into Exhibitions" at the 2001 American Association of Museums con­ Together with three partners, the CL&HBPS purchased an 1834 include Thomas Eakins and the Swimming Picture (Amon Carter After a lengthy hiatus spent supporting a law school spouse and ference in St. Louis. Congregational Church (the Brick Meeting House) that was slated to Museum, 1996), Thomas Cole's Paintings ofEden (Amon Carter raising children, Ann has re-entered the museum world with the be demolished. They restored this edifice and currently offer it to the Museum, 1995), and Ominous Hush: The Thunderstorm Paintings of KAREN DENNIS BINSWANGER '97 encouragement of fellow Williams alum Brent Benjamin '86. She is public for a variety ofevents (e.g., weddings, concerts, parties, public Martin Johnson Heade (Amon Carter Museum, 1994). In addition, she (National Gallery of Art, Center for Advanced Study in the Visual currently working in the Education Department of the St. Louis Art speakers, symposia, etc.). has published American Treasures from the Corcoran Gallery ofArt, with Arts, Washington, D.C., project head, Mellon Lectures Volume) Museum on a part-time basis and is thoroughly enjoying it. Her family Finally, he has built a home (a Cape and a half) on the property of Terrie Sultan (2000), and various articles and contributions to collec­ Karen's principal work in progress over the past year was Baby had a wonderful visit wirh Suzanne Devine Karr '85, her husband, his family's former dairy farm. In addition, last April the tions catalogues. Binswanger #2---due on New Years Eve, 2000! Bob, and two captivating boys, James and Alexander, in New York lasr Commonwealth of Massachusetts via the Department of Agriculture MARY CHENEY-see NELSON, MARY CHENEY ELIZABETH TRIPLETT BLAKELOCK '86 December. Otherwise she and Harold are busy keeping up with their purchased the development rights to this 300-acre property so it can (The Connecticut Historical Society, Hartford, Museum Cataloguer) "tribe": Charlie (12), Tim (10), and Molly (6). MARTHA A. CHIARCHIARO '80 never be developed. This is a unique program that was initiated during (UMass Memorial Health Care, Worcester, Director of Organizational JENINE GoRDON BOCKMAN '89 the frenzied real estate market of the mid-1980s to protect vulnerable KATE (KATHERINE A.) BUSSARD '00 Development) (Independent publisher, New York) farmland from coming under developers' control. (City University of New York, Ph.D. student in art history) Jenine is the founder, editor, and publisher of Literal Latte, a maga­ Kate begins the program at CUNY this fall, having completed her KEE IL CHOI '76 RACHEL BRONWYN-see PETRIK, RACHEL B. H. zine of stories, essays, poems, and art, entering its seventh year. internship in the Photography Department of the Gerty Museum. (Independent arts and ceramics dealer, New York) SANDRA LuDIG BROOKE '82 MARGARITA B. BORISSOVA '94 HIRAM CARRUTHERS BUTLER '79 VICTORIA C. GARDNER COATES '92 (Williams College Libraries, Williamstown, Head ofAcquisitions & (Berlitz GlobalNET, New York, Senior Project Coordinator) (Devin Borden Hiram Butler Gallery, Houston, Tex., Director) (Washington College, Assistant Professor of Art History, Chestertown, Collection Development) Md.; Ph.D., University of Pennsylvania '98, "Cardinal Camillo BRIAN BOUCHER '98 (The Frick Collection, New York, Education Sandy received her M.L.S. from SUNY Albany, 1999, and now GREGORY LEWIS BYNUM '96 Massimo, Nicolas Poussin, and Claude Lorrain: A Study in Neo-Stoic Liaison) works at the Williams College Library. (Morris-Jumel Mansion Museum, New York, Director of Education) Brian has had numerous publications over the past several years: an Patronage in Baroque Rome") GAVE L. BROWN '76 PRISCILLA VAIL CALDWELL '88 essay in a P.S. 1 Contemporary Art Center exhibition catalogue, JOHN w: COFFEY '78 Gaye received an M.F.A. from the American University in 1996 for (James Graham & Sons, New York, Director, Head of American Greater New York: New Art in New York Now; and exhibition reviews (North Carolina Museum ofArt, Raleigh, Chief Curator) her novel The Knot ofHappiness. Paintings Department) at bbs.thing.net, arrnet.com, citysearch.com; as well as entries in John is a co-curator (with Will South) of a major retrospective exhi­ Grolier Multimedia Encyclopedia (forthcoming). He has lectured as a KATHRYN BROWNELL '96 KATHRYN CALLEY-see GALITZ, KATHRYN C. bition of the paintings of Sranton Macdonald-Wright (Color, Myth, part of the Artist/writer panel discussion, P.S. 1, for Greater New York, Kathryn, we understand, recently helped to raise one million dollars BONNIE A. CAMPBELL '81 and Music: Stanton Macdonald- Wright and Synchromism) , which maintains affiliations as a contributing editor to Thing.net and serves for the Paramount Theatre in Rutland, Vt. (Texas State Capital, Austin, Curator of the Capital; and Texas State opened in Raleigh in March 2001 and travels to LACMA and the on the New York City Museum Educators Roundtable Steering CHERYL A. BRUTVAN '80 History Museum, Project Manager) MFA-Houston; note, the catalogue was edited by Fronia W. Simpson Committee as a Member-at-Large, 1999-2000, and Secretary, '77. He recently found himself in the eye of the storm over Nazi-loot­ (Museum of Fine Arts, Boston, Beal Curator of Contemporary Art) SUE (PATRICIA S.) CANTERBURY '96 2000-2001, in which capacities he organized panels on new technolo­ ed art. He writes, "a painting in the North Carolina Museum ofArt­ (Minneapolis Institute ofArts, Assistant Curator ofPaintings and gies in museum education. WA....DA A. BUBRISKI '82 Madonna and Child in a Landscape by Lucas Cranach the Elder-had Modern Sculpture) been stolen by the Gestapo from a Jewish family in Vienna. Protracted SARAH BOTTS-see GRIFFIN, SARAH B. VICTORIA BUNTING '92 Since arriving at the MIA, Sue has coordinated and interpreted negotiations followed-not helped by extensive media coverage. The JANE M. BoYLE '78 (Northeast Document Conservation Center, Andover, Mass., Assistant diverse exhibits, ranging from Francis Bacon: A Retrospective (who Paper Conservator) would have thought it!?!), American Impressionism, and one focused painting was returned to the family in February 2000. Happily, the COURTNEY BRAUN-see GANZ, COURTNEY family agreed to sell it back to the museum at a fracrion of its market RACHELJ. BURBANK, CLASS OF '81 on the conservation of a 17th-century altarpiece. She was also a coor­ value. So justice was served and a great painting remains in Raleigh." MAURAJ.R. BRENNAN '95 (State College, Pa.) dinating curator and contributor to the exhibition catalogue for Degas (Worcester Art Museum, Worcester, Mass., Assistant Curator, Rachel's husband has accepted a new job as Director of Coastal and America: The Early Collectors. Future projects include work on the ELIZABETH A. CoGSWELL '74 Department of Prints and Drawings) Studies at the University of California at Santa Barbara. He is already American sublime (2002) and a retrospective on Beauford Delaney for (Macalester College, St. Paul, Minn., Director of Corporate and 2004. In her spare time she is learning to speak Minnesotan and stalk­ JEANNE BRESCIANI '74 living out West; Rachel joined him after their younger daughter, Foundation Relations; M.A., University of Delaware, Winterthur ing Garrison Keillor. (New York University, School of Education, Isadora Duncan Andrea, graduated from high school this June. They are very excited to Program '81, "The Henry Lippett House: A Document of Life and International Institute, New York, Director of Education, Artistic be living on the West Coast again! Their older daught,er is a sopho­ VINCENT CARNEVALE '83 Taste in Mid-Victorian America") more at Stanford, so they can visi t her more often. Director; Ph.D., Institute of Fine Arts-New York University, "Myth ROBERT E. CARTER '92 ANNA R. COHN, CLASS OF '75 and Image in the Dance of Isadora Duncan") GARY BURGER '76 (Skidmore College, Saratoga Springs, N.Y., Curator, Permanent Arr (Smithsonian Institution Traveling Exhibition Service [SITES], Jeanne has published "Isadora Duncan in a Universal Language of (John S. and James L. Knight Foundation, Miami, Fla., Director of Collection) Washington, D.C., Executive Director) Movement" and "Isadora Duncan and the Soul of Nature," in Isadora Arts & Culture Programs) Duncan: Modern Dance from Mythology to the Future, along with deliv­ BETH CARVER-see WEES, BETH CARVER MERRITT CoLAIlZI '96 Now that Gary is on the other side of the funding fence, he has the ering a performance and lecture, for the Tama Art University Museum, (Streetmail, North Adams, Mass., Director of Content) opportunity to support others in producing publications, mounting EILEEN CASEY-See JACHYM, EILEEN CASEY Tokyo, Japan. Merritt announces lots of news, but proclaims none of it is art relat­ exhibitions, or pursuing other cultural activities that benefit the 26 SARAH CAsH '86 ed. She crows: "I do think that it's humorous that I, formerly the not­ BECKY A. BRIESACHER '88 cities in which they make grants. He has not, however, had the (The Corcoran Gallery of Art, Washington, D.C., Bechhoefer Curator for-profit queen, am heading up the profit end of a business-hal Let's (University of Maryland, School of Pharmacology, Baltimore, Research opportunity to pursue such ends for himself. "This is by no means a ofAmerican Art) hear it for the 'smart generalists' of the world!" Assistant) complaint."

