Ifa Annual 2014.Pdf

Institute of Fine Arts • Annual 2013 - 2014 The Institute is dedicated to graduate teaching and advanced research in the history of art, archaeology, and the conservation and technology of works of art. Table of Contents

Art History and Archaeology The James B. Duke House 1 East 78th Street, New York, NY 10075 Tel: (212) 992 5800 Fax: (212) 992 5807 [email protected]

The Conservation Center The Stephen Chan House 14 East 78th Street, New York, NY 10075 Tel: (212) 992 5847 Inside cover: Conservation student Rebecca Gridley Fax: (212) 992 5851 in Technology and Structure of Works of Art I: Organic Materials [email protected]

ifa.nyu.edu Welcome from the Director

Welcome to the 2013-2014 edition of the Robert Maxwell to our faculty as Associate Institute of Fine Arts Annual. The Annual gives Professor in Western Medieval Art and a new us the opportunity both to review the past Associate faculty member in East Asian Art. academic year and, with the course listings, We will also welcome Stephen Lash as the to preview the coming year. As you look back new chair of the Institute’s Board of Trustees, over the activities of the past year you will be with unbounded gratitude to Judy Steinhardt struck by the many ways that the Institute is for her magnificent leadership of the Board looking forward. The section dedicated to over the past ten years. Contemporary Art at the Institute, for example, Having launched our efforts in the University’s demonstrates our enthusiastic engagement Momentum Campaign with $15 million in with the art of today and the ways that it is commitments towards our $50 million goal going to be interpreted, viewed, and conserved for student support by 2017, we look forward in the future. The inaugural Great Hall Exhibitions to keeping up this momentum in order to secure brought works by Lynda Benglis and Rachel 2 the future for our students. Fundraising is critical

Institute of Institute Harrison into the heart of the Institute and in to our ability to look forward with confidence dialogue with our historic setting. The rotating and with creativity. We are grateful to all of library case installations, organized by alumna our supporters for sharing our conviction of

Fine Arts Annual 2013 - 2014 Annual Arts Fine Lisa Banner, ask artists to respond to our the Institute’s leading role. In the pages that environment and activities in a concentrated follow and on our website you will be able to frame. These exhibitions compliment the Artists find abundant evidence of the talent, energy, at the Institute series and are integral to the enterprise, and accomplishments of the entire teaching, research, and career opportunities Institute community and of the ways that we of our students, who are active throughout can continue to look forward with excitement the contemporary art world. to the future. To take another area: our Digital Media Services department is a protagonist in developing tools for data visualization and is constantly alert for ways to enhance the use of our vast image collections. Recognizing the possibilities as well as the challenges of new technologies for our Patricia Rubin work, Jonathan Hay has taken the lead in Judy and Michael Steinhardt Director arranging consultations with the University’s Institute of Fine Arts Global Technology team and organized our first Digital Tools Workshop, which was a forum to present and to discuss digitally-based student research projects and to promote new forms of formulating and answering compelling historical and material questions. We work daily to increase the effectiveness of our communications through social media and a strong web presence. Our public events are regularly live cast on the internet and many are archived on the website. They attract viewers from around the world and allow us to position ourselves as an institute without walls. Looking forward to the coming year, we should at last see the renovation of the ground floor and basement of 3 East 78th Street to create the Sheldon H. Solow Study Center (with an anticipated opening in fall 2015). We shall be welcoming Professor Message from the Chairman

This past year has been one of tremendous It was a pleasure to welcome three new Trustees growth and new initiatives. The Institute of to the Institute’s Board this year: Lauren Berkley Fine Arts has had its most successful fundraising Saunders, Larry Gagosian, and Roberta Huber. year ever, raising just over $13 million. Also, This is my last year serving as Chairman of the this fall we publically launched a $50 million Board, as I will pass the baton to Stephen campaign for student support in conjunction Lash in the fall of 2014. It has been an honor with NYU’s $1 billion Momentum Campaign. to serve the Institute in this capacity, and I While there is still a great deal to accomplish look forward to working with Stephen and my in order to secure the IFA’s financial future, I fellow trustees in the years ahead to ensure would like to take this opportunity to express that the IFA remains the vibrant institution that my heartfelt gratitude to our steadfast friends it is today. who have made this great leap forward possible. Thank you for your interest in the Institute Our Connoisseurs Circle continues to flourish. of Fine Arts. We look forward to seeing you With over fifty engaged members whose gifts often at the James B. Duke House in the 3 directly support several Ph.D. fellowships each upcoming year. of Institute year, the Connoisseurs Circle provides access to a broad range of art history, archaeology, and conservation courses as well as exclusive 2013 - 2014 Annual Arts Fine art world events (see page 66). Judy Steinhardt Through the support of our donors, the Institute Chairman offers a wide range of public programs, many of which are recorded and archived. In the past year alone, our online lectures, symposia, and conferences received over 10,000 views from more than forty countries.

Board of Trustees Judy Steinhardt, Chairman Anne Poulet Sheldon H. Solow, Chairman Emeritus Lauren Berkley Saunders Suzanne Deal Booth Deanie Stein Deborah Loeb Brice Maurice Tempelsman Estrellita Brodsky Marica Vilcek Anne Ehrenkranz Ex-Officiis Gail Engelberg Bonnie Brier Mark Fisch Martin Dorph Larry Gagosian David W. McLaughlin Roberta Huber Philippe de Montebello Stephen Lash Patricia Rubin James R. McCredie John Sexton Alexandra Munroe Luke Syson

ifa.nyu.edu IFA Staff

Director’s Office Conservation Center Library (212) 992 5806 (212) 992 5888 (212) 992 5825 Patricia Rubin Hannelore Roemich Amy Lucker Judy and Michael Chair of the Conservation Head Librarian Steinhardt Director Center Daniel Biddle Jonathan Hay Canelle Boughton Conservation Center Assistant to the Chairman Deputy Director for Faculty Library Supervisor and Administration for Administration and Development Shirin Khaki Alexander Nagel Library Assistant Deputy Director for Academic Catherine Lukaszewski Affairs, Director of Graduate Manager, Laboratories and Kimberly Hannah Studies Study Collection Library Assistant 4

Institute of Institute Brenda Phifer Shrobe Kevin Martin Michael Hughes Assistant to the Director for Academic Advisor Reference and Public Administration and Human Services Librarian Building Office

Fine Arts Annual 2013 - 2014 Annual Arts Fine Resources (212) 992 5811 Gary Speziale Development and Public Gerard J. Savoy Library Assistant Affairs Office Senior Facilities Manager, Public Safety (212) 992 5812 FCM Operations (212) 992 5808 Hope O’Reilly Wilfred Manzo Director of Development Facilities Supervisor James Cook and Public Affairs Public Safety Officer Robert Doucette Andrea Yglesias Building Operator Egerton Kelly Development and Public Safety Officer Alumni Affairs Officer Ivan Singh Building Operator Christina Tripi Digital Media Services Development Officer, Computer Services and Image Archive Corporate Relations and (212) 992 5884 (212) 992 5810 Special Events Joe Rosario Jenni Rodda Joseph Moffett Computer Services Manager Manager Development Assistant George L. Cintron Nita Lee Roberts Academic Office Computer and Network Photographer Support Technician (212) 992 5868 Fatima Tanglao Sarah Johnson Finance Office Administrative Aide Administrator for (212) 992 5895 Jason Varone Academic Programs Jennifer Chung Webmaster Betty Tsang Director of Budget Academic Advisor and Planning Hope Spence Lisa McGhie Academic Assistant Financial Analyst Jean-Louis Cohen giving a tour of his exhibition at MoMA, Le Corbusier: An Atlas of Modern Landscapes Brief History

Art history became a dedicated field of study at New York University in 1922, when the young scholar-architect Fiske Kimball was appointed the Morse Professor of the Literature of Arts and Design. He laid the foundation for much of what still distinguishes the Institute of Fine Arts: its core faculty of the highest quality, special relationships with New York’s museums, liberal use of the expertise of visiting faculty, and twin commitments to graduate education and advanced research. IFA Library In 1932, NYU’s graduate program in art history art historians such as Erwin Panofsky, Walter moved to the Upper East Side in order to teach 6 Friedlaender, Karl Lehmann, Julius Held, and Institute of Institute in the collections of The Metropolitan Museum Richard Krautheimer set the Institute on its of Art. Under the energetic leadership of its course of rigorous, creative, and pluralistic chairman, Walter W. S. Cook, the program scholarship and strong worldwide connections. Fine Arts Annual 2013 - 2014 Annual Arts Fine became one of the world’s most distinguished The National Endowment for the Humanities centers for art historical research and education, has commended the Institute as a national and was renamed the Institute of Fine Arts in asset for its leadership role in art historical 1937. The Institute was strengthened greatly scholarship and training. The Endowment by refugee professors from the German and is one of numerous institutional and private Austrian institutions that had given birth to the benefactors that continue to support the modern discipline of art history. Foundational Institute’s work.

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

1932 1937 1958 A Graduate The name is changed to Curatorial Studies Department in Institute of Fine Arts. program established. Fine Arts is founded separate from Washington Square and moves Directors of the Institute of Fine Arts uptown to Munn 1931 Walter W. S. Cook House, opposite the Plaza Hotel. 1951 Craig Hugh Smyth 1973 Jonathan Brown 1979 A. Richard Turner 1983 James R. McCredie 2002 Mariët Westermann 2008 Michele D. Marincola, Interim Director 2009 Patricia Rubin “three-legged stool” by which the conservator is supported in equal measure by art historical study, scientific training, and practical experience—an interdisciplinary approach that still forms the core of the program. Initially located in the former kitchen of the Duke House, the Conservation Center has been housed in the Stephen Chan House across the street since 1983. Almost from its inception, the Institute has Jacqueline Onassis visits the Conservation Center, 1962 conducted significant archaeological projects In 1958, Nanaline Duke and her daughter staffed by its faculty and students. Excavations 7 Doris Duke presented the Institute with the are currently thriving at Aphrodisias, Turkey Institute of Institute James B. Duke House at 1 East 78th Street. (conducted jointly with NYU’s Faculty of Arts By the end of the year, Robert Venturi had and Science); at the Sanctuary of the Great completed the remodeling of the house for

Gods in Samothrace; at Abydos, Egypt; and 2013 - 2014 Annual Arts Fine the Institute’s use. Two years later, the Institute at Selinunte, Sicily. In the course of its history, became the first graduate program in the United States to offer an advanced degree in the Institute of Fine Arts has conferred over conservation. There was the conviction that 2,400 advanced degrees and trained a high a new kind of conservator would be trained number of the world’s most distinguished art at the Center, an alternative to the artist- history professors, curators, museum adminis- technician. The curriculum was designed as a trators, and conservators.

The Stephen Chan House Institute of Fine Institute of Fine Arts opens as the Conservation Arts celebrates its marks the James B. Duke Center’s new home. 75th anniversary. House centennial. 1983 2007-08 2012

1960 2004 2010 Conservation Faculty expansion The Conservation Center celebrates Center founded. initiative begins its 50th anniversary. with NYU funding. The IFA welcomes its first entering class of the new MA program.

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

ifa.nyu.edu Who We Are 9 Institute of Fine Arts Annual 2013 - 2014

ifa.nyu.edu ofessor in the History ofessor in ofessor of Fine Arts lood F ohen ofessor of Fine Arts opcke C ow K r . ubar C ehman Pr H L L isler ouis E L illiam R. Kenan Jr. Professor of the Professor illiam R. Kenan Jr. ünter olin valon Foundation Professor in the Humanities; valon Foundation Professor obert inbarr Barry Director of Masters Studies, Fall 2012 – of Masters Studies, Fall 2012 – Director Spring 2014 Art and the second millennium BCE; Medi- art and Greek terranean integration: Crete; statehood, to Greek infiltration from progress origin second to first millennium BCE; political of Classical art and role Early Netherlandish, French and German art; Early Netherlandish, French art; graphic arts; history of Quattrocento collecting; Jewish art issues Humanities, Institute of Fine Arts and College of Arts and Science of the Islamic world; Art and architecture dimensions of Islamic material cross-cultural and practices of image- theories culture; art making; technologies of representation; and methodology, historical historiography, theory; Orientalism A R Associate Pr art (France and European Twentieth-century and America; Spain); art since 1945 in Europe critical theory Rosalie Solow Professor of Modern Art; Rosalie Solow Professor for the Arts Associate Provost art; Seventeenth- and eighteenth-century art; nineteenth- and twentieth-century contemporary art F G Jean- of Architecture architecture and twentieth-century Nineteenth- Russia France, Italy, and urbanism in Germany, contemporary issues in and North America; town planning and landscape architecture, design Thomas C Robert W Sheldon H. Solow Pr Sheldon H. ofessor ofessor of rt A ector; istory of H agel elch oemich ay R N ector for Academic Affairs; Director Director Affairs; ector for Academic ector for Faculty and Administra- ector for Faculty and W H ubin e chaeology R r A

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Previous page: Dianne Dwyer Modestini leads a discussion page: Dianne Dwyer Modestini leads a discussion Previous fall 2013 Open House during the Conservation Center’s and European courts, seventeenth century European 1500-1800; history of collecting; art at and Greece) Spanish and new Spanish painting, periods (particularly in Rome, Italy, Turkey, Turkey, periods (particularly in Rome, Italy, of Fine Arts and Milton Petrie Professor Carroll Hellenistic/Republican and Roman Imperial Hellenistic/Republican and Roman Imperial Jonathan Brown Architecture, sculpture, and painting of the and sculpture, Architecture, F Aphrodisias of Fine Arts; Deputy Director, Excavations at of Fine Arts; Deputy Director, K preventive conservation issues preventive environment; glass and enamels, active and environment; non-destructive testing of art objects; indoor non-destructive testing of art objects; indoor Masters Studies; Associate Pr of Director Conservation of works of art and artifacts; Conservation of works of art and artifacts; between artistic practice and art theory H Conservation Science Renaissance art; the history of art; relations Renaissance art; the history of art; relations of Graduate Studies; Professor of Fine Arts of Graduate Studies; Professor Chair of the Conservation Center; Pr A Jonathan Deputy Dir and method art; art historical theory Deputy Dir portraiture; graphic arts portraiture; contemporary Chinese History of Chinese art; and cultural patrimony; historiography; and cultural patrimony; of Fine Arts Professor tion; Ailsa Mellon Bruce Italian Renaissance art; museums, collecting Italian Renaissance Professor of Fine Arts Professor Patricia A Judy and Michael Steinhardt Dir Michael Steinhardt Judy and Faculty and Fields of Study of Fields and Faculty Faculty and Fields of Study

Clemente Marconi Hsueh-man Shen culture of East Asia; art and James R. McCredie Professor Assistant Professor of Fine Arts; material culture along the in the History of Greek Art Ehrenkranz Chair in World Art ancient Silk Road and Archaeology; University Funerary and religious prac- Professor tices in pre-modern China; Archaic and Classical Greek art word and image in the visual and architecture; the reception and the historiography of ancient art and architecture; the New Faculty archaeology of ancient Sicily Mia Mochizuki Robert Maxwell Associate Professor of the History of Art Associate Professor in the 10 History of Western European Professor Mochizuki joined the IFA in Fall 2013 in a joint

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine Medieval Art appointment with NYU Abu Dhabi. After serving as Ber- Art of the Middle Ages; telsen Chair of Art History and Religion at the Graduate Problems of interpretation; Theological Union, and Affiliated Fac- visual poetics; critical theory; ulty in the Department of the History Medieval art’s historiography of Art at the University of California, Berkeley, she is looking forward to Mia M. Mochizuki contributing to the Institute’s preemi- Associate Professor of the nent scholarship on Renaissance and History of Art, NYU Abu Dhabi Baroque art. Her research has focused and Institute of Fine Arts on Netherlandish iconoclasm and Iconoclasms and the recycling objects produced by Portuguese and of art; material cultures of Dutch trading networks that situate Renaissance and Reformation; European art in a broader world context. Book-length early modern art networks projects include: Early Modern Globalization and the and the poetics of place; Republic of Things (ed., 2017); The Jesuit Global Baroque global methods of art history; (2015), the award-winning Netherlandish Image after Icon- constructions of the Baroque oclasm (2008), and In His Milieu. Essays on Netherlandish Art in Memory of John Michael Montias (ed., 2006). Philippe de Montebello Fiske Kimball Professor in Robert A. Maxwell the History and Culture of Associate Professor in the History of Western European Museums Medieval Art Early Netherlandish art; history of collecting; history of Robert A. Maxwell is a scholar of the art of the Middle museums; issues of cultural Ages, with special interest in problems of interpretation, patrimony visual poetics, and critical theory, as well as medieval art’s historiography. In his teaching and research he inves- David O’Connor tigates the status of images and their modes of mean- Lila Acheson Wallace Professor ing with an interdisciplinary perspective that brings art, of Ancient Egyptian Art; archaeology, anthropology, and history into dialogue. Co-Director, Yale University- He seeks, however, to adapt traditional lines of inquiry University of Pennsylvania- to modern and poststrucuralist perspectives in order to Institute of Fine Arts, NYU sharpen our critical perceptions of art’s capacity to com- Excavations at Abydos municate a range of meanings. Professor Maxwell has Ancient Egyptian art history published widely on Romanesque sculpture and archi- and archaeology; ancient tecture, medieval urbanism and pilgrimage, manuscript Nubia art history and illumination, and historiography. He is currently finishing a archaeology book on “documentary culture” and legal manuscripts in the High Middle Ages. Robert Slifkin Marvin Trachtenberg Museum of Art (part-time); Assistant Professor of Fine Arts Edith Kitzmiller Professor of Conservation Consultant, Villa Contemporary art; history of the History of Fine Arts La Pietra; Sherman Fairchild photography; nineteenth- Romanesque, Gothic and Chairman of the Conservation and twentieth-century Renaissance architecture and Center, Fall 2002 – Spring 2014 American art urbanism; problems of tem- Conservation and technical art porality in architecture and history of medieval sculpture; Priscilla P. Soucek historiography; problematics decoration of late medieval John Langeloth Loeb Professor of architectural authorship; German sculpture; conservation in the History of Art; Deputy the origins of perspective of modern sculpture Director for Academic Affairs; Director of Graduate Studies, Kathleen Weil-Garris Brandt Emeritus Faculty Fall 2007 – Spring 2014 Professor of Fine Arts, Institute Jonathan J. G. Alexander Persian and Arabic manuscripts; of Fine Arts and College of 11 Sherman Fairchild Professor portraiture; history of collecting Arts and Science of Institute Emeritus of Fine Arts Italian Renaissance art Roland R. R. Smith and culture Medieval European art, espe- Lincoln Professor of Classical cially manuscript illumination Fine Arts Annual 2013 - 2014 Annual Arts Fine Archaeology, University of Conservation Oxford; Director, Excavations Egbert Haverkamp-Begemann at Aphrodisias Center Faculty John Langeloth Loeb Professor Emeritus in the History of Art; Art and visual cultures of the Norbert S. Baer Adjunct Professor of Fine Arts; ancient Mediterranean world; Hagop Kevorkian Professor of Coordinating Scholar, Robert historical interpretation of Conservation, Conservation Lehman Collection Scholarly ancient representation and its Center Catalogue relationship with social and Application of physiochemi- political culture; archaeology cal methods to the study and Dutch and Flemish art history of Greek cities of Eastern preservation of cultural prop- of prints and drawings Roman Empire erty; environmental policy and Thomas F. Mathews damage to materials; applica- Edward J. Sullivan John Langeloth Loeb Professor tion of risk assessment and risk Helen Gould Sheppard Emeritus in the History of Art management to the preserva- Professor in the History of Early Christian and Byzantine tion of cultural property Art; Institute of Fine Arts and art and architecture College of Arts and Science Margaret Holben Ellis James R. McCredie Eugene Thaw Professor of Latin American art, colonial Sherman Fairchild Professor Paper Conservation; Director, and modern periods; Iberian Emeritus of Fine Arts; Director, Thaw Conservation Center, art; art of the Caribbean; Excavations in Samothrace Brazilian art The Morgan Library and Mu- seum (part-time); Conservation Greek archaeology and Thelma K. Thomas Consultant, Villa La Pietra architecture Associate Professor of Technical connoisseurship of Fine Arts Linda Nochlin works of art on paper; conser- Lila Acheson Wallace Professor Late Antique, Byzantine and vation treatment of prints and Emeritus of Modern Art Eastern Christian art and drawings; twentieth-century architecture Nineteenth- and twentieth- materials and techniques of century painting and sculpture; works of art on paper; ethical contemporary art and theory; issues in art conservation women and art Michele D. Marincola Sherman Fairchild Distin- guished Professor of Con- servation; Conservator, The Cloisters, The Metropolitan ifa.nyu.edu Faculty and Fields of Study