GRWlJATES' NEWS PAGE SIXTEEN GRWUATES' NEWS PAGE SEVENTEEN KRISTEN CoWNS '97 cultures that includes a detailed script with 46 slides ofobjecrs trom the Augustins, Toulouse, and Musee de la Cooperation franco-americaine, Tom has written regularly since 1985 for the Print Collector's (Universiry ofTexas ar Ausrin, Ph.D. studenr in art history) museum's collection to help teachers integrate museum objects inro their Chateau de Blerancourt (February-October 1999); rhis was the firsr Newsletter and On Paper magazines and has contributed to the volume Kristen, we have heard, spenr the past yeat in Germany on a curriculum. importanr comprehensive show of the sculptor's work in France since on Carleton Watkins in the Getry Museum's In Focus series, His new DAAD grant researching her dissertation. his dearh in 1907. Its opening in Toulouse-with American book on collecting photography, Sotheby's Guide to Photographs, is MARy SPIVY DANGREMOND '79 Ambassador Felix and Mrs. Roharyn-was rhe insrirurion's largest forthcoming. MIKKA GEE CONWAY '98 opening, with over 1,000 people. For the project, he wrote an essay, CYNTHIA DEITH '83 loIS FICHNER-RATHUS '76 (Getry Museum, Los Angeles, Research Assistanr, Departmenr of prepared loans, and helped in other ways to mount rhe exhibirion in SUZANNE M. DEVINE-see KARR, SUZANNE DEVINE (The College of New Jersey [Trenron State College], Ewing, N.J., Photographs) France. Associate Professor of Art History; Ph.D., Massachusetts Institute of DIANE DILLON '88 ADRIENNE RUGER CoNZELMAN '95 LUevWINTERS DURKIN '86 Technology '81, "Jack Tworkov's Work from 1955 to 1979: The (Newberry Library, Chicago; Ph.D., Yale Universiry '94, "'The Fair as (Independenr art consultant, New York, and Fairfield, Conn.) Synrhesis of Choice and Chance") a Spectacle': American Arr and Culture at the 1893 World's Fair") KRISTINA VAN DYKE-see VAN DYKE, KRISTINA Adrienne is finishing a catalogue of highlights from the William D. Lois's text, Understanding Art, is inro its sixth edition. Ruger Collection of Art and is doing freelance consulring and SUSAN A. DIMMOCK '94 FRANCESCA EASTMAN '74 appraisals for American painrings clienrs. (Atherton, Calif.) JAY M. FISHER '75 MARIA E. DI PASQUALE '92 Art, Francesca serves as rhe Chair of the Arherton Arts Committee and (The Baltimore Museum of Depury Director of Curatorial VICTORIA CORBEIL-see BUNTING, VICTORIA (Universiry of Texas at Austin, Instructor; Ph.D., Universiry ofTexas at as a Founding Trustee of the Episcopal School of the Peninsula, a pub­ Affairs/Senior Curator, Prinrs, Drawings & Photographs) Austin '99, "The Crise Catholique: Avanr-garde Religious Painring in DEBORAH IRENE COY '77 lic-privare venture in Fosrer Ciry, Calif, for srudents in grades 6-12. Jay writes: ''As the Chief Curator at Baltimore I am glad to be work­ France, 1890-1912") (Christie's, Inc., New York, Vice Presidenr) For the latter, she is the Education Committee Chair; she wrires: "the ing with no fewer than four program graduates: Darsie Alexander, Associate Curator of Prinrs, Drawings and Photographs; David Penney, LAURA COYLE' 86 MOLLY DONOVAN-see YOUNG, MOLLY DONOVAN project has recently received its first million dollar gift towards a $44 Coordinator of Exhibitions; Kary Rothkopf, Curator of Painting and (The Corcoran Gallery of Arr, Washington, D.C., Curator of million dollar goal. Have no shortage of tasks to com plete, in other SHANNON L. DONOVAN '94 Sculpture; and Ann Shafer, Liaison for the Board of Trustees. European Art) words!" (American College of Physicians, American Sociery of Internal Administrative duties are balanced by ongoing work on the Cone Laura was promoted to full curator as of 1 January 2001. Since Medicine, Annals of Inrernal Medicine, Philadelphia, Production STEPHEN R. EDlDlN '78 Sisters, on whom I lectured in Venice as parr of a symposium on then she has published on David Reed's project for the Corcoran Editor) (Dahesh Museum of Art, New York, Curator) women collectors of modern art, with papers to be published by the Biennial and has written an inrroductory essay for Connecting Worlds: Universiry of Venice in January; and Matisse, including lectures in Contemporary European Sculpture at the Kennedy Center (3 April-3 LISA B. DORJN '00 STEPHEN F. EISENMAN '79 New York, Cedar Rapids, and Baltimore, on his prints and books." June 2001). She is working on an exhibition and publication for rhe (Williams College Museum of Art, Williamstown, Curatorial (Northwestern Universiry, Evanston, Ill., Associate Professor; Ph.D., fall of 200 1 to commemorate rhe 75th anniversary of the Clark Assistant) Princeton Universiry '84, "On the Politics of Dreams: A Study of the DAVID R. FLEER '95 'Noirs' of Odilon Redon") Collection at the Corcoran, largely European art: painrings, drawings, LINDA JOHNSON DOUGHERTY '91 (CIBC Oppenheimer Corp., Los Angeles) Stephen is at work on three books: Culture and Barbarism: A sculptures, rugs, lace, ceramics, and decorative arts (another project (Independenr curator and critic, Chapel Hill, N.C.) History ofEuropean Art (with Karl Werckmeister); The 19th Century MICHAEL M. FLOSS '84 being edited by Fronia W Simpson '77). After graduating from the M.A. program in 1991, Linda worked in Paintings at the Norton Simon Museum (with Richard Brettell); and (Silver Oak Partners) the Department of 20rh Century Art at the Narional Gallery of Art in KAREN CROFF-see BATES, KAREN CROFF William Morris and Primitive Communism. Washington, D.C. In 1993 she married Patrick Dougherry, a sculptor, PENELOPE Foss '97 SUSAN M. CROSS '94 and moved to Chapel Hill, N.C. Since rhen she has been writing H. GIFFORD ELDREDGE '96 (The Lawrenceville School, Lawrenceville, N.J., Curator of (Solomon R. Guggenheim Museum, New York, Assistant Curator) reviews and articles on conremporary art for several magazines (Art (Arena & Co. Construction, Philadelphia, Construction Manager) Collections) Penny writes that she is "still at Lawrenceville, where I continue to LEIGH CULVER '92 Papers, Sculpture, and Public Art Review), working as a public art con­ Giff writes that, "after designing exhibitions for the Clark and other work on developing our new Arts Center and permanent collection. I host (Ph.D., Universiry of Pennsylvania '99, "Performing Idenrities in the sultanr, and running rhe public art program for the stare of North institutions (including Disney) I am now building buildings and up to three exhibitions a year and am responsible for managing our per­ Art of John Singer Sargenr") Carolina (1998-2000). She is now working parr-time as a curator for enjoying the permanence of my new career." manent collection as well as defining both shon- and long-term goals, rhe Conremporary Arr Museum, a new museum that will open in ANN loUISE EWOTI '96 CAROLE CUNNINGHAM-see McNAMARA, CAROLE CUNNINGHAM including policy and our mission. This is made much easier by the many Raleigh in the fall of 2002, and as a consulting curator for the North (Smithsonian Institution Traveling Exhibition Service [SITES], art lovers in the Lawrenceville parent and alumni body. Exhibitions SUSAN HOLMBERG CURRIE '85 Carolina Museum ofArt in Raieigh, helping to plan a new sculpture Washington, D.C., Director of Development) (The Leon and Thea Koerner Foundarion, Vancouver, B.C., Executive park and trail. She conrinues to write reviews and arricles for several include retrospectives ofJohn Safer and John Register (organized in other Director) art magazines. ELIZABETH M. ELY '75 institutions), prinrs by Rembrandt, and American Modernism. Other (InfoEdit, Partner) Susan serves as president of the Board of Directors of the Roedde recent exhibitions have been aimed at curricular courses and include ANNE C. DOWLING '94 House Preservation Sociery and works on a contract basis at the 'Object of Ritual' and 'Classical Art Then and Now.' The learning curve is (William and Mary Law School, Williamsburg, Va., Graduate student) ALICE EvARTS-SCHIPPER '85 Vancouver Museum. She helped produce websites (one inreractive) for huge, I wear many hars, but I love all aspects of my job." Anne has been the director of two foundations-the Pediatric (Young Audiences, Inc., New York, Associate Director of Chapter the Roedde House Preservation Sociery and attends cultural and phil­ Cancer Foundation and the Virginia Conservation Network. She is Relations) SUSAN R. FOSTER-see GARTON, SUSAN FOSTER anthropic meerings on behalf of the Leon and Theo Koerner now in law school at William and Mary and is a 2L. She has a new PEGGY EYSENBACH '89 KRISTEN FROEHLICH '88 Foundation. son-William Roderick Hill Hess. YUMI N. FARWELL '87 (Historical Sociery of Pennsylvania, Philadelphia, Art & Artifact JEFFREY T. DALTON '91 HENRY J. DUFFY '77 Collections Manager) (VGS Marketing Group, Inc., Carrollton, Tex., Communications MAURA FEENEY '82 (Sainr-Gaudens National Historic Site, Cornish, N.H., Curator; Manager/Accounr Executive) KATHRYN C. GALITZ '91 Ph.D., Rutgers Universiry '01, "New York Ciry Collections THOMAS W. FELS '83/84 (The Metropolitan Museum of Art, New York, Research Assistant, AMY SHAMMASH DANE '81 1865-1895") (Southern Vermont Arts Cenrer, Manchester, Vt., Curator) Department of European Paintings; Ph.D., Institute of Fine Arts­ (Mounr Holyoke College Arr Museum, South Hadley, Mass., Henry is currently working on a catalogue/exhibition for 2001 Since 1984 Tom has been a curator and writer specializing in pho­ New York Universiry '98, "The Family Paradigm in French Painting, Education Coordinator) abour the ceramic artist Paul St. Gaudens (1900-1954) for the Sainr­ tography and American culture. In 1998 he was named a Fletcher 1789-1814") It's Amy's seventh year as Education Coordinator at the Mount Holyoke Gaudens National Historic Site; its accompanying book will have Jones Foundation Fellow of the Huntington Library. Recently he College Art Museum-she runs the docenr program and has developed a essays by contributing scholars and will publish glaze recipes by the organized the exhibition Classic Cities: The Art ofGreece and Rome in HEATHER GALLOWAY '89 terrific studenr tour called "Daily Life and Afi:erlife: Ancienr Egypt, Greece artist for the first time. He recently worked on a major retrospective of Photographs ofthe Nineteenth Century, which was shown at the Dahesh (Intermuseum Conservation Association, Oberlin, Ohio, Associate and Rome." She has also developed a teacher resource packer on those Augustus Saint-Gaudens for two French venues-Musee des Museum in New York in 1996. Paintings Conservator)

PAGE EIGHTEEN GRADUATES' NEWS GRADUATES' NEWS PAGE NINETEEN COURTNEY GANz '88 MARION GoETHALS '89 BROTHER JOHN THOMAS lIALETSKY '74 completed the first ever in-depth research into the charitable motiva­ (Williams College Museum of Art, Williamstown, Associate Director) JAMES A. GANz '88 (Holy Cross Monastery, West Park, N.Y.) tions and behavior of Silicon Valley's newly wealthy entrepreneurs (results available on-line at www.cfsv.org). (Clark Art Institute, Williamstown, Curator of Prints and Drawings; AMY GoLAHNY '75 JOHANNA J. HALFORD-MACLEOD '75 Ph.D., Yale University '00, "Robert Robinson [1651-1706]: Painter (Lycoming College, Williamsport, Pa., Associate Professor of Art (The Phillips Collection, Washington, D.C., Deputy to Director) In 1991 Petet was appointed by President George Bush to a 6-year Stainer and Peintre-Graveur) History; Ph.D., Columbia University '84, "Rembrandt's Paintings and term on the National Council on the Arts. Recent recognition includes CAROLYN HALPIN-HEALY '86 For a fuller listing, see Jim's entry in "Faculty News," above. the Venetian Tradition") the Excellence in Civic Leadership Award (awarded by the Tech (Independent museum educator, New York) Museum of Innovation & Silicon Valley Chamber of Commerce), and VICTORIA C. GARDNER-see COATES, VICTORIA C. GARDNER Amy is president of the American Association for Netherlandic Studies. She received a grant from the DMD in 1999 for research in AMY K. HAMLIN '00 Lifetime Achievement in the Arts (by Arts Council Silicon Valley). In SUSAN FOSTER GARTON '91 Germany. (Institute of Fine Arts-New York University, Ph.D. student in art 2000 the San Jose Mercury News named Peter "one of the 40 most (National Portrait Gallery, Washington, D.C., Museum Specialist and history) influential leaders in Silicon Valley in the last decade." Field Surveyer, Catalogue of American Portraits) ELYSE A. GoNZALES '00 Currently he serves on the Board of Directors of the National Trust (Institute for Contemporary Art, Philadelphia, Curatorial Assistant) ANNE E. HAVINGA '83 for the Humanities and several other national foundations. His writing DEBORAH L GASTON '91 (Museum of Fine Arts, Boston, Curator of Photographs) (National Museum of Women in the Arts, Washington, D.C., ALExIs GoODIN '98 on community development has been published in the United States Assistant Curator of Education) (Brown University, Ph.D. student in art history) EDWARD A. HAWKINS '80 and in Europe. (Good Harbor Fillet Co., Gloucester, Mass., Bid specialist) WIWAM J. GAVIN '74 JENINE GORDON-see BOCKMAN, JENINE GORDON LAUREN B. HEWES '90 NORA M. HEIMANN '85 (Independent curator; recently served as the guest curator at the New­ ALANNA E. GEDGAUDAS '00 JENNIFER GORDON-see LOVETT, JENNIFER G. (Catholic University ofAmerica, Washington, D.C., Assistant York Historical Society for an exhibition of prints from the Dave and Qenny Holzer Studio, Hoosick Falls, N.Y., Studio Assistant) LIlliAN NAVE GoUDAS '97 Professor ofArt History; Ph.D., City University ofNew York '94, Reba Williams Collection) MIKKA GEE-see CONWAY, MIKKA GEE (Assumption College, Worcester, Mass., Visiting Instructor in Art '''What Honor for the Feminine Sex': A Study ofJoan ofArc and the STEVEN S. HIGH '85 Representation of Gender, Religion, and Nationalism in French LAURA D. GELFAND '89 History) (Nevada Museum of Art, Reno, Nev., Executive Director) Nineteenth-Century Painting, Prints, and Sculpture") (Myers School of Art, The University of Akron, Akron, Ohio, Lillian wrote last winter: "I just finished a year and a half at Assumption College in Worcester, MA. I have returned to ANGELA Ho '98 Assistant Professor/Coordinator of Art History; Ph.D., Case Western SHARON R. HEMENWAY '85 (University of Michigan, Ph.D. student in art history) Reserve University '94, "Fifteenth-Century Netherlandish Devotional Cooperstown, NY, and will take the spring 2001 semester off in antici­ LYDIA G. HEMPHILL '95 Portrait Diptychs: Origins and Function") pation of an April baby's arrival." And, indeed, Emma arrived on ADRIAN S. HOCH '78 (Deerfield Academy, Deerfield, Mass., teacher, Curator of Russell Laura's publications have included articles in Cleveland Studies in schedule and has already visited the Graduate Program office, much to (Ph.D., University of Pennsylvania '83, "Simone Martini's St. Martin Gallery) the History ofArt, In Detail: New Studies in Northern Renaissance Art, Karen's delight. Chapel in the Lower Basilica of San Francesco, Assisi") Lydia is teaching AP art history and photography at Deerfield, Apollo, and reviews in the Historians ofNetherlandish Art Newsletter. JULIA GRAHAM '91 where she has worked since finishing at Williams. This year she IRENA HOCHMAN '75 She has presented papers at the International Congress on Medieval (University ofToronto, Toronto, Ontario, Faculty of Law) became curator of the school's art collection, with responsibilities (Irena Hochman Fine Art, Inc., New York, President) Studies, Kalamazoo,Mich.; New York Public Library; CM annual including the running of the gallery and organizing and orchestrating meetings; International Medieval Congress, Leeds (and session organiz­ NANCY E. GREEN '84 SUSAN HOLMBERG-see CURRIE, SUSAN HOLMBERG (Cornell University, H. F. Johnson Museum of Art, Ithaca, N.Y., four exhibitions a year. er); and numerous other sites. She has received a number of faculty JOYCE ROLERSON Hu '87 development grants from the University of Akron. Assistant Director/Chief Curator) RACHEL B. HENRICH-see PETRIK, RACHEL B. H. ZHENG Hu '86 w: ANTHONY GENGARELLY '88 ADAM R. GREENHALGH '00 LAURA STEWARD HEON '98 (University at Albany, SUNY, University Art Museum, Albany, N.Y., (Massachusetts College of Liberal Arts, North Adams, Professor, Art (Clark Art Institute, Williamstown, Curatorial Assistant) (MASS MoCA, North Adams, Associate Curator) Exhibition Designer) History, Museum Studies, Arts Management; Ph.D., Boston University Laura has organized several exhibitions at MASS MoCA: Game JENNIFER A. GREENHILL '00 JENNIFER BANCROFT HUFFMAN '89 '72, "Resistance Spokesmen: Opponents of the Red Scare, 1919-1921") Show (with catalogue), summer 2001; Fluxus Games from the (Yale University, Ph.D. studen_t in art history) (Springer-Miller Systems, Stowe, Vt., Technical Writer) E. MELANIE GIFFORD '76 Silverman Collection, summer 2001; Mona Hatoum: Domestic SARAH B. GRIFFIN '94 (National Gallery ofArt, Washington, D.C., Research Conservator of Disturbance (with catalogue), spring 2001; Laylah Ali Paintings on SUSAN IMBRIANI-see JOHNSON, SUSAN I. winter 2000-2001; (with catalogue), summer Paintings; Ph.D., University of Maryland '97, "Style and Technique in CARLA GROSSE-see VASCONES, CARLA Paper, Unnatural Science PAMELA A. IVINSKI '87 the Evolution of Naturalism: North Netherlandish Landscape Painting 2000; Tim Hawkinson Oberorgan (with catalogue), summer 2000; LAURA GROVES '00 (Cassatt Catalogue Raisonne Committee, New York, Research in the Early Seventeenth Century") BILLBOARD: Art on the Road (with catalogue), summer 1999; Tony Manager) (Philadelphia Museum of Art, Curatorial Fellow, Prints, Drawings and Oursler Optics (with essay in WCMA catalogue), summer 1999; Test LAURA M. GILES '79 Photographs Department) Site, summer 1999; Earmarks, summer 1998; Ron Kuivila Visitations, PATRICIA R. IVINSKI '90 (Princeton University, Art Museum, Associate Curator of Prints and EUZABETH AVERY GUENTHER '91 summer 1999. She has given many lectures and received several grants, We understand that Tricia received a degree in education from the Drawings; Ph.D., Harvard University '86, "The Paintings and Related (University of Vermont, Burlington, Vt., Adjunct Lecturer) most recently from the Warhol Foundation for Game Show. Johns Hopkins University this spring. Drawings of Giacomo Cavedone, 1577-1660") Liz writes: "Given the length and astonishing variety of my c.v. I've PETER DECOURCY HERO '75 EILEEN CASEY JACHYM '77 LUCINDA BARNES GILLIAM-see BARNES, LUCINDA just included a copy of it! As for my dissertation.... I'm still slowly (Community Foundation Silicon Valley, San Jose, Calif, President; STEFANIE SPRAY JANDL '93 working on it, hoping to finish in May 2002, or at least before my JOSEPH R. GIUFFRE '89 M.B.A., Stanford University Graduate School of Business; Honorary (Williams College Museum of Art, Williamstown, Andrew W. Mellon toddlers graduate from high school." She had a homecoming of sorts (Rutgers University, Ph.D. student in art history) Doctor of Laws, Maine College ofArt) Curatorial Associate) this spring when she traveled to the Clark for the Julius Held lectures, Since 1989 Peter has been the President of Community Foundation ROBElIT G. GLASS '00 BAIRD E. '95 delivered by James Marrow-her Princeton dissertation advisor. Silicon Valley, with total assets of $625 million and grants of over $51 JARMAN (Princeton University, Ph.D. student in art history) (Yale University, Ph.D. student in art history) INGRID GUSTAVSON '95 million in the last year. For several years the foundation has focused its MARGARET L. GoEHRING '90 Baird is at work on a dissertation concerning Edwin Austin Abbey's (The Webb Schools, Claremont, Calif., teacher/coach) programming on neighborhood revitalization, early childhood literacy, (Ph.D., Case Western Reserve University '00, "Landscape in Franco­ and broadening cultural participation. This year the foundation will splendid Holy Grail murals in the Boston Public Library. Flemish Manuscript Illumination of the Late Fifteenth and Early JOHN HAGOOD '00 complete a $20-million Housing Trust Fund, designed to demonstrate RANoON M. JERRIS '94 Sixteenth Centuries") (The Museum of Fine Arts, Houston, Art Librarian) new approaches to the region's housing crisis. In 1999 the foundation (United States Golf Association, Far Hills, N.J., Librarian; Ph.D.,