Associate Faculty Brigitte Miriam Bedos-Rezak Melanie Holcomb Professor, Department of His- Curator of Medieval Art and Dipti Khera tory, New York University The Cloisters, The Metropoli- Assistant Professor of Art tan Museum of Art History, Institute of Fine Arts and Barbara Boehm College of Arts and Science Curator of Medieval Art and William Hood The Cloisters, The Metropolitan Visiting Professor (Spring 2014); Art and architecture of South Museum of Art; Coordinating Mildred C. Jay Professor Asia; Cartographic cultures, Curator, Curatorial Studies Emeritus, Oberlin College art, and urban topography; Program; Member, Joint Com- Global art histories, theory Denise Leidy mittee on Curatorial Studies and methodology; Historiog- Curator, Department of Asian raphy of cross-cultural encoun- Thomas P. Campbell Art, The Metropolitan Museum ters; Collecting, museums and Director, The Metropolitan of Art; Member, Joint Com- 12 contemporary heritage land- Museum of Art; Co-Chair, mittee on Curatorial Studies

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine scapes; Postcolonial studies Joint Committee on Curatorial Gerhard Lutz Studies; Member, Joint Com- Visiting Professor (Fall 2013); Meredith Martin mittee on Curatorial Studies Associate Professor of Art Curator, Dom-Museum History, Institute of Fine Arts Malcolm Daniel Hildesheim Senior Curator, Department and College of Arts and Adela Oppenheim of Photographs, The Met- Science Associate Curator in the ropolitan Museum of Art; Eighteenth and ninetheenth- Department of Egyptian Art, Member, Joint Committee century French and British The Metropolitan Museum on Curatorial Studies art, architecture, material of Art culture, and landscape de- Thierry de Duve Diana Craig Patch sign; art and gender politics, Kirk Varnedoe Visiting Professor Associate Curator in the cross-cultural encounters in (Fall 2013); Professor Emeritus, Department of Egyptian Art, European art; interiors and Université de Lille 3 The Metropolitan Museum identity; historical revivalism Reindert Falkenburg of Art and contemporary art Dean of Arts and Humanities, Rebecca Rabinow Vice Provost for Intellectual Affiliated Faculty in Curator, Department of Modern and Cultural Outreach, Faculty and Contemporary Art, The the History of Art Director of the Institute, NYU Metropolitan Museum of Art; Abu Dhabi and Archaeology Member, Joint Committee on Leonard Barkan Briony Fer Curatorial Studies Kirk Varnedoe Visiting Professor 2014-2015 IFA Honorary Robert Storr (Spring 2014); Professor of Fellow; Class of 1943 University Dean, School of Art, History of Art, University Professor and Chair, Department Yale University of Comparative Literature, College London Luke Syson Princeton University Peggy Fogelman Iris and B. Gerald Cantor Cu- Frederick P. and Sandra P. Carrie Rebora Barratt rator in Charge, Department Rose Chairman of Education, Associate Director for Collec- of European Sculpture and The Metropolitan Museum of tions and Administration, The Decorative Arts, The Met- Art; Member, Joint Committee Metropolitan Museum of Art; ropolitan Museum of Art; on Curatorial Studies Member, Joint Committee on Member, Joint Committee Curatorial Studies Michael Gallagher on Curatorial Studies Sherman Fairchild Conservator Andrea Bayer Lillian Tseng in Charge, Paintings Conserva- Curator, European Paintings, Associate Professor of East tion, The Metropolitan Museum The Metropolitan Museum of Asian Art and Archaeology, of Art; Member, Joint Commit- Art; Member, Joint Committee Institute for the Study of the tee on Curatorial Studies on Curatorial Studies Ancient World - NYU Jeffrey Weiss Will Raynolds Suzanne Siano Senior Curator, Guggenheim Architectural Conservator Paintings Conservator Museum, New York Deborah Schorsch Steven Weintraub Irene J. Winter Conservator, The Metropoli- Conservator 2013-2014 IFA Honorary tan Museum of Art Fellow; William Dorr Board- Anna Serotta man Professor of Fine Arts, Objects Conservator Emerita, Harvard University Institute Lecturers for the Conservation New Associate Faculty Associate Faculty members teach three undergraduate Center courses per year in NYU’s Department of Art History and Samantha Alderson one graduate course at the IFA. 13 Associate Conservator, of Institute American Museum of Dipti Khera Natural History

Dipti Khera joined NYU this fall after 2013 - 2014 Annual Arts Fine Sarah Barack completing her Ph.D. in South Asian Objects Conservator art history at Columbia University. Jean Dommermuth She currently holds the Vivian G. Paintings Conservator; Prins Global Fellowship at NYU. Her Conservation Consultant, interests lie in the intersection of art Villa La Pietra and urban topography, intellectual thinking on the experience of urban Maria Fredericks spaces and material things in South Drue Heinz Book Conservator, Asia, historiography of cross-cultural The Morgan Library and encounters, and nineteenth-century decorative arts. She Museum is presently writing a book and developing an exhibition Nica Gutman Rieppi with the Arthur M. Freer and Sackler Galleries and the Associate Conservator, Kress City Palace Museum that reveals the major shift in Indian Program in Painting Conser- art represented by Udaipur painters’ engagement with vation, Conservation Center conceptualizing place and imagining territoriality during a time period of intense political and artistic transitions in Alexis Hagadorn the eighteenth and nineteenth centuries. Head of Conservation, Columbia University Libraries, Meredith Martin Columbia University Nora Kennedy Meredith Martin arrived at NYU this Sherman Fairchild Conservator year from Wellesley College, where of Photographs, The Metro- since 2008 she was Assistant Professor politan Museum of Art of eighteenth- and nineteenth-century European art. Her research interests Dr. Marco Leona focus on notions of space in moderni- Head Scientist, The Metro- ty—its esthetics, its class implications, politan Museum of Art and its gendered norms and contra- Dianne Dwyer Modestini dictions. Her dissertation formed the Paintings Conservator, Kress basis of her book, Dairy Queens: The Program in Painting Conser- Politics of Pastoral Architecture from Catherine de’ Medici vation, Conservation Center to Marie Antoinette (Harvard University Press, 2011). More recently, she has examined the impact of global exchange on French art, architecture, and material culture.

ifa.nyu.edu Faculty and Fields of Study

Judith Praska Deborah Trupin Noémie Etienne Textile Conservator, NY State Andrew W. Mellon Foundation Distinguished Visiting Bureau of Historic Sites Postdoctoral Fellow, 2013-2015 Professor in Conser- George Wheeler Jack A. Josephson vation and Technical Director of Conservation Research Associate in Studies Research, Graduate School Egyptian Art of Architecture, Planning and Salvador Muñoz Viñas Stephen Koob Preservation, Columbia Uni- (Spring 2015) Consulting Conservator, versity; Research Scientist, The Professor, Universidad Poli- Excavations in Samothrace Metropolitan Museum of Art técnica de Valencia, Spain Christine Lilyquist Alan Phenix (Spring 2014) Institute of Fine Arts Research Associate, Excavations Scientist, Getty Conservation Research Associates in Mendes, Egypt; Wallace 14 Institute Curator of Egyptology, The Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine Matthew Adams Metropolitan Museum of Art Julie Wolfe (Spring 2014) Senior Research Scholar; Associate Conservator, J. Paul Associate Director, Yale Anton Schweizer Getty Museum University-University of Penn- Andrew W. Mellon Foundation sylvania-Institute of Fine Arts, Postdoctoral Fellow, 2012-2014 Additional Conserva- NYU Excavations at Abydos Anna Serotta tion Consultants Villa Yaelle S. Amir Consulting Conservator, la Pietra Research Scholar; Andrew W. Selinunte Excavations Pam Hatchfield Mellon Research Activities Alexander Sokolicek Robert P. and Carol T. Henderson Coordinator Field Director, NYU Head of Objects Conservation, Brian Castriota Excavations at Aphrodisias Museum of Fine Arts, Boston Consulting Conservator, NYU Excavations at Abydos

Honors & Awards Jean-Louis Cohen Finbarr Barry Flood 2014 Elected associate member of the 2014 Iris Foundation Awardee for Outstand- Académie d’architecture, Paris ing Scholarship in the Decorative Arts, 2014 John S. Guggenheim Memorial Design History, and Material Culture Foundation Fellowship Philippe de Montebello 2013 Art Book Prize 2014 Member, Académie des Beaux Arts 2013 Alice Davis Hitchcock Book Award of the Society of Architectural Historians Thomas Crow 2014 Clark Art Institute Fellowship 2014 John S. Guggenheim Memorial Foundation Fellowship Clemente Marconi 2013 1984 Foundation, Grant, Selinunte Project 2013 Malcolm Hewitt Wiener Foundation, Grant, Selinunte Project Philippe de Montebello is the 2013 Samual H. Kress Foundation, Grant, newest member of the Académie Selinunte Project des Beaux-Arts 15 Institute of Fine Arts Annual 2013 - 2014

- olfe. - W alvador S niversity ifa.nyu.edu abora U L PV Conser U ts and Julie n nstitute, working working nstitute, tme n om Valencia, Spain. He is om Valencia, PV), Head of the paper lan Phenix U A ppoi iñas fr l A V . His current work revolves around around work revolves . His current alencia ( PV pecia of V conservation section of the Institute and Director vation Research of the Conservation Department of the a Professor in the Polytechnic a Professor U conservation theory and paper conservation techniques. Alan Phenix serves as Scientist at the Getty Conservation I with the Collections Research tory and the Modern and Contemporary work His current Group. Art Research focuses on the analysis of painting materials and the study of artists’ techniques from before thethrough Renaissance Wolfe, Julie the late twentieth century. Associate Conservator in Decorative Arts Conservation at the J. Paul and Sculpture expert in Getty Museum, is a recognized the conservation of public art. In Spring 2015, we will welcome Muñoz Thanks to a generous anonymous dona- anonymous Thanks to a generous in tion, a new visiting professorship studies was conservation and technical The Judith Praskainaugurated in Fall 2012. in Con- Distinguished Visiting Professor honor of the donor’s servation is named in Spring run through grandmother and will twice a year awarded 2016. This position is conservators or scientists to prominent and our conserva- who can bring to the IFA and for research new areas tion program invited are teaching. The Praska Professors to teach in their for a semester to the IFA particularly in courses of specialty, area designed for both conservation and art also give history students. The Professors during on their research a public lecture their semester at the IFA. was In 2013-2014 the professorship to awarded S PraskaJudith Distinguished in Visiting Professor and Conservation Studies Technical ellow F

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eonard Barkan Barkan eonard and Comedy. Michelangelo, Narcissus, Word and Image, and Image, Word Narcissus, Michelangelo, courses on subjects including Shakespeare, courses on subjects including Shakespeare, the city of Berlin. At Princeton, he has taught Princeton, At the city of Berlin. other, for not so scholarly book about his love from antiquity to the Renaissance and an- antiquity to the Renaissance from tions between food culture and high culture food culture tions between - writing a book about the rela is currently He and pleasure from Plato to the Renaissance. Plato from and pleasure study of the relations among words, images, among words, study of the relations a Pictures, Speaking Poetry, and Mute drew, sheets of paper on which he both wrote andsheets of paper on which he both wrote recording the life of the artist via the recording Paper, Michelangelo on publications include Michelangelo Recent of art, literature, food, wine, Italy, and himself. food, wine, Italy, of art, literature, published Satyr Square, which is an account Square, published Satyr on the subject of food and wine. In 2006, heon the subject of food and wine. In in both the U.S. and Italy, where he writes where in both the U.S. and Italy, he is also a regular contributor to publicationshe is also a regular Letters. He has been an actor and a director; Letters. He from the American Academy of Arts and the American Academy from winner of the Morton Dauwen Zabel Award Award Zabel Dauwen winner of the Morton and the PEN America Center. He is the He America Center. and the PEN tive Literature Association, Phi Beta Kappa, Beta Association, Phi Literature tive lege Art Association, the American Compara- the Modern Language Association, the Col- the Modern which won prizes from which won prizes Culture, of Renaissance Past: Archaeology in the Making and Aesthetics Past: Unearthing the and Unearthing of Humanism, the Erotics Paganism, Transuming Passion: Ganymede and Ganymede Passion: Transuming Paganism, Made Flesh: Metamorphosis and the Pursuit of and the Pursuit Metamorphosis Flesh: Made The Gods The Gods and NYU. Among his books are versities including Northwestern, Michigan, Michigan, including Northwestern, versities of English and of Art uni- of English History at various Princeton University. He has been a professor He University. Princeton Department of Comparative Literature at Literature Department of Comparative 1943 University Professor and Chair of the Professor 1943 University teaching, and practice in these fields. teaching, and practice Class of Barkan, honorary Leonard fellow acknowledges their contribution to learning, their contribution acknowledges fourth our will welcome 2014-2015 we In standing figures in the visual arts. This award This award in the visual arts. standing figures conservation and related disciplines, or out- disciplines, conservation and related tinguished scholars in art history, archaeology, archaeology, scholars in arttinguished history, The IFA Honorary Fellowship recognizes dis- recognizes Fellowship Honorary The IFA

The L Special Appointments Andrew W. Mellon Foundation Postdoctoral Fellows

During their two-year post at the IFA, Mellon Noémie Etienne, 2013-2015 Mellon Postdoctoral Fellows are given the opportunity Postdoctoral Fellow to pursue a research project while gaining Noémie Etienne arrived at the IFA in Fall 2013. teaching experience at a graduate level. They She holds a Ph.D. in Art History from the also participate in the activities of the Mellon University of Geneva and University of Paris Research Initiative by organizing and attending 1 Panthéon-Sorbonne, where she completed related events (page 38). the dissertation The Restoration of Paintings in Paris (1750-1815). For the IFA Annual she Anton Schweizer, 2012-2014 Mellon describes her current research projects: Postdoctoral Fellow Anton Schweizer came to the Institute in Fall I am currently working on three projects: First, I am editing a special issue of Material Culture 16 2012 from Heidelberg University where he Review entitled Building the Exotic. In this proj- Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine had served as Assistant Professor of Japanese Art History at its Institute of East Asian Art ect I am trying to frame the notion of exoticism History. At Heidelberg University he completed in eighteenth-century France through material the dissertation The O¯ saki Hachiman Shrine and visual culture. I am mainly interested in in Sendai and the Phenomenon of Lacquered decorative art and the way exotic objects have Architecture in Momoyama Japan. For the been used, repaired and/or recreated. Second, IFA Annual, Dr. Schweizer recounts his recent I am continuing research on material art history activities at the IFA: as a gathering of practices that offer alternative testimony on the perception of artworks from In the past year I have been primarily working the eighteenth century. Finally, I am working on my upcoming book Politics of Space: Ar- on a book manuscript on anthropological di- chitecture, Topography and Public Performance oramas in New York and Albany around 1900. in Early Modern Japan. At the IFA, I taught a My focus is artists working in anthropological seminar in the spring, Picturing Alterity in Japan, museums and the way in which the notion of on concepts of normativity and alterity as related contact is at stake in these installations. to the formation of a Japanese cultural identity. I also organized the conference Materiality During my first year at the Institute, I organized in Japan: Making, Breaking and Conserving the monthly public seminar Rendez-vous: An Works of Art and Architecture on how heritage International Seminar on Eighteenth- to Twen- is conceived, preserved and exhibited in Japan. tieth-century French Art and taught the course Divided into three sections “Object practices”, Artworks in Progress: The Changing Materiality “Approaches to curating and conserving” and of Things. Next year I will be co-teaching the “Ensemble cultures” – these issues were seminar Art Conservation as a Proto-History addressed in a wider historical and cultural of Art with Alexander Nagel on the practical context. re-managing, reframing, replacement, and restoration of artworks from the Middle Ages to the foundation of modern museums.