PAGE TwENTY GRADUATES' NEWS GRADUATES' NEWS PAGE TwENTY-ONE

. , Princeton University '99, "Alpine Sanctuaries: Topography, FRANKUN w: KEllY '79 SHELLEY R. LANGDALE '89 JENNIFER G. LoVEIT '81 Architecture, and Decoration of Early Medieval Churches in the (National Gallery of Art, Washington, D.C., Curator of American and (The Cleveland Museum ofArt, Assistant Curator, Department of We understand that Jennifer is raising her family in Stamford, Vt., Bishopric of Chur") British Paintings; Ph.D., University of Delaware '85, "Frederic Edwin Prints and Drawings) and teaching art to young children. Church and the North American Landscape, 1845-1860") DAVID C. JOHNSON '97 MARy E. LARUFFA '95 BRIAN LUKACHER '78 (Williams College, Williamstown, Assistant Professor ofphysical MlNorr KERR '82 (Chadbourne & Parke LLp, New York, Associate Lawyer) (Vassar College, Poughkeepsie, N.Y., Associate Professor of Art Education/Assistant Dean of the College) (Metro Data Resource Center, Portland, Oreg., Assistant Regional KENNETH LEDoux '81 History; Ph.D., University of Delaware '87, "Joseph Michael Gandy: David continues to work on his book, The Racquet and Tennis Club. Planner: Geographical Information Systems [GIS] Specialist; Ph.D., The Poetical Representation and Mythography ofArchitecture") DE-NIN D. LEE '95 Park Avenues Silent Observer, about the clubhouse architecture of Yale University '94, "The Former Cluniac Priory Church at Paray-le­ SANDRA LUDIG-see BROOKE, SANDRA LUDIG McKim, Mead & White at the turn of the century in New York City. Monial: A Study of Its Eleventh- and Twelfth-Century Architecture (Stanford University, Ph.D. student in art history) PETER F. LYNCH '83 He is also at work on a new book on the architecture of Williams and Sculptute") TANIA SUSAN LEE '93 (Ph.D., Yale University '92, "Patriarchy and Narrative: The Borgherini College: A Sense ofWhere You Are. ... A Sense ofWhere Youve Been, in Minott writes: "I am no longer an academic or even an art histori­ (National Gallery of Art, Washington, D.C., Development Specialist) Chamber Decorations") collaboration with Whitney S. Stoddard, Amos Lawrence Professor of an. Rather, I am a Geographical Information Systems (GIS) specialist. CHRISTINE LEMOAL-see KNox, CHRISTINE Art at Williams College, Emeritus. GIS is a sort of computer-based cartography that creates data sets for BARBARA LYNN-DAVIS-see MYERS, BARBARA 1. planning and environmental analyses. I work for the Data Resource DEBORAH K. LEVETON '87 DIANA N. JOHNSON '91 SARAH CASH MACCULLOUGH-see CASH, SARAH (Minneapolis Institute ofArcs, Manager, Teacher Resources) Center of Metro-the planning agency for the Greater Portland area (Des Moines Art Center, Des Moines, Iowa, Curator) specializing in transportation problems and water-related issues, espe­ HEATHER M. MAcINTOSH '94 KYLE S. JOHNSON '96 ELIZABETH j. G. LEVINE '94 cially related to endangered fish. I did the final GIS work for the (Historic Seattle, Seattle, Preservation Advocate) (University of Michigan, Ph.D. student in art history) (The Museum of Modern Art, New York, Curatorial Assistant, Portland region's BikeThere! Map (www.esri.com/mapmuseumltrans­ The website for Historic Seattle profiles Heather's recent career: Now a "recovering academic," Kyle serves as an Associate Analyst in Department of Painting and Sculpture) portation/l03_m.html). I also finished my last art history project in ~'Heather MacIntosh was a senior architectural historian in Virginia's the Site Technology Group at Forrester Research in Cambridge, Mass. September-part of a book on the Romanesque church Notre-Dame JUDITH WEISS LEVY '77 department of historic resources. Prior to this, she provided preserva­ Publications include "The Commerce Platform Dive" and "Making at Jumieges with Jim Morganstern (a Williams grad). Also I teach (Donald 1. Bryant Collection, St. Louis, Mo., part-time curator) tion and writing services for the United States Department ofTreasury Mictosoft Sites Work." He and Jody live in Arlington, Mass. and the National Ttust for Historic Preservation, among others. She white-water kayaking." DIANA 1. LINDEN '87 LINDA JOHNSON-see DOUGHERTY, LINDA JOHNSON served as deputy director of History Ink, from 1998 until August of MARNJ R. KEsSLER '89 (Ph.D., City University of New York '97, "The New Deal Murals of 2000 when she established herself as an independent preservation and NICOLE S. JOHNSON '94 (University of Kansas, Lawrence, Assistant Professor, Art History; Ph.D., Ben Shahn: The Intersection of Jewish Identity, Social Reform, and educational programming consultant doing business as Lines of Sight. (University of Michigan, Ann Arbor, Instructor, Department of Yale University '96, "Sheer Material Presence, or the Veil in Late Government Patronage") She received her Masters in Art History from Williams College in English Language and Literature) After receiving her Ph.D., Diana taught at the University of Nineteenth-Century French Avant-Garde Painting") 1994, and a Masters in Architectural History and Certification in Michigan until this spring, when she received a teaching fellowship at SUSAN I. JOHNSON '93 NANCY KLAus, class of '74 Historic Preservation from the University of Virginia in 1997. Heather Indiana University-which, however, she declined, to keep her house­ (Moore College of Art and Design, Philadelphia, Coordinator of will give Historic Seattle the much needed outreach and networking PAMELA KACHURIN '90 hold together as her husband set out for a position in Los Angeles. Alumni Affairs/Career Services) capabilities on the local, state, and regional levels." (Harvard University, Coordinator of Outreach and Teacher Training; Stay tuned. In the meanwhile, she is making canny and fine jewelry. Ph.D., Indiana University '98, "One Step Forward, Two Steps Back: CHRISTINE KNox '80 ANN MACNARY-See SHAFER, ANN The Retreat of the Avant-Garde in the Early Soviet Era") RACHEL A. LINDHEIM '95 (DDB Worldwide, New York, Global Strategic Events Manager Pamela's recent publications include "The ROCI Road to Peace: (University of Chicago, Ph.D. student in art history) COURTNEY MACOMBER '98 [Worldwide Corporate Division]; M.B.A., University of Connecticut; Robert Rauschenberg and the End of the Cold War," Journal ofCold C.M.M. Certification '00 in Global Strategic Meeting Management, MARK T. LINDHOLM '93 MARGARET M. MAGNER '88 W

PAGE TwENTY-TwO GRADUATES' NEWS GRADUATES' NEWS PAGE TwENTY-THREE

, l Bob has finished his fourth book, Breaking Boundaries: Robert Art for the fall of2001. Also in 2001 Penn State will publish her Colleges and Universities; Norman Rockwell: Pictures fOr the American VIVIAN L. PATTERSON '80 Rauschenberg Studies, which was sent to publishers over the winter. He major study of Philadelphia's Great Sanitary Fair of 186~"Avenueof People; upcoming Painters and the American \Vest: The Anschutz (Williams College Museum of Art, Williamstown, Curator of has published many articles and contributed to various exhibitions, Dreams: Patriotism and the Spectator at Philadelphia's Great Central Collection. She has served as coordinating curator for Francis Criss: Collections) including such topics as "Frank Stella's Imaginary Places: Vortices, Sanitary Fair"-in a volume entitled Making and Remaking American Modemist, Paintings from the 1930s, opening at the Corcoran Vivian has been very busy, as the notice of activities at WCMA, Turbulence and Chaos Theory," "Micaela Amato: A Healing Garden," Pennsylvania's Civil War, edited by William A. Blair, Gary Gallaghet, Gallery of Art 4 August 2001, befote traveling to the Samuel P. Harn above, makes clear. "Robert Rauschenberg's Autobiography: Context and Meaning," "Six and William Pencak. Other recent publications include Reading Museum and the Pennsylvania Academy of the Fine Arts. Dorothy is PAMELA A. PATTON '87 Abstract Artists at the Millennium," "Gregory Gillespie: Unspeakable American Art, an anthology of essays on Ametican painting, sculpture, at work, with Sarah Cash, on two focus exhibitions: Hiram Powers's (Southern Methodist University, Dallas, Associate Professor of Art Mysteries," "Franz Kline: Sources for the Early and Mature Works in and photography, co-edited with Matianne Doezema, published by Greek Sldve (to open 2002) and Albert Bierstadt's Last ofthe Buffalo (to History; Ph.D., Boston University '94, "The Cloister of San Juan de la Coal Region Imagery." He also lectures for Art Horizons International, Yale in 1998; and "J. Alden Weir and His Connecticut Neighbors" for open 2003). Pena and Monumental Sculpture in Aragon and Navarre") taking museum trustee groups around the world. the catalogue A Connecticut Pldce: \Veir Farm, an American Painter's In the spring of 200 1 Pamela shifted &om a joint appointment in art Rural Retreat, to accompany an exhibition organized for the Weir Farm DOROTHY BELKNAP MUNSON '93 MARGARET KAUFMAN McCALLUM '79 histoty and the Meadows Museum at SMU to full-time teaching in art National Historic Site by the National Park Service last summer. ANN MURPHY-see BURROUGHS, ANN MuRPHY history. Her publications in 2000 included co-authorship of The JUDITH MCCANDLESs-see WILLIAMS, JUDITH MCCANDLESS KiMBERLY L. MIMS '00 ANN MUSSER-ERCAN '97 Meadows Museum. A Handbook ofSpanish Painting and Sculpture and LAURIE McGAVJN-see BACHMANN, LAURIE MCGAVJN (Busch-Reisinger Museum, Harvard University, curatorial intern) (Williams College Museum of Art, Williamstown, Director of catalogue entries for La Coleccion Meadows, an exhibition held at the Education) Thyssen-Bornemisza Collection, Madrid, and the National Museum of THOMAS H. MCGRATH '87 Kimberly writes that she is putting together an installation of works Catalan Art, Barcelona (May-December 2000). In May she added an (Harvard University, Associate in History of Art and Architecture; from the permanent collection in the Busch-Reisinger "post-wat" BARBARA L. MYERS '90 update: "Just wanted to share the official word that I have received Ph.D., Harvard University '94, "Disegno, Colore and the Disegno gallery (scheduled to open 18 August), choosing eight paintings and (Ph.D., Princeton University '98, "Landscapes of the Imagination in tenure and promotion at SMU.... Now we have two more weeks Colorito: The Use and Significance of Color in Italian Renaissance objects from the 1960s and early 1970s on the theme of communica­ Renaissance Venice," submitted as Barbara Lynn-Davis) (more or less) until baby #2 arrives. It has been an EVENTFUL year." Drawings") tion-three by Beuys-and calling the whole "Integration and Isolation." As soon as that is done, she begins working on the reinstal­ YUMI NAKAYAMA-See FARWELL, YUMI N. We can report that Evan Patton White joined his sister, Emily, and the CAROLE CUNNINGHAM McNAMARA '78 rest of the family on 20 June 2001. lation of the Bauhaus works. Her teconsideration of Moholy-Nagy's REBECCA E. NANOVIC '89 (University of Michigan Museum ofArt, Ann Arbor, Assistant Lichtrequisit has led her to propose "a more appropriate way of display­ DAVID A. PENNEY '90 LILLIAN NAVE-see GOUDAS, LILLIAN NAVE Director for Collections and Exhibitions) ing it." (The Baltimore Museum of Art, Coordinator of Exhibitions) THOMAS J. MCVARlSH '84 MARy CHENEY NELSON '75 MARGUERITE H. MODAN '88 SUSAN DODGE PETERS '77 (Tufts University, Technology Transfer Office, Medford, Mass., (Image Homes COtporation, Evergreen, Colo., Vice President) REBECCA MOLHOLT '96 (University of Rochester, Memorial Art Gallery, Rochester, N.Y., Associate Director of Operations) H. RODNEY NEVITT '84 (Columbia University, Ph.D. student in art history) Director of Education) (University of Houston, Department of Art, Assistant Professor; LISA MELANDRI '97 Rebecca delivered a lecture entitled "Revisiting the Antioch TIM PETERSON '92 Ph.D., Harvard University '92, "Studies in Dutch Art and the (Santa Monica Museum of Art, Santa Monica, Calif., Director of Personifications: Figures of Speech," at the AIEMA conference in (Franklin Art Works, Minneapolis, Director) Literature of Courtship, 1600-1650") Exhibitions and Programs) November 2000 and will give a talk in Rome at AIEMA 2001. She Tim is the founding director of Franklin Art Works, a new non­ NORA L NIRK '89 DENISE KRiEGER MIGDAIL '87 assisted Christine Kondoleon, then curator at the Worcester Art profit visual arts organization in Minneapolis. He oversaw the organi­ (Independent textile conservator, San Francisco) Museum, with the reinstallation of their ancient collection and the DIANA NUNLEY-see JOHNSON, DIANA N. zation's development, including the acquisition and renovation of a exhibit Antioch: The Lost Roman City. She is now at work on the exhi­ new 10,000-sq.