From left: Andrew Watsky, Anton Schweizer and Ivan Gaskell Etienne and students during the seminar Artworks in at the conference Materiality in Japan in April 2014. Progress. Kirk Varnedoe Visiting Professorship

The Kirk Varnedoe Visiting Professorship brings Spring 2014 Varnedoe Visiting Professor a distinguished scholar to the Institute each year Briony Fer to teach a course and give a series of public Professor of Art History, lectures. The Professorship was endowed in University College London 2006 by the late Professor Varnedoe’s friends In Spring 2014 we were joined by Briony Fer, and colleagues to honor and perpetuate his the eighth Varnedoe Visiting Professor at legacy of innovative teaching and remarkable the Institute. Professor Fer offered a seminar public presence. Past holders of this position on the complex legacies of a series of key include Okwui Enwezor (2012), Wu Hung (2011), moments in the history of twentieth-century David Joselit (2010), Alexander Potts (2009), abstraction, reflecting on their relevance for Molly Nesbit (2008), and Jeffrey Weiss (2007). art now. Moving away from the more familiar geographical narratives and critiques of Fall 2013 Varnedoe Visiting Professor 17 abstraction, the course examined a number of of Institute Thierry de Duve different versions of this historical project as it Professor Emeritus, Université de Lille 3 unfolded in Europe and the Americas.

In Fall 2013 we welcomed Thierry de Duve as 2013 - 2014 Annual Arts Fine Her popular public lecture series, States our seventh Varnedoe Visiting Professor. Dur- of Abstraction, examined the problem of ing his tenure at the IFA, he taught a course abstraction by focusing on a set of formal on art in the turn of the twentieth century maneuvers developed in the 1950s, which when the Western art institution underwent deliberately avoid the model of gestural major changes from the “Beaux-Arts” system painting that has dominated accounts of to the “Art-in-General” system. Each of the post-war art. Articulating a number of dif- fourteen seminar lectures focused on a par- ferent modalities of abstraction, all of which ticular episode in this passage of time and its speak to problems in art now, Fer argues for interpretation. a major reconfiguration of the legacies of the Professor de Duve also gave a series of three historical avant-gardes, and in particular of public lectures: Kant’s “Free play...” in Light of geometric abstraction, in the context of our Minimal Art; Joseph Beuys and the German current critical crisis. Past, Tentatively; and “This is art”: Anatomy Videos of these lectures are available on the of a Sentence. IFA’s Vimeo page: : http://vimeo.com/ifa Videos of these lectures are available on the IFA’s Vimeo page: http://vimeo.com/ifa

Thierry de Duve, 2013 Varnedoe Memorial Lecture Briony Fer, 2014 Varnedoe Memorial Lecture

ifa.nyu.edu What We Do 19 Institute of Fine Arts Annual 2013 - 2014

ifa.nyu.edu opolitan Museum om collections in Europe om collections in Europe etia Kargère (IFA 1996) I am (IFA etia Kargère ucr L nited States, and in particular those U sing examples fr U and the stripped of all decoration. While there are a are there all decoration. While stripped of the history, publications that discuss number of of European or restoration conservation, comprehensive sculpture, wood polychrome and there rare, of the subject are discussions their history and the is none that considers of conservation after their theory and practice with Together arrival in American collections. co-author that addresses working on a book manuscript in Based on research remit. this broader the his- we trace and abroad, museums here painted wood of medieval tory of treatment assess the performance of these sculpture, methods over time, and explain treatments be the first book in This will in practice today. the subject in a comprehensive English to treat and the only publication in any lan- manner, of guage to consider conservation treatments in multiple American collections. sculpture of The Cloisters (The Metr that the complex treatment of Art), we argue intertwined are sculpture histories of polychrome imagewith their transformation devotional from antiquarian collectable to to work of art, from museum object. Such multiple modes of the need for specialized existence create knowledge to understand why these works can appear the way they do today and what be done to conserve them for the future. The emphasis of the book is on the contex- tualization of contemporary practice within the historical continuum. Chapters include examination and documentation; deteriora- decision- care; tion and change; preventive plan; making and formulation of a treatment consolidation and adhesion of paint, ground, and surface and support; overpaint removal cleaning; compensation; and health and Three safety concerns for the conservator. The Cloisters will treat case studies from in depth, and specific historical treatments of the treatments evaluate the effectiveness Indeed, The Cloisters Collection will today. that helps to unify the be a constant presence an especially rich source narrative and provide information of archival about past and present practice. treatment

child ferent from when when from ferent nited States, although U T RESEARCH N RRE U sculptures were routinely repainted or even repainted routinely were sculptures panel, polychrome wood panel, polychrome page: Abydos 2013 excavation Previous the same materials as paintings on wood often in a condition very dif Although made with first created. they were in Europe and the in Europe ures survive today in museums andures collections Peninsula to Scandinavia. Many of these fig- these Peninsula to Scandinavia. Many of asteries from the Iberian asteries from once common in medieval churches and mon- once common in medieval churches layers of paint, metal leaf, and glazes, were layers of paint, metal leaf, and glazes, were Polychrome wood sculptures, decorated with wood sculptures, Polychrome she Annual she the IFA among others. For treatment of medieval wooden sculpture, sculpture, of medieval wooden treatment her upcoming book. conservation, objects conservation, and the conservation, objects for she is conducting describes the research on historical and ethical considerations in on historical and ethical Pietra. Professor Marincola has taught courses Marincola has Pietra. Professor Art and a Conservation Consultant at VillaArt and a Conservation La The Cloisters, The Metropolitan Museum of The Cloisters, The Metropolitan 2014. She is also a part-time Conservator at is also a part-time 2014. She C Marincola Michele is ShermanMichele Marincola Fair to 2002 from Center Conservation the IFA’s served as the Sherman Fairchild Chairmanthe Shermanserved as of Fairchild Distinguished Professor of Conservation, and of Conservation, Professor Distinguished CURRENT RESEARCH Finbarr Barry Flood

Finbarr Barry Flood is William R. Kenan Jr. This generally focuses on the period after Professor of the Humanities, Institute of Fine 1500, with the result that the history of global Arts and College of Arts and Sciences. He mobility is always already a history of Europe teaches courses on art and architecture of the and its inevitable rise. By contrast, my project Islamic world. For the IFA Annual he discusses focuses on twelfth-century architecture in his current research projects. Ethiopia and the evidence that it offers for artistic exchange between the Islamic world, I am currently working on two major research sub-Saharan Africa, and India. These contacts projects. The first is a monograph with the are manifest in artifacts, architectural elements, working title of Islam and Image: Theology, and techniques of construction that originated Politics and Modernity. A transhistorical survey in both the contemporary Islamic world and of attitudes to the making and reception of southern India. The Ethiopian monuments figurative images in the Islamic world, the preserve unique examples of artifacts that 20 research considers both emic and etic per- originated in, but are no longer extant in these

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine spectives. On the one hand, it traces a longue neighboring regions, but the remarkable durée history of the way in which the very transregional connections to which they attest idea of an “image problem” in Islam emerged are undocumented epigraphically or textually; and was elaborated in etic accounts of Islam. the material thus offers a significant challenge On the other, it highlights the practical and to established understandings of pre-modern theoretical implications of Islamic juridical cultural geography. Some of it may be flotsam sources usually considered irrelevant to artistic from the world of circulation around the practice, beyond promoting aniconic or Indian Ocean littoral so vividly captured in the iconoclastic attitudes. Bringing a wide range Indian letters of Jewish merchants preserved of unpublished materials (including ceramics, in the Cairo Geniza, opening a window onto coins, metalwork, and painting) into constel- histories of people and things in motion that lation with medieval and modern texts that continue to resonate even in our own era of have not previously been brought to bear on globalization. the issue, the book aims to challenge current understanding of attitudes to images in the Islamic world. In particular, an extended discussion of the reception of modern modes and technologies of image making (including lithography, photography, and public statuary) offers new perspectives on current debates about Islam, modernity, and secularism. In parallel, I have been working towards a history of a single moment in the history of Islamic art and architecture. This is a moment around 1200 CE that witnesses major artistic developments within the Islamic world, and the simultaneous adoption of Islamicate cultural forms by a variety of non-Muslim elites living on or outside its boundaries. The ultimate aim is to craft a macro-study of this exceptionally dynamic moment from locally rooted micro-histories. My second research project, tentatively titled Twelfth-Century Architecture as Incipient Globalism: Egypt, India and Ethiopia, explores one of these histories while also responding to recent Detail of a twelfth-century painted wooden ceiling scholarship on the “global” resonances of in the church of Yemrehanna Kristos, Lasta Province, pre- or early modern art and architecture. Ethiopia. CURRENT RESEARCH Clemente Marconi

Clemente Marconi is James R. McCredie scholars, who have been playing a critical role Professor in the History of Greek Art and in shaping the field, and younger scholars. Archaeology at the IFA. Professor Marconi At the same time, I made a point of inviting is also the Director of the IFA excavations colleagues from a range of different countries on the Akropolis of Selinunte (page 41). and academic traditions, in order to provide as His course offerings focus on the art and comprehensive and wide-ranging a discussion architecture of the Greek world in the archaic as possible. and classical periods. He is also the organizer Besides the Handbook, public lectures at a of the Seminar on Greek and Roman Art and number of institutions (including the Scuola Architecture, which marked its second season Normale Superiore in Pisa, UCLA, and the this year (page 44). Getty) and the writing of essays (one of which This past year I consists of a drastic revision of the Mozia have completed Charioteer) and reviews, I have organized the Ranieri Colloquium on Ancient Studies on 21

the Oxford Hand- of Institute book of Greek and Western Sicily: An Archaeology of Cross- Roman Art and Cultural Encounters (November 8, 2013). Architecture, which Currently, I am working on completing the Fine Arts Annual 2013 - 2014 Annual Arts Fine is currently under publication of the first volume with the results of publication, the our excavations on the Akropolis of Selinunte, release date being which will be titled Temple B at Selinunte and set for October the Polychromy of Ancient Greek Architecture. 2014. The scope of this handbook is to explore key aspects of Greek and Roman art and architecture, and review the larger theoretical frameworks, methodologies, and directions of research in this field. More precisely, this volume consists, after a general introduction, of thirty essays organized thematically and divided into five sections, called, in order, “Pictures from the Inside,” “Greek and Roman Art and Architecture in the Making,” “Ancient Contexts,” “Post-Antique Contexts,” and “Approaches.” These sections address, re- spectively: Greek and Roman ideas about art and architecture, as expressed in both texts and images; the production of art and architecture in the Greek and Roman world, and the various agents and media involved with it; the ancient contexts of use and reception of Greek and Roman images and buildings, and their social, political, and cultural functions; the post-antique contexts of reuse and reception, including institutions such as the academia and museums; and finally, the main modern approaches in this field of study, and its successive engagement, over time, with connoisseurship, formal analysis, iconography and iconology, sociology, gender studies, anthropology, reception theory, and semiotics. As the editor of this volume I sought contributions from both senior The Mozia Charioteer, ca. 470- 460 BCE. Mozia, Museum

ifa.nyu.edu FACULTY RESEARCH Exhibitions and Selected Publications

Exhibitions Jean-Louis Cohen Jonathan Brown Preface to Jacques Barsac, Charlotte Perriand, Co-curator, “Le Mexique au Louvre, chefs- Complete Works; vol. 1. 1903-1940 (Paris: d’œuvre de la Nouvelle Espagne XVII-XVIII Norma, 2014), 6-12 siècles” March 2013 “La maison commune et la modernisation de Jean-Louis Cohen l’architecture russe,” in Architectures urbaines, French pavilion at the 2014 Venice Architecture formes et temps, eds. Michèle Lambert-Bresson Biennale, June-November 2014. and Annie Térade (Paris: Picard, 2014), 136-142 “Architecture en uniforme ; projeter et con- Le Corbusier: an Atlas of Modern Landscapes, struire pour la Seconde guerre mondiale”, ed. (New York: Museum of Modern Art, 2013) Cité de l’architecture et du patrimoine”, Paris, Interférences / Interferenzen : architecture, April-September 2014, et MAXXI, Rome, Allemagne, France 1800-2000, ed. with Hartmut 22 December 2014-May 2015. Frank (Strasbourg: Musées de la Ville de Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine “Le Corbusier, an Atlas of Modern Land- Strasbourg, 2013) scapes,” Museum of Modern Art, New York, Le Corbusier’s Secret Laboratory. From Painting June-September 2013, Caixaforum Barcelona, to Architecture (Ostfildern: Hatje Cantz, 2013) January-May 2014, Caixaforum Madrid, June- September 2014 Metropolen 1850-1950 ; Mythen – Bilder – Entwürfe / mythes – images – projets, ed. with “Interférences – Interferenzen; architecture, Hartmut Frank (Berlin: Deutscher Kunstverlag, Allemagne, France,” Musée d’art moderne et 2013) contemporain, Strasbourg, March-July 2013, and Deutsches Architektur-Museum, Frankfurt/ “Apresentação,” in Roberto Segre, Ministério Main, October 2013-January 2014. da educação e saúde ; ícone urbano da mod- ernidade brasileira (1935-1945) (São Paulo: Clemente Marconi Romano Guerra Editora, 2013), 30-31 Sicily: Art and Invention between Greece and Rome, Co-curator with Claire Lyons and Introduction and four essays in Interférences / Michael Bennett The J. Paul Getty Museum, Interferenzen : architecture, Allemagne, France April - August 2013, and the Cleveland Mu- 1800-2000, with Hartmut Frank (Strasbourg: seum of Art, September 2013 - January 2014. Musées de la Ville de Strasbourg, 2013) “Das Wohn- und Atelierhaus von Konstantin Edward Sullivan Melnikow in Moskau,” in Im Tempel des Ich; José Gurvich, PINTA Latin American Art Fair, das Künstlerhaus als Gesamtkunstwerk; Europa New York, November 2013 und Amerika 1800-1948, eds. Margot Th. Curatorial advisor, Frida Kahlo Diego Rivera and Brandlhuber, Michael Buhrs (Munich: Villa Masterpieces of Modern Mexico, Nelson-Atkins Stuck, Hatje Cantz), 278-288 Museum, Kansas City, June - August 2013 “Une esquisse des Beaux-Arts dans les Giar- Selected Publications dini,” in Diener & Diener, Gabriele Basilico, Jonathan Alexander Common Pavilions (Zurich: Scheidegger & Italian Renaissance Book Illumination c. 1450- Spiess, 2013), 59-62 1600 (New Haven: Yale University Press, 2014), “Strasbourg, école de plein-air,” in Strasbourg : forthcoming. de la Grande-Île à la Neustadt – un patrimoine Jonathan Brown urbain exceptionnel, eds. Dominique Cassaz, In the Shadow of Velazquez: A Life in Art Sophie Eberhard (Strasbourg: Lieux-dits, 2013), History (London: Yale University Press, 2014) 16-20 Forward, in Spanish Drawings in the Princeton “From Ruins to Reconstruction in France under University Art Museum, ed., 201Lisa A. Banner Vichy,” in A Blessing in Disguise. War and Town (New Haven: Yale University Press, 2013) Planning in Europe 1940-1945, eds. Niels Gutschow, Jörn Düwel (Berlin: DOM Publishers, 2013), 130-141 “Broadacre City di Frank Lloyd Wright,” in La “Des mots et des gestes: l’histoire de l’art Città nuova oltre Sant’Elia, ed. Marco de Mi- en construction (1750-1800)” in Penser l’art chelis (Milan: Silvana Editoriale, 2013), 81-89 dans la seconde moitié du 18e siècle: théorie, critique, philosophie, histoire, eds. C. Michel “Visions allemandes de Marseille (1926 - 1943); and C. Magnusson (Rome: Académie de France scène moderne ou lieu de perdition?,” in à Rome/Paris: Somogy, Paris, 2013), 569-589 Metropolen 1850-1950. Mythen – Bilder – Entwürfe / mythes – images – projets, eds. “Les corps qui manquent. Mannequins et ob- Jean-Louis Cohen and Hartmut Frank (Berlin: jets anthropologiques à New York autour de Deutscher Kunstverlag, 2013), 351-367 1900,” in À Bras le Corps. Image, Matérialité et Devenir des Corps (Paris: Presses du Réel, “L’immeuble du Narkomfin : sources et paral- 2013), 248-269 lèles,” in Das Narkomfin-Kommunehaus in Moskau 1928-2012, eds. Johannes Cramer, “De l’atelier privé à l’atelier de restauration,” Anke Zalivako (Petersberg: Michael Imhof in Apprendre à peindre! Les ateliers privés 23 e