-ft. facility. He organizes five exhibitions annually­ CHRISTINE I. OAKLANDER '90 PETER B. MILLER '98 bition 1mages ofMasculinity in Late Antiquity for Reed College, sched­ focusing on one-person shows of established local artists. In 2002 he (Ph.D., Univetsity of Delaware '99, "Clara Davidge and Henry Fitch (Institute of Fine Arts-New York University, Ph.D. student in art uled for the fall of 2002. She maintains an ongoing position as lecturer will begin presenting exhibitions of national artists as well. He is cur­ Taylot: Pioneering Promoters and Creators of American Modernist Art") history) at the American Scandinavia House, New York. rently overseeing the historic preservation of the FAW building's Christine's exhibition and catalogue, John Wolcott Adams: American Peter's dissertation-in-progress explores the relationship between fas:ade--the remains of the oldest standing movie theater in the state, DANIEL A. MONTOYA '94 Life and History, was at the Brandywine River Museum in 1998. Her Theodore Chasseriau (1819-1856) and French colonialism in Algeria. built in 1916. He received a Theodore Rousseau Fellowship from the Metropolitan (Studio Montoya, New York) book, based on her dissertation (and involving, in part, the Clark fam­ ily) is making the rounds to various publishers. RACHEL PETRIK '93 Museum of Art to pursue research in France for the academic year DOROTHY Moss '99 B. H. 2000-2001. (The Corcoran Gallery ofArt, Washington, D.C., Assistant Curator of PEGGY O'BRIEN-see EYSENBACH, PEGGY (Orange Glen High School, Escondido, Calif., Educator) American Art) SALLY MILLS '81 JUNGHA OH '97 ROBERTJ.PHELAN'84 (Princeton University, Ph.D. student in art history) Dorothy has been very busy. Her publications include "John Singer (Independent art book editor; Diisseldorf, Germany) (Attorney and Counselor at Law, University of Massachusetts at Sargent, 'Madame X,' and 'Baby Millbank,''' in this May's Burlington Amherst, Legal Studies Program) ELIZABETH L. C. MILROY '79 Magazine-growing from het Graduate Symposium presentation; AMY OLIVER-see BEAUPRE, AMy OLIVER JEANNE B. PLEKON '76 (Wesleyan University, Middletown, Conn., Associate Professor of Art "Spotlight on the Collection: The Work of Charles Bird King in the TONYA OvA ORME '93 (Reader's Digest, Pleasantville, N.Y., Analyst Programmer) History; Ph.D., University of Pennsylvania '86, "Thomas Eakins' Collection of the Corcoran Gallery of Art," The Corcoran Gallery of (Northeastern University, Boston, Lecturer in Economics) Artistic Training, 1860-1870") Art, 1869 Newsletter, no. 6 (summer 2000); and ".001 pictures: Gary CHRISTINE B. PODMANICZKY '80 WENDY OWENs '79 Lily is currently writing a study of public space in Philadelphia dur­ Hill's Wall Piece," The 46th Biennial Exhibition: Media/Metaphor, mid­ (Brandywine River Museum, <;::hadds Ford, Pa., Associate Curator for (Canadian Centre for Architecture, Montreal, Quebec, Assistant ing the 19th century tentatively entitled Fairmount's Views: Public January 2001 (www.corcoran.org/biennial). Her lectures at the Wyeth Collections) Director) Space and Public Culture in Philddelphia, 1854-1885-focusing in par­ Corcoran include "Introduction to Norman Rockwell: Pictures for the MIRIAM L. POMERANZ '96 ticular on the development of the Fairmount Park system. A prelimi­ LoRRAINE A. PADDEN '95 American People," July-August 2000; "Late Nineteenth-Century We understand that Mimi and het husband, Alan, live in Denver nary version of the first chapter, "Assembling Fairmount Park," appears (San Francisco Ballet, Audience Development Manager) American Realism to Early Twentieth-Century Ametican Realism in and have just had a baby girl, Sophie. in Philadelphia's Landscapes: The Sartain Family Legacy just published the Collection of the Corcotan Gallery of Art," September 2000; and RUTH PASQUINE '81 MELANIE PONG '93 by Temple University Press. A version of a second chapter, entitled "Art '''Flashing Daylight': John Singer Satgent's Oyster Gatherers at Cancale (Pulaski Technical College, Little Rock, Ark., Adjunct faculty; Ph.D., and Science in Nature: Thomas Eakins's Images of Philadelphia's in the Context of His Careet," January 2001. She has assisted Sarah City Univetsity of New York '00, "The Politics of Redemption: KATHRYN POTTS '89 Fairmount Park," will be published in the catalogue for the major Cash ('86), Bechhoefet Curator of American Art, with exhibitions that Dynamic Symmetry, Theosophy and Swedenborgianism in the Art of (Whitney Museum of American Art, New York, Head of Exhibition Eakins retrospective being organized by the Philadelphia Museum of include To Conserve a Legacy: American Artfrom Historically Bldck Emil Bisttram [1895-1976]") Interpretation)