Verlag, 2013), 150-156 à Paris de la fin du XVIII siècle à 1863, ed. of Institute F. Nerlich (Rennes, Presses Universitaires de Thomas Crow Rennes, 2013), 85-99 “Fact Ribbons: Poetic Lines in the Recent Art of Ed Ruscha,” in Ed Ruscha: A Catalogue “Becoming Exotic. Notes on the Workshop 2013 - 2014 Annual Arts Fine Raisonné of the Paintings, VI, eds. Robert Dean Objects from Abroad: The Life of Exotic Goods and Lisa Turvey (Göttingen: Steidl, 2014) in France and the United States,” The Material World Blog, published by Aaron Glass, July “The Fulton Street Crucible: Rauschenberg with 2013 (http://www.materialworldblog.com/ Twombly and Johns, 1953 to 1954,” in Robert 2013/07/becoming-exotic) Rauschenberg: The Fulton Street Studio, 1953- 1954 (Craig F. Starr Gallery, 2014) Finbarr Barry Flood “Lost Histories of a Licit Figural Art,” Interna- “Lichtenstein avant Lichtenstein,” Cahiers tional Journal of Middle East Studies (45/3, du Musée National d’Art Moderne, Centre 2013), 566-569 Pompidou (Spring 2014) “Inciting Modernity? Images, Alterities and “Pop Art and Buried Allegories in the Early the Contexts of ‘Cartoon Wars,’” in Images Works of Richard Hamilton, Claes Oldenburg, That Move, eds. Patricia Spyer and Mary and Andy Warhol,” in Pop Art Myths, ed. Margaret Steedly (Santa Fe: SAR Press, 2013), Paloma Alarcó (Madrid: Museo Thyssen-Bor- 41-72 nemisza, 2014) Review of Ahmad Ghabin, Hisba, Arts and Craft “Mind-Body Problem: Chris Burden’s Perfor- in Islam (Arabisch-Islamische Welt in Tradition mances,” in Chris Burden: Extreme Measures, und Moderne) (Wiesbaden: Harrassowitz Verlag, eds. Lisa Phillips and Massimiliano Gioni (New 2009), Speculum, (88/2), 517-520 York: Skira Rizzoli, 2013) “Head Trip: the Return of When Attitudes Jonathan Hay Become Form,” Artforum (September 2013) “The Reproductive Hand,” in Between East and West: Reproductions in Art, ed. Shigetoshi Noémie Etienne Osano (Kyoto: 2014), in press. À Bras le Corps. Image, matérialité et devenir “The Passage of the Other,” in Ornament as des corps (Paris: Presses du Réel, 2013) Portable Culture: Between Globalism and “Objets en devenir et devenirs objet,” Retour Localism, eds. Gulru Necipoglu and Alina d’y voir, Musée d’art moderne et contemporain, Payne (Yale University Press: 2014), in press. Geneva, 2013, 318-335 Chinese translation of Sensuous Surfaces: “La restauration des peintures à Paris, 1750- The Decorative Object in Early Modern China 1815: état de la recherche et perspectives,” (Beijing: Zhongyang fanyi chubanshe, 2014), Patrimoines. Revue de l’Institut du Patrimoine, forthcoming Paris, 2013, 86-91

ifa.nyu.edu FACULTY RESEARCH Exhibitions and Selected Publications

Günter Kopcke Review of Marion Muller-Dufeu, Créer du “Liturgy,” in The Adventure of the Illustrious vivant. Sculpteurs et artistes dans l’Antiquité Scholar: Papers Presented to Oscar White grecque, (Villeneuve d’Ascq: Presses Univer- Muscarella, ed. Elizabeth Simpson (Leiden sitaires du Septentrion, 2011), in Journal of and Boston: Brill, 2014) Hellenic Studies 133 (2013): 280–281 Robert Lubar Michele Marincola Contemporary Transatlantic Dialogues: Art Lucretia Kargère and Michele D. Marincola, History, Criticism, and Exhibition Practices “Conservation in Context: The Examination in Spain and the United States, eds. Robert and Treatment of Medieval Polychrome Wood S. Lubar and María Dolores Jiménez-Blanco Sculpture in the United States,” Metropolitan (Madrid: Center for Spain in America, 2013) Museum Studies in Art, Science, and Technol- ogy 2 (2014): 1-39 “Polémicas abstractas en París,” in exh. cat. 24 Encuentros con los años ’30 (Madrid: Museo Mia Mochizuki

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine Nacional Centro de Arte Reina Sofía, 2013), “The Luso-Baroque Republic of Objects and 131-139 the Contingency of Contact,” in ed. Vincent “Flamenco Dancers, Artists, and Assassins in Barletta, Ellipsis. The Journal of the American Barcelona’s Fifth District,” in exh. cat. Joan Portuguese Studies Association 12 (2014) Miró’s Spanish Dancer: Variations on a Theme “The Diaspora of a Jesuit Press: Mimetic Imi- (Jerusalem: The Israel Museum) 65-77 tation on the World Stage,” in Crosscurrents in Illustrated Religious Texts in the North of Clemente Marconi Europe, 1500-1800, eds. Feike Dietz, Adam Sicily: Art and Invention between Greece and Morton, Lien Roggen, Els Stronks and Marc Rome, eds. C. Lyons, M. Bennett and C. Mar- van Vaeck (Farnham: Ashgate, 2014) coni (Los Angeles: Getty Publications, 2013) “Shock Value: The Jesuit Martyrs of Japan “Skopas in Samothrace,” in Ο Σκο’πας και ο and the Ethics of Sight,” in Sensational Κο’σμος του - Skopas and His World, eds. D. Religion: Sense and Contention in Material Katsonopoulou and A. Stewart (Paros: Institute Practice, ed. Sally M. Promey (New Haven: of Archaeology of Paros and the Cyclades, Yale University Press,2014), 640-81+ 2013), III, 383-392 “Iconoclasm,” in The Oxford Handbook of “Mirror and Memory: Images of Ritual Actions Religion and the Arts, ed. Frank Burch Brown, in Greek Temple Decoration,” in Heaven on (Oxford: Oxford University Press, 2013), 450-68 Earth: Temples, Ritual, and Cosmic Symbolism in the Ancient World, ed. Deena Ragavan Review of Koenraad Jonckheere, Antwerp (Chicago: The University of Chicago), 425–446 after Iconoclasm. Experiments in Decorum, 1566-1585, and Angela Vanhaelen, The Wake “The Goddess from Morgantina,” in Sicily: Art of Iconoclasm. Painting the Church in the and Invention between Greece and Rome, eds. Dutch Republic,” in Oxford Art Journal 37/1 Claire Lyons, Michael Bennett and Clemente (February 2014), doi: 10.1093/oxartj/kct038 Marconi (Los Angeles: Getty Publications, 2013) Review of Rose Marie San Juan, Vertiginous “Sculpture in Sicily from the Age of the Tyrants Mirrors. The Animation of the Visual Image to the Reign of Hieron II,” in Sicily: Art and and Early Modern Travel,” in The Journal of Invention between Greece and Rome, eds. Early Modern History 18/3 (2014) Claire Lyons, Michael Bennett and Clemente Marconi (Los Angeles: Getty Publications, Meredith Martin 2013), 159–172 “Tipu Sultan’s Ambassadors at Saint-Cloud: With Rosalia Pumo, Review of Maria Clara Conti, Indomania and Anglophobia in Pre-Rev- Le terrecotte architettoniche di Selinunte. Tetti olutionary Paris,” West 86th: A Journal of del VI e V secolo a.C. Museo Civico di Castelve- Decorative Arts, Design History, and Material trano e Parco Archeologico di Selinunte, 2012 Culture (Spring 2014) (Pisa and Rome: Fabrizio Serra Editore), in Bryn Mawr Classical Review 2013.10.06 25 Institute of Fine Arts Annual 2013 - 2014

lrich U inth Cen- ifa.nyu.edu N seng ess, 2014), rade during erlag, 2014), ippit, Akira L illian T L ukio ozny (Kraków and niversity Pr U ands: Materiality and Spatial ands: Materiality L enth Centuries: Chinese Ceramics udwig Reichert V hen L ecipoglu and Finbarr B. Flood S N chweizer S d: Wiley-Blackwell, 2014), forthcoming er and Mattheo Burioni (Darmstadt: mance in Toyotomi Hideyoshi’s Osaka Osaka Hideyoshi’s Toyotomi mance in inth and T nishing Dream nishing Dream aruto, Japan, ed. Shigetoshi Osano with aruto, Japan, ed. Shigetoshi Osano with Hundert Jahre Grabungen in Samarra ,” in Hundert Jahre N N saka-jo¯ no so¯shoku ni kan suru ko¯satsu” 工 ni kan suru ko¯satsu” so¯shoku no saka-jo¯ sueh-man nton ¯ tury [A Hundred Years of Excavations in Samarra], Years [A Hundred vol. 4, Beiträge zur Islamischen Archäologie, edited for the Ernst by Herzfeld Gesellschaft J. Gonnella with R. Abdellatif and S. Struth (Wiesbaden: Wissenschaftliche in print). Buchgesellschaft, Separate publication in English forthcoming “The China-Abbasid Ceramics T (Oxfor “Copies without the Original: King As´oka’s 84,000 Stupas and Their Replications in China,” in Reproductions in Between East and West: of the 2013 CIHA Colloquium Art, Proceedings in special collaboration of Y Akiyama, and Milosz W Pfister H the in the Middle East,” in Blackwell Circulating Companion to Islamic Art and Architecture, eds. Gülru 2014), forthcoming Tokyo, in Chinese Polychromes “Familiar Differences: during the the Indian Ocean Trade 107-122 “Fur A Perfor Visuality Things: and Representing Castle,” in in East Asia, ed. Materiality (Cambridge: Harvard (Cambridge: Harvard forthcoming Toyotomi-ki toshite no kenzo¯butsu: “Ko¯geihin O 芸品としての建造物：豊臣期大阪城の装飾 objects: に関する考察 [Buildings as crafted decoration of Osaka some thoughts on the 聚美 era], Sho¯bi Castle during the Toyotomi 11 (April, 2014), 68-79 Japans Auseinandersetzung “Fremdkörper: 17. Jahrhun- im 16. und mit dem Anderen contest with bodies: Japan’s dert” [Foreign in the ‘other’ in the 16th and 17th centuries], 1300-1650: Kunstgeschichte der Vier Erdteile, [Art His- Positionen und Austauschprozesse the tory of the Four Continents, 1300-1650: Dynamics of Cultural Exchange], eds.

,” ilotic State” n Antiquities N en Campagne eds. Hannelore eds. Hannelore oningen, 2013) ovember 14, 2013 N ooker L Res: Anthropology and Res: Anthropology ast Mystery: The Political 55, Créateur ,” L’Esprit L AP Academic Press, 2013), AP Academic Press, ST agel),” N itgevers, 2013) niversity of Gr e, held on ouis XIV N L agel U U oemich ubia, the s Rethink the Exhibition Industry s Rethink the Exhibition R N onnor N U e ectur C ’ L O ma in oningen: Amilla: The Quest for Excellence: Studies Amilla: The Quest for Excellence: Studies annelor avid lexander Roemich and Kate van (Zwolle: Spa Griffith Institute, 2013), 269-276 H beth Frood and Angela McDonald (Oxford: and Angela McDonald (Oxford: beth Frood Ancient Culture for John Baines, eds. Eliza- Ancient Culture Ceramics Conservation 2013, (Philadelphia: I drum‚” in Decorum and Experience: Essays in Recent Advances in Glass, Stained Glass, and ed. Robert B. Koehl of his 75th Birthday, “Sabef and Merika: An Early Dynastic Conun- and Social Dynamics of an Early to Günter Kopcke in Celebration Presented 189-205 by Alexander 1968 (prologue by Irving Sandler, annotated by Irving Sandler, 1968 (prologue D “Interview with Robert Smithson, March 20, “Interview with Robert Smithson, March (2013): 285-88 Res: Anthropology and Aesthetics 63/64 Res: Anthropology 36 (2013): 114-19 “Ker “Robert Smithson Removed from the Source,” the Source,” “Robert Smithson Removed from “Relics and Readymades,” Mousse Magazine Frieze Masters 2 (2013): 44-51 Aesthetics 63/64 (2013): 289-98 in Can Help “How the Display of Art in Previous Centuries Art in Previous “How the Display of (Paris: Presses du Réel, 2013), 437-42 du Réel, 2013), (Paris: Presses Joschke, Anne Pontégnie, and Katrin Solhdju Joschke, Anne Pontégnie, eds. Didier Debaise, Xavier Douroux, Christian Xavier Douroux, eds. Didier Debaise, Gerson Commanditaires, Fait Société:Les Nouveaux Some Discoveries of 1492: Easter Some Discoveries of Seventeenth Horst and Renaissance Europe, (Gr Art Comme on in Faire d’oeuvres,” “Oeuvres A the Reign of the Reign With Gillian Weiss “‘Turks’ on Display During on Display With “‘Turks’ Gillian Weiss no. 4 (December 2013) no. 4 (December FACULTY RESEARCH Exhibitions and Selected Publications

“Indian Makara or Chinese Dragon-Fish? “Gurvich en Nueva York: una relación con- Textual Translation and Visual Transformation flictiva,” in exh. cat., José Gurvich. Cruzando of Makara in China,” Art in Translation, 5.2 Fronteras (Buenos Aires: Museo de Arte (2013): 275-298 Moderno, 2013), 151-167 Robert Slifkin “Information Networks: Collecting and Display Out of Time: Philip Guston and the Refiguration of Latin American Art in the United States,” of Postwar American Art (Berkeley: University in exh. cat., Order, Chaos and the Space of California Press, 2013) Between. Contemporary Latin American Art from the Diane and Bruce Halle Collection “Fitz Lane and the Compromised Landscape in (Phoenix Art Museum: 2013), 105-118 Antebellum American Art c. 1850,” American Art 27 (Fall 2013), 64-83 Review of Kimberly L. Cleveland, Black Art in Brazil: Expressions of Identity (Gainesville: “Outside the White Cube (With Occasional University of Florida Press, 2013), in Americas: 26 Political Overtones),” review of Philip Kaiser

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine A Quarterly Review of Latin American History, and Miwon Kwon, eds. Ends of the Earth: Land 2013, 568-570 Art to 1974 and Catherine Morris and Vincent Bonin, eds. Materializing Six Years: Lucy R. Marvin Trachtenberg Lippard and the Emergence of Conceptual Art, “River, road, and anastrophic fountain,” Oxford Art Journal 37 (2014), 103-107 RES 63/74, 2013 279-84 (and cover illus.) “A Remedial Education,” in Michael Stickrod, Stones Rise (Skive, Denmark: Krabbesholm, 2013) “The Ultimate Politics of Action Painting,” in Contemporary Transatlantic Dialogues: Art History, Criticism, and Exhibition Practices in Spain and the United States, eds. Maria Dolores Jimenez-Blanco and Robert Lubar (Madrid: Work-In-Progress Series Center for Spain in America, 2013), 33-46 This new program allows current faculty “Paul Evans and the Legacy of Modern members to share their recent and ongoing Welded Sculpture: Between Decoration and research with each other as well as the Expression,” in exh. cat. Paul Evans: Crossing student body. These talks, which are Boundaries and Crafting Modernism open only to current students and faculty, (Doylestown, PA: James A. Michener Art facilitate lively discussions about current Museum, 2014), 70-91 projects and methodology, and serve as a Edward Sullivan model of collegial intellectual exchange. From San Juan to Paris and Back: Francisco Oller & Caribbean Art in the Era of Impression- ism (Yale University Press, 2014), forthcoming José Gurvich, exh. cat. (New York: PINTA Latin American Art Fair, 2013) “Geometry and Gesture: Notes on Abstractions in the Americas,” in exh. cat., Pan American Modernism: Avant-Garde Art in Latin America and the United States (Miami: University of Miami, Lowe Art Museum, 2013), 4-24 Thomas Crow presents his current research at a recent Work-in-Progress discussion 27 Institute of Fine Arts Annual 2013 - 2014 ifa.nyu.edu esearch further, further, esearch

How has your experience at the IFA— How has your experience or relationships whether coursework with your cohort and professors—informedwith your cohort and your work? has at the IFA I would say my experience push my r made me constantly on The Art Genome whether I am working My professors’ or on anything else. Project questions and incisive consistently insightful and in many still in my head, critiques are to me, on a daily basis, they urge respects, work to be on par with raise the level of my their own—as well as that of the other amazing work students I was privileged to be able to with during my years at the IFA. is a taxonomy to facilitate more intelligent art intelligent to facilitate more is a taxonomy been which has not really something search, we con- to date and which possible online pedagogical tool. sider a new Q

i n exas m lu a

Although you have worked d n a

niversity of T in many different in many different parts of the art world, it seems that a uniting interest of yours is “education,” both in your and work research on The Art Genome do you How Project. understand the edu- Q ts U n de u st n espects synonymous with being o ight l art available online. The Art Genome Project art available online. The Art Genome Project one of the largest collections of contemporary one of the largest seums and galleries around the world and has seums and galleries around includes over 125,000 works from major mu- includes over 125,000 works from with an Internet it connection. Currently is to make the art world available to anyone The mission of Artsy—a freely-accessible site— The mission of Artsy—a freely-accessible to Artsy (Artsy.net) and The Art Genome Project. to Artsy (Artsy.net) and do this. Broadening access is also central and do this. Broadening (with a lot of historical context) in order to try (with a lot of historical context) in order academic audience, and as a narrative history proachable language for a general as well as language for a general as well as proachable historical research project, was written in ap- project, historical research Press, 2013), a somewhat traditional art- 2013), Press, ( against the Vietnam War recent book, Kill for Peace: American Artists book, recent as a whole) to broaden access to the field. My access to the field. My as a whole) to broaden it is in many r discipline of art history and to the humanities component of being an art historian but that component of being an art historian but to the academic threat because of the very real I would argue that education is not just a I would argue need (particularly At the moment I see a real an art historian. cational component of being an art historian? art and photography. art and photography. Gaylord, whose research focuses on American focuses on American whose research Gaylord, was interviewed by Ph.D. candidate Kristen was interviewed by IFA Annual, Israel IFA For the the Vietnam War. Kill for Peace: American Artists against book, Kill for Peace: American formed the basis for his recently published formed basis for his recently the larities among art and artists. His dissertation art and artists. larities among dynamic search categories and explains simi- and explains categories dynamic search Genome Project, a digital platform a that providesGenome Project, in 2011, and is now Director of Artsy’s The Art of Artsy’s is now Director in 2011, and Matthew Israel received a Ph.D. from the IFA the IFA a Ph.D. from received Matthew Israel spot Israel Matthew Student Voices Alexandra Sterman

Alexandra Sterman is a second year M.A. student collecting activity of the period directly preceding 28 specializing in Chinese art. Her recent research the communist takeover in 1949. These primary Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine focus has been late nineteenth- to early twentieth- documents also help to clarify what was at stake in century Chinese painting, with a particular the process of re-appropriating and re-construct- emphasis on the relationship between ink painting, ing brush and ink painting, at this time known nation-building, and the construction of heritage as guohua, in modern China. narratives. Before the collection could be adequately Constructed Continuities: Traditionalist Modes addressed, considerable collections management in the Zhang Shoucheng Painting Collection work went into cataloguing and organizing its records. Previously some of the paintings did I have been fortunate to have the opportunity not have standardized titles and were identified to work closely with a collection of Chinese only by labels bearing hand-written Chinese paintings currently housed in the Conservation titles and numbers. While at the same time Center. These paintings were the personal col- performing research for my thesis, I went lection of painter and teacher Zhang Shoucheng through the entire collection of about 136 (1918-2013), which the IFA received as a gift paintings and created a master list consolidating directly from the artist in 2000. In addition to the corrected titles, artists’ names, dates, materials, the painting collection, Zhang also provided and notes on works in unstable conditions. a copy of his handwritten memoirs detailing everything from his early childhood years, to From the perspective of both managing collections his time studying under famous painter and and conducting original research, this project collector, Wu Hufan (1894-1968), to incredible has been invaluable to my study of Chinese art hardships faced during the Cultural Revolution, and visual culture. It is my hope that through this before finally immigrating to the United States project the Zhang Shoucheng painting collection in 1982. will become more accessible to both the IFA and larger student community for further Proximity to this excellent material has enabled research into this important and tumultuous me to develop research into Shanghai Republican period in Chinese history. period traditionalist painting modes, with a particular emphasis on the various kinds of social interactions these artists engaged in. This project, which I began last spring, has become the subject of my M.A. thesis. Taking the collection and memoirs together provides a unique snapshot of the burgeoning exhibition culture, flourishing artist associations and networks, and vibrant spotlight on students and alumni Lauren Jacobi

Lauren Jacobi received her Ph.D. from the by contemporary cultural attitudes towards Institute in 2012 and recently joined the money, a highly complicated issue as it was faculty of MIT as Assistant Professor in the intertwined with the Christian sin of usury. History, Theory + Criticism program (HTC) The dissertation revealed a better under- in the School of Architecture. She currently standing of capitalism’s early history. teaches courses on topics in her field and on My current work addresses the relationships the interpretation and theory of city form. between financial institutions and norms of For the IFA Annual she reflects on her current Student Voices religious behavior in relationship to urban research interests and the ways in which they geographies and architecture. My book project have been informed by her studies at the IFA. explores how topographic clusters of banks helped to define banking as a morally just activity, suppressing the complications of usury. I assert that a spatio-structural banking system in Italy and elsewhere help set a path to the 29 post-industrial capitalism. I explore how the of Institute flow of money influenced the production of space and form, and the ways in which mon- etary and spatial systems, in turn, impacted 2013 - 2014 Annual Arts Fine cultural thought and vice versa. The book addresses also banks as institutions that encouraged cultural hegemony. I sometimes wonder what the IFA faculty thought of my intersecting interests in architecture, urbanism, economic history and numismatics as they read my dissertation proposal. It must have seemed oddball and strange, perhaps even unpromising. But with the early confidence of the faculty, and especially Marvin’s enthu- siasm, I was able to pursue research interests that continue to fascinate me deeply.

The position that I have assumed in HTC at MIT is delightful as it enables me to work with a host of ambitious students who are studying architecture and urbanism as a field of history, as well as others who aspire to practice design and planning. The scope of my research spans several areas and I hope that the con- tent of what I work on, as well as my method of inquiry, appeals to those at MIT as well as a broader audience. I am a scholar of pre-industrial Italian architecture, urbanism, and art. At the IFA, my doctoral thesis, guided by Marvin Trachtenberg, examined the location and architectural language of buildings used for banking during the Renaissance. I considered how those buildings both shaped and were informed

ifa.nyu.edu STUDENT VOICES Annika Finne

Annika Finne is a second-year student specializing My current research focuses on two particularly in paintings conservation. For the IFA Annual, intriguing features of the model: a halftone-printed Annika describes the research and analysis she has photograph of a castle attached to the back of conducted on an early eighteenth-century altar the encasement, and two pieces of handmade that recently arrived at the Conservation Center. paper attached to the backs of the mirror panels, Last fall, a four-foot tall model for a Bavarian which have a fragmentary watermark of a standing or Austrian altar arrived at the Conservation bishop and resemble early nineteenth-century Center from the Loyola University Museum of Austrian military records. I hope to use these Art in Chicago. It dates to the early eighteenth leads to trace the model’s origins and discover century and features three tiers of marbleized whether the full-size altar was ever realized. architecture, a small panel painting of the Im- From top to bottom: maculate Conception, and a small population Altar model, early 18th 30 century, Bavaria or Aus- tria. From the Loyola Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine of gilt and polychrome figures, angels, cherubs, University Museum of and Rococo ornament. Art, John F. Cuneo, Sr. Collection; Photo- My research, examination, and treatment of graph and heraldry the Loyola model have led to a series of insights stamp attached to into its materials, its construction, and its history. the back of the model encasement; Partial The nature of the varnish layers and the character watermark of a bishop on paper behind mirror of their application allow different surfaces of the panel model to interact with light in various ways. Cross- sections show that the varnish coating the marbleized architecture holds small flecks of gold leaf, creating points of glitter across the most prominent entablatures and engaged columns; each freestand- ing element is varnished in the round, creating fields of shine in the model recesses. Over the years since the altar model’s creation, discoloration has shifted its color palette from Rococo pastels to Baroque ambers and past restorers have shifted the positions of its figures. The interior of the encasement housing the model now appears flat blue, but it once surrounded the model with a field of dark, satu- rated ultramarine punctuated by seven-pointed gilt stars. A small window revealing this original layer remains at the top of the model, hidden behind a large cherub. Although the model was clearly made to be a model, my findings suggest that it did not only serve an architectural purpose. The use of high quality materials, the thoughtful variation of surface finish, and the elaboration of the encasement interior indicate that it may have had an intended afterlife, perhaps as a devotional object or as a presentation piece within a sculptor’s workshop. 31 Institute of Fine Arts Annual 2013 - 2014

, com- ifa.nyu.edu

Many art history and conservationMany art history the Institute havegraduate students at From the point of view of a conservator the point of view of a From French education at the time, as well as at the time, as well education French how and economics, and culture changes in practices. impacted his artistic these changes field of technical their eye on the burgeoning can we encourage In what ways art history. collaboration betweencommunication and by making art munication can be encouraged pub- presentations, through historians aware of our specialized lications, and conversation materials, and assess knowledge to identify change, their sources the ways in which they of uses, and the techniques and previous employing them. Collaboration and commu- out nication can be encouraged by reaching fields and to experts in pertinent or related one wants to of projects making them aware to their questions. pursue, and being receptive can broaden Collaboration, as we well know, and our understanding of artistic practices, the historical and cultural context in which they took place. the disciplines? Q

i n m lu a d n a ts n om childhood, and de u ch project but always ap- ch project st n o

e are such a variety of materials that such e are ight Though research and writing represent and writing represent Though research only a fraction of the work you do at Why are works of art on paper so materi- Why are and conceptually appealing to you? ally What led you to first enroll at the IFA, the IFA, at enroll What led you to first finally did you and for what reasons l

artistic practice? enhance our understanding of Cézanne’s enhance our understanding of Cézanne’s to work on a resear significance of your research and how it will research significance of your Conservators do not usually have much time taking place in pencils; changes that were Could you tell us something about the Could you tell us something about the materials— particularly his sketchbooks and which will culminate in an essay published in the which will culminate in an essay published upcoming exhibition. catalogue for the Met’s the development of artist’s change, from Cézanne’s artwork in the context of social Cézanne’s aspects of material culture. I am looking at aspects of material culture. devoted to Cézanne’s materials and techniques, devoted to Cézanne’s essay on Cézanne as draftsman deals with discipline that brought my interests together. together. my interests discipline that brought endlessly diverse. attention has been the museum, your recent the opportunity when it arises. My preciate and realized that conservation would be a and realized it is things to be learned drawings and from I was very comfortable with using my hands, I was very comfortable with using my hands, and ther always new are There enter into its study. Center. I had a great interest in science and interest I had a great Center. Drawing is fascinating. It is a thinking process conservation from friends at the Conservation conservation from of art and curious about them. I learned about so I was very much at home looking at works so I was very much at home looking at that interest. I had always drawn or painted, that interest. studying art history was just an evolution of studying art history I was interested in art fr I was interested Institute? decide to pursue the conservation track at thedecide to pursue the

Q Q Ms. Shelley’s direction. direction. Ms. Shelley’s Q pleting her internship at the Met under The Metropolitan Museum of Art. She received of Art. She Museum The Metropolitan in 1974. Center the Conservation her M.A. from conservation spoke to fourth-year She recently com- who is currently student Amy Hughes, Works on Paper and Photograph Conservation, on Paper and Works in Charge at the Sherman Fairchild Center for Center at the Sherman Fairchild in Charge Marjorie Shelley is Sherman Fairchild Conservator is ShermanMarjorie Shelley Fairchild spot Shelley Marjorie STUDENT VOICES Lindsay Henry

Lindsay Henry is a second year M.A. student con- grief has carried over into discussions about her centrating on early twentieth-century art of Europe motivation and creative process, particularly and America, particularly interwar European art. with her Krieg (War) series. “Bearing Witness: Weimar Women and Experi- The media discussed are photographs, pho- ence” is the title of my master’s thesis, which tomontage, and prints. There is a particular examines German women artists and their visual emphasis on the medium of photography and responses to post-World War I trauma and life photomontage due to its status as a new art in the Weimar Republic. The images in the text form for a modern era. Germaine Krull’s work come from four artists, Hannah Hoch, Lotte is relevant to the discussion because her career Jacobi, Germaine Krull, and Käthe Kollwitz. In differed from other female photographers in that art, women artists made important contributions she captured images beyond the so-called women’s to interwar social and political debates that were circles of fashion or portrait photography. Krull 32

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine shaped by their unique position in society. How- also differs from her peers because she wrote ever, discussions of the war and trauma have not about her art, personal life, and politics. Krull evolved. Traditionally, academic discourse has viewed herself as an “honest reporter” who also privileged male perspectives on the topic, valuing sought out the possibilities of joining realism the accounts and work of male artists that served with abstraction in order to create a new cultural in the trenches. The thesis aims to change the language that would reflect the excitement, but discussion of women artists, by demonstrating also the inherent instability of modern life in that they did indeed bear witness to trauma Germany and throughout Europe. despite remaining on the home front. The effects of war on the nation were experienced by all German citizens and should be discussed from that perspective when examining the culturally liberal yet politically unstable Weimar Republic. I argue that reception of women artists’ work has been colored by gendered assumptions about the nature of war. For example, Kollwitz’s status as a grief-stricken mother has been overempha- sized, detracting from her insights as a witness Lindsay Henry in front of Greta Csatlòs’s mural Sonic of war and its effects. Moreover, her personal Malade (1990), East Side Gallery, Berlin

Student Teaching at the IFA Each year many students from the Institute This year, for the first time, two of our Ph.D. serve as graders, teaching assistants, and students, Elizabeth Feery and Tara Prakash, sole instructors for undergraduate courses had the opportunity to act as recitation at NYU and at other universities in the New leaders with their advisor, David O’Connor, York City area. Two students who par- in a NYU Core Curriculum course. The ticipated in teaching opportunities during course, Order and Chaos: Structure and the 2013-2014 academic year were Ph.D. Meaning in the World of Ancient Egyptian candidate Sean Nesselrode, who taught Image, explored the many forms of varied, the seminar Modern Art in Latin America, yet interrelated images which convey the and M.A. student Jessica Hong, who was a ancient Egyptians' powerful and culture- grader for Professor Pepe Karmel’s course, shaping concerns about the interactions Postmodern Art and Contemporary Art. between Order (Egyptian Maat) and Chaos (Egyptian Isfet). Both courses were offered in NYU’s undergraduate Department of Art History. Alumni Dispatch

Alumni Programming Institute alumni enjoy an array of receptions, cultural outings, and scholarly programs that are designed just for them. Groups such as the Alumni Association and the Recent Alumni Circle make it fun and easy to support and engage with the Institute. Initiatives like our professional development series of talks by art world leaders as well as the annual careers panel help alumni bolster their knowledge and excel within their professional fields.L ife at the Fall Alumni Reception at the home of Anne Ehrenkranz Institute continues far beyond graduation.

Alumni Spotlight of Institute Cristin Tierney (Ph.D. ’06)

Cristin Tierney is the co-owner of Tierney 2013 - 2014 Annual Arts Fine Gardarin Gallery and an advisor to a number of private collectors and institutions in the United States. Prior to founding the gallery, Cristin was a consultant for Recent Alumni Circle Event at the Brooklyn Museum many years at Christie’s auction house, and while there she earned her M.A. from the Institute of Fine Arts. She has taught graduate level seminars on the history of the art market at Christie’s Education and undergraduate art history at New York University. Cristin currently serves on the board of directors of Reynolda House Mu- seum of American Art in Winston-Salem, NC, and is a member of the IFA Recent

Recent Alumni Circle panel at Artsy Alumni Circle Committee.

Alumni Career Spotlight: Art Fairs As the annual modern and contemporary art fairs descended on New York this March, Insti- tute alumni were front and center. At the Park Avenue Armory, Julie Saul (M.A. ’82) Gallery and Barbara Mathes (’72) Gallery exhibited at The Art Show by the Art Dealers of America Association. Across town on Pier 94 at The Armory Show, Susan Harris (M.A. ’82) curated the four-part exhibition Venus Drawn Out: Susan Harris’ curatorial project, Venus Drawn Out at The 20th Century Works by Great Women Artists. Armory Show, 2014

ifa.nyu.edu Contemporary Art at the Institute

The Institute of Fine Arts has some claim to have pioneered the study of contemporary art The Great Hall in the context of art-historical research: Robert Goldwater’s 1937 dissertation Primitivism Exhibitions and Modern Art extended its reach to the art In September 2013, the Institute announced of his day. Later, as a member of the fac- the debut of The Great Hall Exhibitions, an ulty, Goldwater would be joined by Robert exciting new initiative that will present two Rosenblum, who enjoyed personal bonds with exhibitions per year showcasing prominent many New York contemporary artists, especially contemporary artists. Taking place in the among the Pop generation, and brought this fall and spring semesters, the expansive firsthand knowledge to his teaching over great hall of the Duke House provides an more than three decades. During the 1980s impressive setting for displaying ground- breaking contemporary art in the center of Kirk Varnedoe, like Rosenblum, extended 34 the IFA’s academic home and community. Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine an initial training in nineteenth-century art Organized by Robert Slifkin and Ph.D. into the contemporary sphere, as he would candidate Jeffrey Uslip, the program was famously demonstrate after assuming the inaugurated with an exhibition of works by directorship of painting and sculpture at the one of the foundational figures in twentieth- Museum of Modern Art. Linda Nochlin is the century feminist art, sculptor Lynda Benglis. critic and scholar most identified with the The exhibition was comprised of four works: emergence of strong feminist art practices two of her seminal “pours” sculptures from from the early 1970s onward. the late 1960s, a controversial photograph from a 1974 invitation card, and a more At present, the Institute can claim five promi- recent sculpture from 2008. In the spring, nent voices in the realm of the contemporary. we installed two sculptures and a poster by Jean-Louis Cohen belongs to an elite of acclaimed artist Rachel Harrison, an artist scholarly and critical commentators on con- widely known for juxtaposing quotidian temporary architecture. Both Alexander Nagel cultural materials and commercial objects and Robert Slifkin maintain multiple lines of with irregularly shaped, bulbous forms contact with younger artists and incorporate that confuse the boundaries between this awareness in their teaching and research. abstraction and figuration. Edward Sullivan regularly publishes essays and organizes exhibitions on Latin American art, one of the most ascendant fields in contemporary art. In New York Magazine’s special 2012 issue on the art world, Thomas Crow, contributing editor at Artforum, was listed in its “Insider’s List of 100 Insiders,” the only art historian among nine writers included.

Rachel Harrison, American Bar, 2014, Wood, polystyrene, cardboard, cement, acrylic, jacket, hanger, and kitchen scrubber, 92 x 53 x 28 in. Courtesy of the Artist and Greene Naftali, New York Rob Pruitt lecture, Artists at the Institute, October 2013 35 Institute of Fine Arts Annual 2013 - 2014

fee ill was was ouis. H L Tricia Tricia haf (Julie C ifa.nyu.edu (Cristin in- L aul S athleen C owry Murray L ristin Tierney C niversity; alumna lexis U A ork, including Julie ew Y N accepted the position of Chief Curator accepted the position slip Saul Gallery), Barbara Mathes (Barbara Mathes Gallery) and Gardarin Gallery, see more on page 33). see more Gallery, Gardarin These individuals join an expansive community of curators, conservators, dealers, trained at the and scholars who were on Institute over the years and have gone in the world of to develop a rich career contemporary art. at the Contemporary Art Museum St. Many members of our alumni community was named Curator at the Albright-Knox was named Curator Joe Martin Art Gallery; alumnus hold leadership positions in world-renownedhold leadership galleries: institutions and contemporary months, alumna In recent of Deputy Director, took up the position Art Gallery; also at the Albright-Knox Ph.D. candidate as Con- began her tenure Paik recently at the Indianapolis temporary Art Curator candidate Jeffrey Museum of Art; and Ph.D. U The Institute’s students and recent alumni recent students and The Institute’s David Wintonnamed Curator of the Bell Gallery at Brown also run successful contemporary art galler ies in ew rt N A Institute of Fine Arts, September-October 2013 eat Hall Exhibitions, Institute of Fine Arts, September-October nited States with a fully nited States with a fully U ogram in the conservation ogram in the conservation ontemporary ontemporary ynda Benglis works in The Gr C L onservation of Modern of Modern onservation ork City offers unrivaled opportunities unrivaled opportunities ork City offers The Contemporary Art Consortium is an online journal initiated and managed students. Visit the website for by IFA exhibitions and events recent of reviews of contemporary art: ifacontemporary.wordpress.com Y for our students, many of whom complete for our students, many collections great internshipsin the city’s of modernand contemporary art. We education for this believe that the best a firm in specialty begins with grounding this introduction traditional forms of art. To taught by area students add seminars experts, such as Issues in Conservation of Modern and Contemporary Paintings, Art With A Plug, and The Conservation of Public Art, which discuss artist interviews, issues, and replication materials, modern models for collaboration. and is the only graduateThe Conservation Center in the program of modernand contemporary art. C developed pr Contemporary Art at the Institute

Public Programming The Museum Research Since 1983, the Institute has supported Consortium Artists at the Institute – a student-orga- This year, the Institute has partnered with nized lecture series that invites artists to the Museum of Modern Art and the grad- discuss their work with the IFA community. uate art history programs of Columbia, Over the years, we have welcomed a CUNY Graduate Center, Princeton, and long line of pioneering artists including Yale for the creation of the Museum Laurie Anderson, Janine Antoni, Xu Bing, Research Consortium, funded by the Matthew Buckingham, John Cage, Christo Mellon Foundation. Directed by MoMA & Jeanne-Claude, Coco Fusco, Robert curator Leah Dickerman and managed by Gober, Leon Golub, Felix Gonzalez- 36 IFA alumnus Jason Dubs, the consortium Torres, Dan Graham, Hans Haacke, Mona Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine includes a year-long training program for Hatoum, Jenny Holzer, Emily Jacir, William five pre-doctoral students from the part- Kentridge, Barbara Kruger, Zoe Leonard, nering institutions in exhibition planning Julie Mehretu, Shirin Neshat, Adrian Piper, and collection work. In the course of the Walid Raad, Matthew Ritchie, Martha program, the students participate in Study Rosler, Doris Salcedo, Richard Serra, Lorna Sessions during which they view and Simpson, Kiki Smith, Nancy Spero, Rachel study works from the museum’s collection. Whiteread, Fred Wilson, Krzysztof Wodiczko, They also serve as pre-doctoral Fellows, The Yes Men, and Andrea Zittel. where they are positioned as integral This series joins our annual Kirk Varnedoe members of MoMA’s curatorial team by Memorial Lectures that was established working on upcoming exhibitions and in 2006 to honor and perpetuate the collection research and display. The first memory of Professor Varnedoe’s dedi- IFA student to participate in the program cated and innovative teaching, mentor- this year is Rachel Kaplan, who is working ing, and scholarship at the Institute of in the museum’s photography department Fine Arts. This series of three talks, given with curators Roxana Marcoci and Sarah annually by the Visiting Varnedoe Profes- Meister on the exhibition From Bauhaus sor, explores new research in modern and to Buenos Aires: Grete Stern and Horacio contemporary art. Visit page 46 to learn Coppola, which will open in 2015. about the 2013-2014 lectures by Thierry de Duve and Briony Fer.