PAGE TwENIY-FOUR GRADUATES' NEWS GRADUATES' NEWS PAGE TwENIY-FIVE "1\ ./ Kathryn writes: "After the birth of my twin boys, I returned to the ADRlENNE RUGER-see CONZELMAN, ADRlENNE RUGER GREGORY AuGIRE SMITH '74 "This past Fall I spent two weeks in Venice as a member of the Whitney Museum on a part-time basis. In my new position as Head of (Art Academy of Cincinnati, Director, President) Iowa-Veneto Committee, a Sister States organization, to research possi­ KATHERINE S. RUML '97 Exhibition Interpretation, I've worked on several exciting ptojects, After Williams, Gregory attended Harvard University, receiving a ble collaborations with Venice museums and art schools. including a new audio guide for the Museum's permanent collection LYNN RUTKIN '74 certificate from the Institute in Arts Administration (1974). He has "Currently I am curating an exhibition of contemporary New York since worked in various administrative positions at the Akron Art sculpture that will include the first indoor-outdoor installation by featuring commentaries and original interviews with artists, museum CATHERINE B. SCALLEN '81 Museum, the Toledo Museum ofArt, and the Telfair Museum of Art. Sandy Skoglund and the first cast aluminum work by sculptor Erik curators, and scholars. (Check it out when you are at the Whitney­ (Case Western Reserve University, Cleveland, Assistant Professor; He has organized such exhibitions as Masterpieces ftom the Couruuld Levine. it's free with admission.) My next projects will focus on the Museum's Ph.D., Princeton University '90, "Rembrandt and St. Jerome") Mies van der Rohe and Biennial exhibitions." Collection (1987) and Malcolm Crear: The Art ofDesign (1996). His "Finally, in Fall 2001, my article, 'Winslow Homer in the 1880s: CLAIRE SCHNEIDER '97 primary research interest lies in the American Arts & Crafts Cullercoats Reconsidered,' will appear in American Art, a journal of the SARAH POWERS '97 (Albright-Knox Art Gallery, Buffalo, N.Y., Associate Curator) Movement. National Museum of American Art, Smithsonian Institution. (This (Philadelphia Museum of Art, Exhibition Research Assistant, would have been chapter 2 of my Princeton dissertation had I finished ROBIN S. SCHULDENFREI '00 MEGAN (MARGARET) SMITH '85 Twentieth Century Art) it. Maybe one day...) (Harvard University, Graduate School of Design; Ph.D. student in PAUL R. PROVOST '89 NANCY SOJKA '82 "Most satisfying to me was my trip to Venice, which last I visited architectural history) (Christie's, Inc., New York, Senior Vice President, Director, American (The Detroit Institute of Arts, Associate Curator, Department of with my class at the Clark 10 years ago. At that time, Sam Edgerton told Paintings & Sculpture; Ph.D., Princeton Universiry '94, "Winslow CHRISTINE SCORNAVACCA '93 Graphic Arts) me (while on a vaporetto to the island of San Giorgio at sunset) that he Homer's Drawings in 'Black-and-White,' ca. 1875-1885") (The Metropolitan Museum ofArt, New York, Senior Development JON E. SORENSON, class of '88 had never seen Venice so beautiful. I'm happy to say it hasn't changed, Officer) perhaps because I can still see it through his and Dottie's eyes." JOHN PuLTZ '81 Oon E. Sorenson Fine Art Consulting, San Francisco, Principal; (Universiry of Kansas, Spencer Art Museum, Lawrence, Assistant ANN SHAFER '90 GUILD.COM, Trade Sales Consultant-Northern California Region) KATHERlNE SUTHERLAND-see RUML, KATHERlNE S. Professor/Curator of Photography; Ph.D., Institute of Fine Arts-New (The Baltimore Museum of Art, Liaison for the Board ofTrustees) NANCY SPECTOR '84 LEAH G. SWEET '00 York University '93, "Harry Callahan and American Photography, AMy SHAMMAsH-see DANE, AMy SHAMMASH (Solomon R. Guggenheim Museum, New York, Curator of (Institute of Fine Arts, New York University; Ph.D. student in art 1938-1990") Contemporary Art) history) ANNE REED SHANNON '82 CYNTHIA QUAY-See TASHIJAN, CYNTHIA QUAY MARY SPIVY-see DANGREMOND, MARy SPIVY CYNTHIA QUAY TASHIJAN '75 MICHAEL SHAPIRO '76 XIA QUI '87 (Skinner, Inc., Bolton, Mass., Public Relations Associate) (The High Museum, Atlanta, Ga., Director; Ph.D., Harvard University STEFANIE SPRAY-See JANDL, STEFANIE SPRAY ANNE REED-see SHANNON, ANNE REED '80, "The Development ofAmerican Bronze Foundries, 1850-1900") JOHN W. STAMPER '77 ISABEL TAUBE '97 (University of Notre Dame, School of Architecture, South Bend, Ind., (University of Pennsylvania, Ph.D. student in art history, at work on a TIFFANY REED '98 MEAGAN HAYFS SHEIN '93 Associate Professor/Director of Rome Studies Program; Ph.D., dissertation entitled "Continuity of Culture: Landscape and Women in Tiffany and· Joshua Silverman are now married. (Artist, New York) Northwestern University '85, "The Architecture, Urbanism, and American Art, 1870-1920") SHERYL E. REISS '79 CHARLFS A. SHEPARD III '84 Economics of Chicago's North Michigan Avenue, 1830-1930") BETHANY TAYLOR '96 (Cornell University, Department of the History of Art, Ithaca, N.Y., (Lyman Allyn Art Museum, New London, Conn., Executive Director) MARK STANSBURy-O'DONNELL' 86 (Independent consultant, Washington, D.C.) Senior Lecturer/Research Associate; Ph.D., Princeton University '92, LUCIANA SHIRADO '97 (University of St. Thomas, St. Paul, Minn., Associate Professor and After three "fabulous" years at the Isabella Stewart Gardner Museum "Cardinal Giulio de' Medici as a Patton ofArt, 1513-1523") Director of Graduate Studies; Ph.D., Yale University '90, "The Shape and a stint in Brazil, Bethany is settling into life in Washington, D.C. JOSHUA SILVERMAN '98 LINDA A. REYNOLDS '93 of the Church: The Relationship of Architecture, Art, and Liturgy at Joshua and Tiffany Reed are now married. JANET TEMOS '92 (Williams College, Williamstown, Art Slide Librarian) the Cathedral ofTrier") (Princeton University, Ph.D. student in art history) ROBIN REYNOLDS-see STARR, ROBIN S. R. FRONIA W. SIMPSON '77 Mark has recently published Pictorial Narrative in Ancient Greek Art (Independent art book editor; Bennington, Vt.; Ph.D., Yale University with Cambridge University Press in 1999. He will be giving a paper in JEFFREY E. THOMPSON '75 JACQUELINE VAN RHYN-see VAN RHYN, JACQUELINE '89, "Corot's Salon Paintings: Sources from French Classicism to Geometric narrative at the Swedish Institute in Athens in December (Smithsonian Institution Traveling Exhibition Services [SITES], JOYCE ROLERSON-see Hu, JOYCE ROLERSON Contemporary Theater Design") 2001. Washington, D.C.) Fronia edits art books, mostly exhibition and collection catalogues JAMFS E. RONDEAU '94 ROBIN S. R. STARR '87 ELIZABETH TRlPLETT-see BLAKELOCK, ELIZABETH TRlPLETT for museums large and small across the country. On the art-historical (The Art Institute of Chicago, Associate Curator of Contemporary (Skinner, Inc., Bolton, Mass., American and European Painting front, she is investigating the motif of knitting in European and PRlSCILLA VAIL-see CALDWELL, PRlSCILLA VAlL Art) Department Assistant) American painting. Her recent publications (under the name of Fronia KRISTINA VAN DYKE '99 JILL B. STEINBERG '85 ANN ROSENTHAL' 81 E. Wissman) include European Viftas: Cultural Landscapes (The Detroit (Harvard University, Ph.D. student in art history) (Multi Arts Projects & Productions, New York, Executive Director) Institute ofArts, 2000); entries and biographies in Monet, Renoir, and OavaWorld Magazine, Seattle, Senior Editor) JACQUELINE VAN RHYN '97 the Impressionift Landscape: Paintings jom the Museum ofFine Arts, MIRlAM L. STEINBERG-See POMERANZ, MIRlAM L. MARyT. Ross '88 (The Print Center, Philadelphia, Curator of Prints and Photographs) Boston (2000); Bouguereau (Pomegranate Press, 1996); and "Arbres (Van Nostrand Reinhold, San Francisco, Editorial Assistant) CATHERINE R. STEWARD '00 (Tufts University, European Center, KARA VANDER WEG '98 tortures, ailes de fees: Les sources des peintures de Salon de Corot," Medford, Mass., Assistant Director) KAlY ROTHKOPF '91 Corot, un artiste et son temps (K1incksieck and Musee du Louvre, 1998). (Solomon R. Guggenheim Museum, New York, Curatorial Assistant) (The Baltimore Museum of Art, Curator of Painting and Sculpture) LAURA STEWARD-see HEON, LAURA STEWARD After working for seven years as a curator at the Phillips Collection GRETCHEN R. SINNETT '96 CARLA VASCONFS '91 DAN STRONG '91 (Faulconer Gallery at Grinnell College, Grinnell, in Washington, D.C., Katy is now the curator of painting and sculp­ (University of Pennsylvania, Philadelphia, Ph.D. student in art history, PHILIP G. VERRE '76 Iowa, Associate Director) ture at the BMA. She spent the spring working on a major reinstalla­ at work on a dissertation entitled "Envisioning Female Adolescence: (The High Museum, Atlanta, Ga., Chief Curator) Dan writes: "I have been the Associate Director of the Faulconer tion of the Cone Collection, which opened in April. Rites of Passage in Late Nineteenth-Century Painting and Photography") Gretchen lives in Melrose, Mass. Gallery since its opening in the summer of 1999. Since then I have OLIVIA C. VITALE '00 GREGORY M. G. RUBINSTEIN '85 served as curator for two exhibitions from Smith College: American (University of Michigan, Ph.D. student in art history) (Sotheby's, Inc., London, Great Britain, Director, Old Master ANN SLIMMON-see WOOLSEY, ANNS. Spectrum and Corot to Picasso. The latter was the recipient of a Tourism JENNIFER WADE '79 Drawings) MEGAN SMETZER '98 and the Arts Award from the state ofIowa, for drawing 25,000 visitors MAUREEN WALSH '81 SHARON RUDOLPH-see HEMENWAY, SHARON R. (University of British Columbia, Vancouver, Ph.D. student in art history) to a town with a population of only 9,000.