Members of the IFA faculty regularly curate exhibitions of works by living artists, as well as publish articles and books on contemporary art. Visit the faculty research section to learn more about their most recent activities (page 19).

Michael Fried and Jas´ Elsner at the conference Art History and the Art of Description 37 Institute of Fine Arts Annual 2013 - 2014 ifa.nyu.edu ong, and L olina, in the fall of 2013, s Global Technology s Global Technology ’ U , Christina Y N orth Car N software. At the workshop, At the workshop, ImageJ software. garet Wessling. garet indsay Ganter Mar Services department. Participating students Brandon, Elizabeth Buhe, included Claire L Workshop on Digital Tools Workshop held its first In February 2014, the IFA As part of the on Digital Tools. Workshop Initiative (page 38), this Mellon Research workshop examined the use and potential of of digital technologies in the research and conservation. archaeology, art history, distributed grants to five students The IFA by learning and to further their research applying tools such as GIS technology and of the progress the students presented their experience of using and their research comments from digital tools, and received principals of The new tool has generated genuine enthu- has generated genuine The new tool Shows our colleagues. Ms. among siasm on the a paper co-presented Varone and Mr. tool at of this data visualization development inthe Southeastern Art Conference College Greensboro, and Artstor has posted preliminary information preliminary and Artstor has posted blog. An interview with about the tool on its of the tool Bhagat about the development Mr. Vimeo page. As the Institute appears on IFA’s its use of data visualizations,continues to expand used for the devel- the kind of collaboration analysis tool will opment of this collections leading edge of the field. help keep us on the

ser U arone, and and arone, ork Times in its on-line ork Times ew Y N

in a way that is easy to see. editing and correction of systemic problems of systemic problems editing and correction that it picks up data entry errors, allowing bulk that it picks up data entry errors, covered that a secondary benefit of the tool is covered be visible. DMS Manager Jenni Rodda dis- term. needing expansion will immediately Areas of database records associated with the affiliated of database records The larger the bubble, the larger the number the bubble, the larger The larger architecture might be visualized in this way. be visualized in this way. might architecture such as “architecture”) as it compares with other as it compares such as “architecture”) and images of between images of sculpture used by the into their collections. Each “bubble” represents a single piece of information (faculty requestor, for example, or general classification terms, requestors might values in the same field. Faculty or the balance to one another, be compared tion with Artstor’s Assistant Director for Assistant Director tion with Artstor’s them visible using D3.js, a JavaScript library deeply collections managers to “see” more pleteness becomes more acute. In collabora- pleteness becomes more collection by collection, and make Artstor, of information “bubbles” colored that allow analyze their contents for coverage and com- analyze their contents for coverage and from tool that would “harvest” raw numbers will eventually be publicly available, creates As databases grow and evolve, the need to and evolve, As databases grow a envisioned Webmaster, IFA’s Varone, Mr. tool, which interactive graphics. The resulting es visible through the Artstor Digital Library. the Artstor es visible through and Imaging Program, Technical in the Tisch which appear alongside the 1.6 million imag- which appear alongside Bhagat, an advanced graduate student tent. Mr. accessible through the University’s database, the University’s accessible through con- help visualize image database collections are the approximately 180,000 digital images 180,000 digital the approximately are Services, Rebecca Shows, Jason V to Shilpan Bhagat developed an on-line tool most importance to the current community the current most importance to format practiced during the last century. Of format during the last century. practiced than a million images in every photographic than a million images department’s Image Archive comprises more comprises more Image Archive department’s Accessible to IFA students and faculty, the and faculty, students Accessible to IFA web-based investigations and image searches. and image searches. web-based investigations access, presentations in a variety of media, in a variety of media, access, presentations projects now include data visualizations, archival data visualizations, now include projects project that incorporates images. Supported images. Supported that incorporates project closely with students and faculty on any research on any research students and faculty closely with IFA’s Digital Media Services department works Media Services department Digital IFA’s Digital Media Initiatives Media Digital Mellon Research Initiative

In March 2010 the Institute of Fine Arts was Archaeology, University College London). The awarded a grant from the Andrew W. Mellon coordinators have also participated in the Foundation to support a four-year project to academic life of the Institute through public examine the state of advanced research in the lectures and one-on-one meetings with stu- fields that are the primary components of the dents to discuss their research. program at the IFA: art history, archaeology, 2013-2014 and conservation. The aim of the project is For more information on these conferences, to ask where these areas are going, what are please visit the Mellon Research Initiative the strengths in given areas of study, what do page at ifa.nyu.edu. Videos of the events are they require in terms of resources to pursue available on the IFA’s Vimeo page. advanced research, how these resources are best managed, and how is learning best deliv- Art History and the Art of Description ered in curriculum and training programs. The (October 2013) 38 project acknowledges the Institute’s leading Organized by Jas´ Elsner, this colloquium was

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine role in these fields, but is also intended to designed for art historians to reflect on their review the IFA’s current position, organization, own practice in working the object into a form and research activities and to suggest ways to susceptible to argument and verbal analysis. enhance and to forward its leadership. The conference speakers included some of the foremost thinkers in the field, including This initiative gives the IFA the opportunity to Svetlana Alpers, Thomas Crow, Michael Fried, bring distinguished scholars to the Institute as David Joselit, and Alexander Nemerov. project consultants and collaborators, as par- ticipants in workshops and symposia, and as visiting professors. The consecutive appointments of three two-year postdoctoral fellows has allowed the IFA to support and to benefit from the highest caliber of new research by bringing promising young art historians into our community (page 16). We will be welcoming a final, one-year postdoctoral fellow in the Mellon Student Grantee Ileana Selejan presents her research 2015-2016 academic year. at the conference Art History and the Art of Description This ambitious project is divided into three Conservation and Its Contexts components: advisory groups convened to (December 2013) study institutional aspects of research and to Convened by Jim Coddington, this session review the IFA’s place in promoting present surveyed the emerging interactions between and future research; workshops and confer- conservation and associated disciplines, includ- ences designed to explore trends, themes, ing art history, archaeology, ethnography, and and topics in current research; and student more. This multi-disciplinary symposium ex- affiliation through research grants and amined this trend in terms of present practice, reading groups. as well as from a historical perspective, with Workshops and Conferences speakers from the fields of communication, Three external coordinators were invited in conservation, museum studies, and art history. 2011 to develop conferences exploring key issues in conservation, archaeology, and art history as separate and as interlocking disciplines and in relation to other fields: Jim Coddington (Chief Conservator, Museum of Modern Art); Jas´ Elsner (Humfrey Payne Senior Research Fellow in Classical Archaeology and Art, Corpus Christi College, Oxford University, and Visiting Professor of Art History at the University of Chicago); and David Wengrow (Professor Glenn Wharton speaking at the conference Conservation of Comparative Archaeology, Institute of and Its Contexts 39 Institute of Fine Arts Annual 2013 - 2014

ifa.nyu.edu oup and the Mellon Postdoctoral this symposium will explore explore this symposium will lifkin S ffiliation tienne, A E oémie Etienne obert N R oémie tudent Mellon Student Reading Group meeting led by Rob SlifkinMellon Student Reading Group and Student Research Grants Student Research grants As part of the Mellon Initiative, research In its third year, the Mellon reading group group the Mellon reading year, In its third students the opportunity for IFA provided to the series and to discuss key texts related Organized themes of the Mellon conferences. by a aim was to provide Fellows, the group’s congenial forum for discussing conceptual the fields and methodological issues across and conservation, archaeology, of art history, the and enable a deeper engagement with Mellon events. in conjunction students IFA to awarded were with the events Art History and the Art of on Digital Description and the Workshop information More about the students’ Tools. can of their presentations and videos research Initiative’s be found on the Mellon Research website. page on the IFA Student Reading Gr N notion of surface during the eighteenth the and in diverse culturalnineteenth centuries texture the It will not only address contexts. and color of theirartworks, but also skins and representation. S and art history to consider the analytical shift to consider the and art history - and its impli “surface” to “substrate,”, from public and research, for teaching, cations outreach. and Surfaces in the Eighteenth 2015) (March Nineteenth Centuries Fellow by Mellon Postdoctoral Organized

to this lifkin, S ambert-Beatty in this conference , this conference L chweizer S obert R nton engrow A W avid D ogramming: 2014-2015 ovember 2014) pcoming Pr Joe Scanlan, Claire Bishop and Carrie Joe Scanlan, Claire Is Contemporary Art History? Alexander Alberro, Thomas Crow, Matthew J. Jackson, Thomas Crow, Alexander Alberro, N three main themes: (1) object practices, themes: (1) object practices, main three and material contexts. The event addressed and material contexts. The event addressed relate to evolving discourse, cultural practices to relate (3) ensemble cultures. examine Japan’s divergent approaches divergent examine Japan’s as they originality and authenticity, towards to curating and conserving, (2) approaches ( Convened by ology and Art History of Material Transfers U “Surface” to “Substrate”: The Archae- From This conference was organized by Mellon was organized This conference (April 2014) Conserving Works of Art and Architecture of Art and Architecture Conserving Works Postdoctoral Fellow Materiality in Japan: Making, Breaking and Materiality in Japan: Making, Breaking ing researchers in archaeology, anthropology, anthropology, archaeology, in ing researchers history. This conference will bring together lead- This conference history. with broad implications for its sister field of art with broad pline of archaeology is currently undergoing, undergoing, is currently pline of archaeology will examine the scientific revolution the disci- will examine the scientific sion on these issues. short papers, followed by an in-depth discus- short papers, followed and Darby English, among others – presented among others – presented and Darby English, including Alexander Alberro, Claire Bishop, Bishop, Claire Alberro, including Alexander Organized by the IFA’s by the IFA’s Organized of contemporary art – Esteemed scholars Is Contemporary Art History? (February 2014) Is Contemporary Art of contemporary art. new disciplinary terrain servation. informationpage 37. For more see of the methodological implications broader research of art history, archaeology, and con- archaeology, of art history, research better understand the workshop sought to use and potential of digital technologies in the of digital technologies use and potential The Workshop on Digital Tools examined the Digital Tools on The Workshop (February 2014) (February Digital Tools on Workshop The IFA offers a unique experience to its students through a range of sponsored archaeological projects. Students of any discipline are invited to participate in annual excavations, to enhance their historical studies with object-based research.

For more information visit: http://ifa.nyu.edu

Pediment of Gaudin's Fountain, Aphrodisias 41 Institute of Fine Arts Annual 2013 - 2014 ifa.nyu.edu odisias,Turkey odisias,Turkey phr For additional information of these excavations Journal, Archaeology a publication view the IFA excava- IFA’s at the of research on the progress Samothrace, tion sites: Abydos, Aphrodisias, and Selinunte. The Journal is available for website. the IFA’s download from Brian Castriota (M.A. student in conservation), Selinunte excavation, 2013 Aphrodisias is one of the most important is one of the most important Aphrodisias and Roman sites of the Greek archaeological The city was famous in periods in Turkey. and for its antiquity for its cult of Aphrodite It enjoyed a long, prosperous marble sculptures. the second century BCE through existence from marble the sixth century CE, and its buildings, remarkably and public inscriptions are sculpture, excavation focuses The current well preserved. and conservation of previously on the recording excavated monuments, establishing permanent systems for documentation and conservation, excavations, and scientific new targeted and publication. research A existence from the second half of the seventh the existence from third the middle of the through century BCE temples, fortifi- and its sanctuaries, century BCE, In 2007, well preserved. houses are cations, and excavation on the Acropolis began its the IFA focusing on the of Selinunte in western Sicily, of the ancient of the main urban sanctuary area the The excavations document colony. Greek andthe architectural as well as social history, in unusually fine of an ancient city visual culture provided has already detail. Fieldwork to date important evidence concerning the history of colo- arrival of the Greek Selinunte prior to the finds of pottery andnists, as well as significant as votive offerings originally dedicated sculpture in the sanctuary area.

ehensive A is engaged A is engaged niversity and the niversity and U and of the Dead. The and of the Dead. The oughout the Classical L eece r Abydos excavation, 2013 G icily S gypt E

bydos, niversity of Pennsylvania, the IF Pennsylvania, the niversity of elinunte, amothrace, Sanctuary of the Gods, Samothrace. View of the Hieron Sanctuary of the Gods, Samothrace. View Hieron of the the south. from S Selinunte was famous thr monumental temples. It enjoyed a prosperous monumental temples. It enjoyed a prosperous world for the richness of its farmland and of publications, as well as conservation. project’s emphasis is on study and preparation emphasis is on study and preparation project’s S At this stage, the of Hellenistic architecture. context of Egyptian history and culture. context of Egyptian his successors, and seminal in the formation over time, and its relation to the broader the broader to over time, and its relation has worked in the Sanctuary Since 1938, the IFA and marble buildings, dedicated by Philip II site, how its operations and meaning evolved site, how its operations great its famous mystery cult with a series of understanding of the ancient activities at the understanding of the Gods, uncovering the home of of the Great god Osiris, ruler of the god Osiris, ruler of later became the primary cult place of the later became the primary a compr excavations aim to build as the burial place of Egypt’s first kings, and Egypt’s as the burial place of Abydos in southern Egypt. Abydos is known study of the history of the significant site of history of the significant study of the in an ambitious long-term archaeological long-termin an ambitious archaeological U A In collaboration with Yale with Yale In collaboration IFA Excavations IFA Abydos excavation, 2013 43 Institute of Fine Arts Annual 2013 - 2014 .

, U Y ay The N H : U U Y U ifa.nyu.edu Y niversity: N Y niversity U N U N os Angeles: Assistant L hen, nia, S Professor of Art Professor John H. Foster oser, seng, Associate Pro- Assistant Professor, Assistant Professor, Independent Scholar: sü, Assistant Professor of Professor Assistant Reader in the History of H Associate Curator of sueh-man driana Pr arkness, an-ying T Ph.D. candidate, Department Ph.D. candidate, Department H A H L ofessor of Chinese Art, Central . alkenhausen, F About 1638: Artists and Networks ausland, U ampbell, ea and Painting in the Work of Qian Work ea and Painting in the Y atch, C than niversity of Califor C illian U inoshita, siang-ling H N an, Pr L E Y U K Y H N e and Personality in Early China. Moder- e and Personality in ondon: omi L ir ileen oderick hane Mc othar von Academy of Fine Arts, Beijing: The E-Pang Palace: Memories and Imaginations. Moder- ated by of in the Early Modern Moderated by World. Ailsa Mellon Deputy Director; Jonathan Hay, of Fine Arts, Institute of Fine Bruce Professor Arts – Zheng Clarity and Quietude: Literati Aesthetics Clarity and Quietude: between T and Picturing Writing Thus Have I Heard: the Dharma 如是我聞：佛法的傳抄與描繪. Moderated by Chair in of Fine Arts; Ehrenkranz Professor Institute of Fine Arts – Art, World S L ated by Study – Gallatin School of Individualized Princeton of Art and Archaeology, Jonathan Du (1764-1844): Moderated by E H Chinese Art, Philadelphia Museum of Art: the Chinese Architectural Reinterpreting Art. Galleries at the Philadelphia Museum of Moderated by Asian Art, Asia Society Curator for Traditional Art of China in the Department of the History at SOAS, of Art and Archaeology R Wild the Numinous: Animals in Shang Art and Cultur Ailsa Mellon Bruce Professor Deputy Director; of Fine Arts, Institute of Fine Arts – Institute for the Study of the Ancient fessor, – World East Asian Archaeology and History, Institute Institute and History, Archaeology East Asian of the Ancient World, for the Study History, Michael

TE U oland .

R eopold U L Y STIT N N lexander oject A phrodisias Jane and A and U Y G AT THE I THE G AT N d; Research Professor, Professor, d; Research arrist, N H orkshop W ecture Series, Series, ecture esearch at esearch L R obert R u Dacheng (1835-1902) and u Dacheng (1835-1902) and oject niversity W odisias excavation team to discuss team to discuss odisias excavation Director, Excavations at Aphrodisias; Director, U Field Director of Excavations at of Excavations Field Director - and Archaeol ofessor of Classical Art niversity of Oxfor hina Pr ob Pruitt. mith, IC PROGRAMMI IC U C S R L

April 2014 Bruguera, Artists at the Institute, Tania . B

R niversity: rtists at the Institute rtists at the Institute rchaeological rchaeological . U okolicek, incoln Pr aking advantage of the IFA’s location in one aking advantage of the IFA’s of History of Art and Architecture, Boston Boston of History of Art and Architecture, Associate Professor, Department Qianshen Bai, Associate Professor, and art history. and art history. progress on topics in Chinese archaeology in Chinese archaeology on topics progress Moderated by Columbia Workshop is a discussion forum for work in Workshop the Modern Culture. Fate of Chinese Literati of Chinese Art History, Professor Swergold U Established in 2011, The China Pr The Tania In 2013-2014 we welcomed artists Tania inspired the series. inspired memory of IFA Professor Kirk Varnedoe, who Kirk Varnedoe, Professor memory of IFA and their work at the Institute. Begun in 1983, these their work at the Institute. Begun in 1983, gift in now funded by a generous talks are Bruguera, Benjamin Patterson, Paul Pfeiffer, Student Association invites artists to discuss Student Association invites artists to discuss Aphrodisias, Institute of Fine Arts – Institute of Fine Aphrodisias, T leading art centers, the Graduate of the world’s A Institute of Fine Arts – Institute of Fine Arts S R L ogy, The Fall 2013 lecture was presented by was presented The Fall 2013 lecture most recent trip to the site. most recent A their results from research their findings and Colloquia, and Consortia and Colloquia, P Annual of the Aphr This annual lecture brings together members brings together members lecture This annual PUBLIC PROGRAMMING AT THE INSTITUTE Annual Lecture Series, Colloquia, and Consortia

Walter W.S. Cook Annual Lecture Alan Phenix, Scientist, The Getty Conserva- The Walter W. S. Cook Lecture is organized tion Institute, Los Angeles: Some instances by the IFA Alumni Association in honor of in the history of distilled oil of turpentine, the Professor Cook, Founding Director of the IFA disappearing painters’ material and historian of Medieval Spanish Art. Julie Wolfe, Associate Conservator in Deco- Emilie E.S. Gordenker, Director, Royal Pic- rative Arts and Sculpture Conservation, J. ture Gallery Mauritshuis: Are Cross-Sections Paul Getty Museum: Memory of Color: The Boring? The Case of Saul and David Conservation of Roy Lichtenstein's Outdoor Painted Sculpture Director’s Extracurricular Seminar The Director’s Extracurricular Seminar invites Samuel H. Kress Lecture 44 distinguished scholars to share and discuss The Samuel H. Kress Lecture is delivered

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine their current research with the IFA community annually by a prominent scholar in conserva- and graduate students. tion, who presents important issues within the fields of painting conservation and technical Noémie Etienne, Andrew W. Mellon Post- art history. This event is made possible through doctoral Fellow, 2013-2015, Institute of Fine the generosity of the Samuel H. Kress Arts – NYU: Does Conservation Challenge Art Foundation. History? Diderot, Goethe and the Materiality of Artworks Cecilia Frosinini, Coordinating Director of Art History, Opificio delle Pietre Dure, Florence: Richard Ettinghausen Memorial Lecture The Adoration of the Magi: The Fertile Mind This annual lecture was established by Elizabeth of Leonardo da Vinci Ettinghausen in memory of her late husband Richard Ettinghausen, IFA professor of Islamic Seminar on Greek and Roman Art Art. The event in Fall 2013 “Iranian Modernism: and Architecture A Conversation” featured a series of speakers The Seminar on Greek and Roman Art and followed by a panel discussion: Architecture invites scholars to share their current research with the IFA community on Lynn Gumpert, Director, Grey Art Gallery, Ancient Art and Archaeology. NYU: Siah Armajani and Bijan Dowlatshahi, Francesco de Angelis, Associate Professor of Fereshteh Daftari, Curator and Scholar; co- Roman Art and Archaeology, Columbia Uni- Curator with Layla Diba of the current exhibi- versity: Gods, Temples and Visibility: Repre- tion Iran Modern, Asia Society: Parviz Tanavoli senting Ritual in Roman State Art in context Jas´ Elsner, Humfrey Payne Senior Research Edward Sullivan, Helen Gould Sheppard Fellow in Classical Archaeology and Art, Uni- Professor in the History of Art, Institute of Fine versity of Oxford; Visiting Professor of Art His- Arts – NYU: Alternative Modernities: Middle tory, University of Chicago: Art and Rhetoric in Eastern & Latin American Art in the Mid- the Arch of Titus twentieth Century Mark Wilson Jones, Senior Lecturer in Judith Praska Professorship Public Lecture Architecture and Director of Postgraduate This visiting professorship, established by an Research, University of Bath: Temples, Orders anonymous donor and named in honor of the and Gifts to the Gods in Ancient Greece donor’s grandmother, welcomes a prominent conservator or scientist each semester to the Ken Lapatin, Associate Curator of Antiquities, IFA who is advancing new areas for research J. Paul Getty Museum: What’s in a Name: and teaching in art conservation. The profes- Signatures on Classical Gems, Ancient and sorship will run for four years through Spring Modern 2016. 45 Institute of Fine Arts Annual 2013 - 2014 ; Y ifa.nyu.edu UN C eries , Dallas: Cam- S Institute of amothrace S nia, Berkeley: Zoo e ch at ullivan, ectur e brings together the niversity L S U ector of Excavations in the Associate Professor of Art Associate Professor g dinated by the Graduate Fordham Fordham Barbara Mundy, esear d J. ; R VisualArtist, São Paulo: U ilson, Y atherine Manthorne, W dwar N ilberber K E Professor of Art History, of Art History, ejada, Professor S niversity of Califor , Dartmouth College; James fey, escoat, Dir ilveira, . U S of H W C Wellesley College Wellesley chaeological les, aniel r niversity oberto T egina D Planned and coor History, A Regina Silveira in conversation with Edward with Edward in conversation Regina Silveira Brazil- her work and contemporary Sullivan on ian art R in São Paulo and Experience era-Culture New Panel Discussion: Mexican Art in Focus: Celebrating in Mexican Art History, Research Art and Oles’s the Publication of James in Mexico Architecture Speakers: Fine Arts – U O This new annual lectur and other Bonna Wescoat, director, project’s members of the team to discuss their findings of the Great the Sanctuary from and research Gods on Samothrace, Greece. by was presented The Spring 2014 lecture Bonna Gods on Samothrace, Sanctuary of the Great of the Victory: Vantage the and titled From on the Nike Monument in the New Research Gods, Samothrace Sanctuary of the Great Student Association, this series of lectures and con- invites art historians, archaeologists, servators, specializing in a variety of periods with their latest research to share and genres community and general public. The the IFA Series ad- Lecture 2013-2014 Silberberg translation plays the complex role dressed of and interpretation within the production art—considering how images and objects across have been mined and recontextualized and medium, as well as time, space, culture, exploring the limits of visual communication and literacy in fostering new ways of thinking influence, and audience. about appropriation, Julia Bryan- Mantras: Simone Forti in Rome R Southern Methodist Mary : U

Y rt N A d; Re- History The Evolving : ed by the : merican U U A elinunte Y Y S gamon and Turkey gamon and . N N U atin Y ponsor L S ofessor of Classical Ar- ofessor of Classical N ch at niversity of Oxfor U Wortham Curator of ez, Wortham Director of Excavations at Director ously funded by the Institute Postdoctoral Fellow, Postdoctoral Fellow, orum esear Director, Visual Arts, The Director, F R amír Director of Excavations coni, Director incoln Pr tudies on R mith, L ector, International Center for the ector, S S . angel, e brings together members of the R R . R odriguez, merican eek East under Rome: City Monuments eek East under Rome: armen R A C chaeological abriela lemente Mar r oland Director, Deutsches Archaeolo- Director, elix Pirson, inda atin atin American Art, Museum of Fine Arts, Department of Art History, Department of Art History, Mari Canon: Latin American Art at MoMA 1945-55 L and Art in Early Nineteenth-century Cuba G tory and Museum Studies, 1960-80 Associate Professor of Art His- Miriam Basilio, Associate Professor L Houston; Dir Americas Society: Art and Politics in Venezuela world. The Case of Antonio Berni recognition of Latin American art around the of Latin American art around recognition Arts of Americas: Re-assessing Postwar Realisms: the IFA to foster greater understanding and to foster greater the IFA invites distinguished visiting lecturers to invites distinguished visiting lecturers coordinated by Professor Edward Sullivan – Edward by Professor coordinated Institute of Fine Arts – L Institute for andfor Studies on Latin American Art (ISLAA) in the History of Greek Art and Archaeology, Art and Archaeology, in the History of Greek The Fall 2013 lecture was presented by was presented The Fall 2013 lecture C Professor at Selinunte; James R. McCredie search from the Selinunte excavation in Sicily. from search project’s team to discuss their findings and re- team to discuss their findings and project’s This forum – gener the Classical Building A the Athenian Akropolis: New Evidence about New the Athenian Akropolis: The Propylaia to The Propylaia Athenian Akropolis: Project, chaeology and Art, Restoration Propylaia former of the director This lectur Greek Ministry of Culture, Ministry of Culture, Greek Tanoulas, Tasos and Political Ideology Restoration Activities in Per Restoration R Aphrodisias; Institute of Fine Arts – Professor, search The Gr Conservation and – Istanbul: Conservation gisches Institut F PUBLIC PROGRAMMING AT THE INSTITUTE Annual Lecture Series, Colloquia, and Consortia

Marie-Helene Girard, Visiting Professor of Colloquium for Modern and Contemporary French, Yale University: “Un autre monde très Art from the Middle East and South Asia lointain et très inconnu”: British Painters in This Colloquium offers a platform from which Paris in 1855 to explore modern and contemporary art and the visual cultures from the Middle East and Eva Hoffman, Assistant Professor of Art and South Asia. Art History, Tufts University: Connections Far and Wide: Translating Art and Culture in the Afruz Amighi, artist, in conversation with Medieval Mediterranean World Anooradha Iyer Siddiqi, Ph.D. candidate Michael Ann Holly, Director Emeritus of the New York Aegean Bronze Age Colloquium Research and Academic Program, The Sterling Founded in 1974, the New York Aegean 46 and Francine Clark Art Institute: Painted Silence Bronze Age Colloquium is celebrating its 39th

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine year at the IFA. The Colloquium is internation- Alessandra Russo, Associate Professor, Depart- ally recognized as a premier venue for pre- ment of Latin American and Iberian Cultures, senting new discoveries and ideas on Aegean Columbia University: Untranslatable Images? Bronze Age and related Eastern Mediterra- Kaja Silverman, Keith L. and Katherine Sachs nean prehistory and art. Professor of Contemporary Art, University of Joost Crouwel, Professor Emeritus, University Pennsylvania: Unstoppable Development of Amsterdam: Recent Work at Early Helladic Geraki, Laconia Robert B. Koehl, Professor of Classical and Oriental Studies, Hunter College: It’s a Dog’s Life: Canines in Minoan Culture Sara Levi, Associate Professor, University of Modena: New Evidence for Mycenaean Trade with the West Jerolyn Morrison, Doctoral Candidate, Michael Ann Holly, Daniel H. Silberberg Lecture Series, University of Leicester: The Art and November 2013 Archaeology of Cooking: Late Minoan Mochlos and Papadiokambos The Annual Kirk Varnedoe Memorial Lectures The Kirk Varnedoe Memorial Lectures were Thomas Strasser, Associate Professor of Art established in 2006 to honor and perpetuate History, Providence College: Ice Age Sea the memory of Professor Varnedoe’s dedicat- Faring in the Mediterranean: Dramatic New ed and innovative teaching, mentoring, and Evidence from Southwest Crete scholarship at the Institute of Fine Arts. Nancy Thomas, Professor Emerita, University Fall 2013: Thierry de Duve, Professor of Jacksonville: A Lion’s Eye View from the Emeritus, Université de Lille 3 Bronze Age Kant’s “Free play…” in Light of Minimal Art Adamantia Vassilogambrou, Ephoreia of Joseph Beuys and the German Past, Tentatively Laconia: A New Mycenaean Palace in Laconia: “This is art”: Anatomy of a Sentence Excavations at Agios Vasileios Spring 2014: Briony Fer, Professor of Art Colloquium on Art in Spain and Latin America History, University College London For this series of informal lectures and panels, Series title: State of Abstraction leading specialists are invited to the Institute Lygia Clark and the problem of art to explore art historical and broader contex- Abstraction and abjection: Eva Hesse and tual issues relating to the arts of Spain and conditions of making Latin America. The series is coordinated by Abstraction’s “B” side: Albers and Reinhardt 47 Institute of Fine Arts Annual 2013 - 2014 ew N ne-la- ifa.nyu.edu ew School ew School N niversity of U Director, Kun- Director, onsortium ova, C N est in the arts of the Re- o Curator of Drawings and Caricature and Rebellion ork: Caricature Postdoctoral Fellow in Material Fellow in Material Postdoctoral niversity of Paris-Est Mar niversity of Paris-Est ew Y Associate Professor of Modern Associate Professor Ph.D. Candidate, enaissance U lessandr N R A ripp, ee, L F L'Âme de Lotus: Floral Animations in L'Âme de Lotus: Floral afont, ork L Y ew armen Bambach, nne honja March 2014 March Rendez-vous Seminar, Frédérique Baumgartner, ork, and Y Leonardo's sthistorisches Institut, Florence: Anatomical Drawings and the Cognitive Value of Images Zurich: N The Renaissance Consortium was established to bring together scholars, students, curators, and others with inter the Consor- naissance. Now in its fourth year, tium is a network for publicizing information workshops, and exhibi- lectures, on research, The Consortium area. tions in the New York maintains an online calendar and a listserv, events. sponsors related and regularly C Museum of Art, Prints, The Metropolitan Jessica Century in Rome in the Eighteenth A for an Atlantic Portraiture: Proposals Vallée: Saint-Domingue around Paris, Philadelphia, 1800 C 1900 Art around French Centre Postdoctoral Fellow, van Tilburg, Merel de l’art, Paris: Embroidery allemand d’histoire as History Painting in Belgium and Tapestry 1900: Colonialist Exhibition and France around Pieces by Hélène de Rudder and Georges Rochegrosse for Design, for Design, Art History, and Visual Culture, Parsons The and Visual Culture,

atin L niversity: U eminar on S er and Director olina: Points of A Genealogy of ectur L , orth Car N niversidad Autónoma de niversidad Autónoma Profesora titular de Profesora A inaugurated Rendez-vous Associate Professor of Art Associate Professor niversity: U U n International os Angeles County Museum: Assistant Professor of Art Assistant Professor L A lcalá, , Curator and co-Head of Architect, Keenen Riley Architects: , Architect, A ouglas, niversity of iley D rt The Problem of the Canon and the of the Canon and The Problem elson, R U A lena atzew N do El Greco and Ribera: The Workshop as and Ribera: The Workshop El Greco E K : Research Fellow¸Palais ole Blumenfeld, Research U omen Artists in Hubert Robert’s Views of the omen Artists in Hubert Robert’s ench Y ar dele endez-vous: duar r rédérique Baumgartner uisa painter of her time Marguerite Gérard, the most successful genre the most successful genre Gérard, Marguerite of M.A. in Art History, Columbia of M.A. in Art History, W Fesch-Musée des Beaux-arts d'Ajaccio: C Louvre’s Grande Galerie Louvre’s F open discussion with students and colleagues. In Fall 2013, the IF informal setting, followed by an and creative national scholars to present their research in an their research national scholars to present American Art, R F art (eighteenth to twentieth a seminar on French by Noémie Etienne, Mellon centuries) organized This series invites inter- Postdoctoral Fellow. and Pre-Crisis Architectural Innovation in Spain: Post-Bilbao Architectural Thoughts on the State of the Field Eighteenth-Century Painting in Mexico: Eighteenth-Century Painting in Mexico: Temple History, A Terence Terence Second São Paulo Bienal History, History, the Modernism and for Brazil: Mário Pedrosa Factory E Ilona N in Spanish America Painting Traditions Historia del arte, of Fine Arts- of Fine Arts, Institute Professor and Development of Contention: The Sources Carroll and Milton Petrie Carroll Jonathan Brown, possible. Painting History of Spanish Colonial Richard Huber for making the Colloquium Huber for making the Richard L edge the continuing support of Roberta and continuing support edge the Madrid: and Edward Sullivan. We gratefully acknowl- gratefully We Sullivan. and Edward Professors Jonathan Brown, Robert Lubar, Robert Lubar, Brown, Jonathan Professors PUBLIC PROGRAMMING AT THE INSTITUTE Conferences and Symposia

The IFA-Frick Symposium Mellon Research Initiative For more than half a century, The Frick Collec- In March 2010 the Institute of Fine Arts was tion and the Institute of Fine Arts have hosted awarded a grant from the Andrew W. Mellon a symposium for graduate students in art Foundation to support a four-year project to history. The symposium offers doctoral candi- examine the state of advanced research in the dates in art history the opportunity to deliver fields that are the primary components of the original research papers in a public forum program at the IFA: art history, archaeology, and to engage with colleagues in the field — and conservation. Three external coordinators novice and expert. This event is preceded by have been invited to develop workshops and an in-house symposium with presentations by conferences exploring key issues of these dis- three IFA students, of which one is selected to ciplines, and their relation to other fields. In represent the IFA. In 2013-2014, the following 2013-2014, we held five conferences as part presentations were given: of the Initiative: 48 • Kara Fiedorek, A Farsighted Thing to Have • Art History and the Art of Description Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine Done: Walker Evans’s Subway Photographs • Conservation and Its Contexts • Tara Prakash, Feathers and Chiefs: • Mellon Digital Tools Workshop Iconography and Libyan Identity in the Art • Is Contemporary Art History? of Third Intermediate Period Egypt • Materiality in Japan: Making, Breaking and • Kristen Gaylord, Robert Heinecken, Conserving Works of Art and Architecture Exposing the Negative For more information on these events, please see page 38. Special Engagements Cultural Heritage in Troubled Times: Protocols of Participation: Recent Models War Damage, Pillaging and Saving the of Socially Engaged Art in the United Monuments States and Europe A globally oriented discussion by scholars This panel discussion was held in collabora- who share a deep concern for the preservation with the French Embassy in the United tion and security of cultural heritages every- States for their special series: Art2: An where. Moderator: David O’Connor International Platform on Contemporary Art. Panelists: Matthew Adams, Zainab Bahrani, Panelists: Laura Raicovich, Xavier Douroux, Sarah Brett-Smith, Finbarr Barry Flood, Thérèse Legierse Laurie Rush, Eman Zidan Moderators: Alexander Nagel and Thomas Crow Multiple Sites, Multiple Meanings: Archaeo- logical Projects of the Institute of Fine Arts Symposium in Memory of Evelyn B. Harrison This event provided an opportunity for the A special event in memory of Evelyn B. IFA community to experience the extraordi- Harrison, Edith Kitzmiller Professor of the nary scope and depth of current and poten- History of Fine Arts, Institute of Fine Arts – tial archaeological field projects sponsored NYU (1920-2012). by the IFA. Introductory remarks: James R. McCredie and Randolph Harrison Le Corbusier, an Atlas of Modern Landscapes Speakers: Sheila Dillon, Rachel Kousser, A special lecture presented by Jean-Louis Carol Lawton, and Alan Shapiro Cohen, Sheldon H. Solow Professor in the History of Architecture, Institute of Fine Rethinking and Retrofitting the Arts – NYU in conjunction with Architecture Encyclopedic Museum and Design Month This event took place as part of Professor Philippe de Montebello’s class, The Art Mu- seum: An Imperfect Construct? Speakers: Michael Govan, Director, LACMA and Tom Lentz, Director, Harvard Art Museums Study at the IFA Study at the IFA

The Institute of Fine Arts is dedicated to tural centers, arts foundations, archaeological graduate teaching and advanced research in site management and development, art conser- the history of art and archaeology and in the vation, or eventual doctoral work in art history conservation and technology of works of art. or archaeology. The program is two years The Institute encourages students to excel of full-time study or three years of part-time in historical and material investigation and study for those with established professional to develop skills in close looking and critical careers, who wish to continue working while thinking. It promotes independent judgment attending the Institute. and the highest standard of research. The degree programs provide a focused and rigorous experience supported by interaction with leading scholars, and access to New York’s museums, curators, conservators, archaeo- 50 logical sites, and NYU’s Global Network.