GRADUATES' NEWS PAGE TwENTY-SIX GRADUATES' NEWS PAGE TwENTY-SEVEN

'.j \ \ SUSAN V. WEBSTER '86 ROBERTWOLTERSTORFF '85 (University ofSr. Thomas, Sr. Paul, Minn., Professor; Ph.D., (Vicroria Mansion, Poreland, Maine, Director) University ofTexas at Austin '92, "The Processional Sculprure of ELLEN WOOD '83 Penitential Confraterniries in Early Modern Seville") ANN S. WOOLSEY '86 BETII CARVER WEFS '77 (Rhode Island School of Design, Museum of Art, Providence, Adjunct (The Metropolitan Museum of Art, New York, Associate Curaror of Curacor of Painring and Sculprure) American Decorative Am) Beth began a new job at the Merropolitan Museum ofArt in April CHARLFS E. WYLIE '86 2000. She is working on a catalogue of the institution's collection of (Dallas Museum ofArt, Lupe Murchison Curator of Conremporary An) American silver. She and Dustin are living in Manharean-he's work­ XIA QUI-see QUI, XIA ing in the Slide Room at Columbia University. CHRISTINA R. YANG '89 JAMrnSL. WEISS '83 MOLLY DONOVAN YOUNG '93 JUDITH WEISS-see LEVY, juDITH WEISS (National Gallery ofArt, Washington, D.C., Assistanr Curaror, LFSLEY H. WELLMAN '90 Modern and Conremporary Art) (Dartmouth College, Hood Museum of Art, Hanover, N.H., Curator Molly is at work on an upcoming exhibition scheduled for January of Education) 2002: Christo andJeanne-Claude in the Vogel Collection, National Gallery of Art. AsHLEY WFST '97 (University of Pennsylvania, Ph.D. srudenr in an hiscory, at work on a ZHENG Hu-see Hu, ZHENG

dissenation enrieled "The Art of Hans Burgkmair the Elder: Defining ELLEN ZIFSELMAN '89 and Transmireing Knowledge") (Museum of Fine Arts/Museum of New Mexico, Sanra Fe, Curaror of Ashley has received a Fulbright for study in Germany; she will be Education) based in Munich, with frequenr trips co Augsburg for archival research. Ellen is a conrributing author co Taos Artists and Their Patrons JOHN WETENHALL '82 1898-1950, published by the Snite Museum of Art in May 1999, as (Ringling Museum of Art, Sarasota, Fla., Execurive Direccor; Ph.D., well as the author of The Hand Carved Marionettes ofGustave Stanford University '88, "The Ascendancy of Modern Public Sculprure Baumann Share Their World published by the Museum of Fine Arts, in America") Museum of New Mexico, in December 1999.

TODD DONINGTON WEYMAN '93 KATIfY ZIMMERER-McKELVIE '76 (Swann Art Galleries, New York, Direcror, Prinrs and Drawings; plus (California State University Dominquez Hills, University Art Gallery, appearances on the Antiques Roadshow) Carson, Direccor)

JUDITII McCANDLFSS WILLIAMS '76 OBITUARIES

JESSICA WINSTON '90 SCOTT OPLER '87 (Ph.D., Columbia University '97, "The Face of the Virgin: Problems Score Opler died of complications from AIDS on 7July 1993. After in the Hiscory of Represenration and Devorion") graduating from Williams, Score had begun doctoral studies at Harvard, in 1990 and 1991 undenaking research in Rome on a disser­ CYNTHIA WINTER '74 tation exploring the architecrural and urban-developmenr projects of FRONIA E. WISSMAN-see SIMPSON, FRONlA W. Pope Pius IV.

INFORMATION-FOR You AND THE PROGRAM: A LIST-SERV AND A PLEA Thanks to the generosity of Williams College, we have established a List-serv for the students and graduates of the Program. The List-serv will be closed subscription, accessible only to members; we will manage the membership and the postings from our office. If you want to subscribe, send us your full e­ mail address and the name by which you wish to be known (i.e.,[email protected];JoeJones). We will enroll you and send you a set of user instructions. This promises to be a great way to keep in touch with friends and colleagues. We hope that you have found this newsletter to be worthwhile. We look forward to undertaking an even more informative one next year. But we cannot do it without your help. Please drop us a note concerning the major events in your professional life (and personal, too). It would be great if you could put us in touch with someone whose record here seems bare. Send news to: Marc Simpson, Associate Director/Williams College Graduate Program in the History of Art/Box 8/Williamstown, MA 01267/413­ 458-2303 x531. Or e-mail [email protected]. Don't forget to check out the Program's web site http://www.williams.edu/gradart/. Many thanks.

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