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine The Ph.D. and M.A. programs at the IFA offer a course of study designed for the individual who wishes to investigate the role of the visual arts in culture through detailed, object-based examination, as well as historical and theoretical interpretation. Edward Sullivan at the Latin American Forum, April 2014

Doctor of Philosophy Advanced Certificate in Conservation The Ph.D. course prepares students to The Institute’s Conservation Center is dedicated conceptualize, plan, and execute ambitious to the study of the technology and conser- and original research projects and to make vation of works of art and historic artifacts. contributions to scholarship. The program The Center prepares students for careers in is designed for six years of full-time study. conservation through a four-year program that Students are exposed to a wide range of combines practical experience in conservation questions and approaches through taking a with art historical, archaeological, curatorial, combination of courses that both introduce and scientific studies of the materials and major historical issues and allow students to construction of works of art. Students enroll specialize by conducting in-depth research. in the M.A. program in art history and, at Students have opportunities to pursue their the same time, undertake research projects, studies in museum settings and in fieldwork. laboratory work, and seminars in special areas Research-led teaching and close mentoring of conservation, such as advanced x-ray equip students to work critically and creatively techniques and the treatment of modern in specialist fields and to take a sophisticated and contemporary paintings. approach to broader areas of art historical Students gain intensive conservation expe- inquiry. rience through advanced fieldwork and a Master of Arts nine-month internship. They are encouraged The Institute’s M.A. program in the History of to obtain additional conservation experience Art and Archaeology is intended for students during summer archaeological excavations or who wish to further develop their writing and other formal work projects. The Conservation academic areas of interest before pursuing Center also provides courses in connoisseurship a Ph.D., and for students with a developed and technical art history for those pursuing interest in the visual arts who wish to earn an studies in art history, archaeology, and curatorial advanced degree without the commitment studies, which are intended to acquaint them to a doctoral program. The M.A. degree will with the physical structure of works of art, and prove useful for students interested in careers need for preservation as well as the possibilities in art museums, galleries, auction houses, cul- and limitations of conservation practices. Previous page: Ph.D. candidate Julia Feldman giving a presentation during Noémie Etienne’s seminar Artworks in Progress. 51 Institute of Institute Fine Arts Annual 2013 - 2014 Annual Arts Fine

2013-2014 Leon Levy Visiting Fellow Moses Mkumpha in Technology and Structure of Works of Art I: Organic Materials, Fall 2013

Classes are taught by the Center’s distin- Yuan Dynasty; Venice and the Islamic World, guished full and part-time faculty, many of 828–1797; Prague, The Crown of Bohemia, whom serve as conservators and scientists at 1347-1437; and the new installation of the New York City’s prestigious museums. New American Wing. Curatorial Studies Certificate Curatorial Studies Alumni have held leader- This component of our doctoral program is ship positions at some of the world’s foremost offered jointly by the Institute of Fine Arts and art institutions, including The Art Institute of The Metropolitan Museum of Art, under the Chicago; Boston Museum of Fine Arts; The supervision of the Joint Committee on Frick Collection; Harvard Art Museums; J. Paul Curatorial Studies, which is composed of Getty Museum; Library of Congress; The Met- faculty, curators, and the Directors of both ropolitan Museum of Art; National Gallery, institutions. The purpose of the program is to London; Philadelphia Museum of Art; and the prepare students for curatorial careers in spe- Smithsonian Institutions. cialized fields. The course of study normally requires completion of three to four years of study in our doctoral program. The certificate requirements include a paid nine-month resi- dency in a museum’s curatorial department, and participation in the offered curatorial studies courses: Curatorial Studies: Exhibition Practices and Curatorial Studies: Collections and Curating. Past exhibitions that have been featured in these courses: Man, Myth, and A Curatorial Studies workshop led by James Draper, Henry Sensual Pleasures: Jan Gossart's Renaissance; R. Kravis Curator, Department of European Sculpture The World of Khubilai Khan: Chinese Art in the and Decorative Arts, The Metropolitan Museum of Art

ifa.nyu.edu

2013-2014 Ph.D. Graduates

William Ambler Cindy Kang AnnMarie Perl “The Portrait Workshop at the “Wallflowers: Tapestry, “The Integration of Show- Court of Philip III of Spain“ Painting, and the Nabis manship into Modern Art: (Jonathan Brown) in Fin-de-siecle France“ Dalí, Picasso, Georges (Linda Nochlin) Mathieu and Yves Klein, Jennifer Babcock 1945-1962“ “Anthropomorphized Animal Ariela Katz (Linda Nochlin) Imagery on New Kingdom “Maisons du Peuple: Moder- Ostraca and Papyri: Their Ar- nity and Working Class Iden- Christina Rosenberger tistic and Social Significance” tity in French Architecture, “The Early Work of (David O'Connor) 1919-1940” Agnes Martin“ (Jean-Louis Cohen) (Thomas Crow) Lauren Cannady “Owing to Nature and Art: Minna Lee Deanna Sheward The Garden Landscape “The Archaic Korai from the “Building for the Bomb: 53

and Decorative Painting in Athenian Akopolis: A Re- Monumentality and the of Institute Eighteenth-Century French examination of the Material Manhattan Project“ Pavillons de Plaisance“ Evidence“ (Jean-Louis Cohen) (Thomas Crow) (Clemente Marconi) Anooradha Siddiqi 2013 - 2014 Annual Arts Fine Christopher Corradino Matthew Levy “The United Nations Refugee “The Life and Work of “Abstract Painting and the Agency and the Architecture Giovanni Mansuetti“ Minimalist Critiques: Robert of the Camp“ (Colin Eisler) Mangold, David Novros, (Jean-Louis Cohen) Jo Baer“ Nathaniel Donahue Jennifer Sudul (Robert Storr) “Decorative Modernity “The Early Works of Niki de and Avant-Garde Classicism Joe Lin-Hill Saint Phalle“ in Renoir’s Late Work, “Becoming Global: Contem- (Linda Nochlin and 1892-1919“ porary Art Worlds in the Age Robert Storr) (Linda Nochlin) of the Biennials Boom“ Brendan Sullivan (Robert Storr) Nicholas Herman “The Remembrance of Good “Jean Bourdichon (1457- Lihong Liu Men and the Stories of the 1521): Tradition, Transition, “Places and Place: Wen Deeds of Valiant Men Justly Renewal“ Zhengming’s Late Work and Enflames and Excites the (Jonathan Alexander) the Significance of Jing“ Hearts of Young Knights: (Jonathan Hay) Representing History in the Christine Giviskos Fifteenth Century“ “Abraham Bosse and the Meggie Morris (Jonathan Alexander) Fine Art of Printmaking and “Rediscovering Madrid Publishing in Seventeenth- through the Lens of Tourism: Julia Valiela Century France“ An Analysis of La Luna de “Model Women: Female (Mariet Westermann) Madrid, 1983-1984“ Portrait Busts in Renaissance (Thomas Crow) Italy” Kenji Kajiya (Beverly Brown) “Unfolding Modernism: Rory O’Dea Reconsidering Clement “Science Fiction and Mythic Greenberg's Art Criticism and Fact: Robert Smithson’s Ways the Paintings of Helen Fran- of World Making“ kenthaler, Morris Louis, and (Robert Storr) Kenneth Noland, 1948-1961“ (Robert Lubar)

Previous page: Lindsay Ganter (M.A. candidate) presenting during the Workshop on Digital Tools ifa.nyu.edu 2013-2014 M.A. Graduates

Adwoa Adusei Theresa Cunningham Cassandra Herzberg “Vernacular, Colonial and “Building the New City: Labor, “Ian Cheng’s Entropy Modern: Building National Infrastructure and Social Inter- Wrangler“ Cultural Institutions in the action in the Work of Gustave (Robert Slifkin) Anglophone Caribbean” Caillebotte“ Rachael Hirt (Edward Sullivan) (Robert Lubar and “The Founding of Akrotiri: Pepe Karmel) Blair Apgar Unique Foreign Connections “Examining Architectural Emily Dellheim and Extraordinary Architec- Similarity in Rival Cities: The “Between Tradition and tural Aesthetics“ Case of S. Michele and San't Modernity: Ardengo Soffici, (Günter Kopcke) Ambrogio” Paul Cezanne and Florentine Jessica Hong (Marvin Trachtenberg) Futurism“ “The Traumatized and Perfor- (Ara Merjian) 54 Haley Berkman mative Body: The Art of Alina

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine “The Constructed Reality of Sarah Ferguson Szapocznikow.“ the Iraq War and the War in “Classical and Christian (Robert Slifkin) Afghanistan“ Imagery on a Thirteenth- Amy Hughes (Robert Slifkin) Century Brass Pyxis“ “Joseph Meder and the Art (Finbarr Barry Flood) Caitlin Breare of Reconstruction“ “In the Eye of the Beholder: Katherine Gambaccini (Margaret Holben Ellis) Conservation and the Mecha- “Fifty-Three Stations of the Laura Aime Iglesias Lukin nisms of Visual Perception“ To¯kaido¯: Hiroshige and the “Contrabienal: Art Politics (Michele Marincola) Visualization of a Culture and Identity Conformation of Movement in Tokugawa Brian Castriota among Latin American Artists Japan“ “The Weight of Time: The in New York in the Late 1960s (Anton Schweizer) Significance and Obsolescence and Early 1970s“ of the Three-Gun CRT Video Lindsay Ganter (Edward Sullivan) Projector in Diana Thater’s “Hidden Structures in James Adela Janickova The Bad Infinite“ Turrell’s Skyspace Series“ “A Sensation Rendered (Michele Marincola) (Marvin Trachtenberg) Visible in the Paintings of Angelina Cavalli Madeleine Glennon Francis Bacon“ “Strategically Placed: Privileged “The Awful Face: The Gorgon (Thomas Crow) and Public Installation Sites in in Sicilian Architecture in the Lauren Johnson Florentine Sculpture“ Archaic and Early Classical “‘Thy Studio is a Hall of (Marvin Trachtenberg) Periods“ Memory:’ John Frederick (Clemente Marconi) Sara Chang Kensett's Landscapes after “O Seligkeit, Ole Kleinen Katherine Goebel the Civil War“ Kreation: The Literary and “Pounded Ivories into Painted (Robert Slifkin) Journalistic Art of Keith Crimsons: Édouard Vuillard's Theresa Ketterer Vaughan“ The Album Series as Artistic “Guercino's Roman Style“ (Thomas Crow) Collaboration and Synesthetic (William Hood) Experience Between Painter Jonathan Cox and Patron“ Johanna Levy “Ideal Antiquities: Isolation (Meredith Martin) “The Foundry, Mining, and and Translation at the Baths Landscape in the American of Diocletian“ Lindsay Henry Civil War“ (Marvin Trachtenberg) “Bearing Witness: Weimar (Noemie Etienne) Women and Experience“ (Robert Slifkin) Kara Li Alyse Muller Colleen Watkins “Art Collecting in “Turning Over New Ground: “The Early Works of Velázquez Contemporary China“ Mediated Images of The and los velazqueños: The (Jonathan Brown) Plowing Lesson in Post- Art Market and Collecting in Thermidor France.“ Seventeenth-Century Seville“ Amy Liebster (Thomas Crow) (Jonathan Brown) “The Girl I Left Behind Me: Women’s Prescribed Roles in Kristen Newby Margaret Wessling the Narrative of the Civil War“ “Early Roman Urbanization in “Wire Transfer Facsimile (Robert Slifkin) Asia Minor: Aphrodisias as a Prints in The Metropolitan Case Study“ Museum of Art’s Photography Jia Liu (Katherine Welch) Collection“ “The Formation of a Feminine (Margaret Holben Ellis) Symbol: Women and the Trope Jillian Pfifferling of the Moon-Window in Qing “Bodies of Distinction: Rosso Lauren Whitton 55

Dynasty Meiren Paintings“ Fiorentino’s Dead Christ “Rebuilding the American of Institute (Jonathan Hay) (c.1524-1527) and Bacchus, Dream: Catherine Opie’s Venus and Cupid (c.1530)“ Landscape Photographs“ Christina Long (Patricia Rubin) (Robert Slifkin) “Understanding Meroitic 2013 - 2014 Annual Arts Fine social stratification through Kate Phillips Amy Zalaznick spatial patterning in the “Flipped: The Topsy-Turvy “Musical Light: James Turrell Lower Nubian cemetery at Networks of Civil War Era and The Collective Experience” Karanog“ Illustrated Envelopes“ (Robert Slifkin) (David O’Connor) (Robert Slifkin) Yvonne Zhao Emily Lynch Rachel Raice “Form and the Re-making “Sutured Skin: An Investigation “Reversing The Southern of Meaning: The Practice of of Embroidered Parchment Narrative: Eudora Welty’s Writing in Chinese Contem- Repairs at Weingarten Abbey“ Reimagined Photographs“ porary Art” (Margaret Holben Ellis) (Marvin Trachtenberg) (Jonathan Hay) Anna Majeski Allison Ross “Giotto’s Virtues and Vices at “The Female Spectator in Advanced Certificate the Arena Chapel“ Eighteenth-Century France: in Conservation (Alexander Nagel) The Luxembourg Gallery“ (Meredith Martin) Morgan Adams Jessica Man “Controlled Vanishings: the Alexandra Sterman Margarita Berg Dual Identities of James Turrell“ “Constructed Continuities: Kristin Bradley (Thomas Crow) Traditionalist Modes and Activities of Late Republican Caitlin Breare Sara Meadows Shanghai“ “Latin American artists in Shauna Young Breatore (Jonathan Hay) London in the ’60s and ’70s: Brian Castriota Cecilia Vicuña“ Sajda van der Leeuw (Edward Sullivan) “The Glass Plate’s Reality: Emily Lynch The Infinite Camera Without Cassity Miller Amy Hughes Ego of Walter De Maria’s “The Aesthetics of Imperma- The Lightning Field“ Sophie Scully nence: The Vitrine, Deteriora- (Robert Slifkin) tion, and Meaning in Postwar Cybele Tom Art“ Margaret Wessling (Michele Marincola)

ifa.nyu.edu IFA Course Offerings Art History and Archaeology Courses 2013-2014

Fall 2013 Ancient Roman Art: Readings From Idea to Embodiment: and Critiques of New Schol- Architectural Theory, Practice, Foundations I for M.A. Stu- arship and Reception in Renaissance dents: Practices of (Colloquium) Italy Art History Katherine Welch (Seminar) (Lecture) Marvin Trachtenberg Katherine Welch Velázquez (Colloquium) Italy: Architecture and Urban Beautiful Mistakes: Translation Jonathan Brown Design (1860-1980) Issues in Language and Art (Lecture) Golden Age of Spanish Painting (Ph.D. ProSeminar) Jean-Louis Cohen Hsueh-man Shen (Colloquium/Lecture) 56 Jonathan Brown Los Angeles: An Experiment Art and Archaeology of Early Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine in Architectural Invention New Inquiries into the How and Medieval China (Seminar) and Why of Eyckian Art (Lecture) Jean-Louis Cohen Hsueh-man Shen (Seminar) Colin Eisler Art Since 1940: The View Around 1200: Islamic Art, from London Dürer in His Day and Ours Islamicate Art and the (Lecture) (Colloquium) Pre-Modern Intercultural Thomas Crow (Colloquium) Colin Eisler Research Forum for Doctoral Finbarr Barry Flood Medieval Treasures from Students in Early to Late Hildesheim Art in the Age of Empires Modern Art (Colloquium) (Lecture) (Seminar) Gerhard Lutz Priscilla Soucek Thomas Crow Introduction to the Study of Multiple Civilizations: Ancient Don’t Shoot the Messenger: Medieval and Renaissance Egypt in Its African Context Marcel Duchamp and the Architecture (Lecture) Turn of the 20th Century (Colloquium) David O’Connor (Seminar) Marvin Trachtenberg Thierry de Duve Minimalism (Colloquium) Robert Slifkin Course highlights The Real and the Fictive in Beautiful Mistakes: Translation Contemporary Art Issues in Language and Art (Seminar) Robert Slifkin Hsueh-man Shen (Fall 2013) Art in Mexico from the This seminar assessed the role of translation in establishing Revolution to ‘La Ruptura’ the intellectual genealogy of Chinese art. Focusing on [c. 1910-1950] the interrelationship between language and art, this (Lecture) seminar explored the ways in which modern translations Edward Sullivan of primary texts mediate the discourses about Chinese The History and Meaning of art history, and how they dictate our imagination for the Museums ancient past. Students also examined how text and im- (Lecture) age inform each other during the process of ‘translation’ Philippe de Montebello between verbal and visual languages, to foreground the complexity of conceptual blending thus involved. Curatorial Studies: Collec- New Developments in the Susceptible Geometries: tions and Curating Archaeol- Study of New Spanish Painting Critical Problems in ogy and the Curator (Seminar) Abstraction Now (Colloquium) Jonathan Brown (Seminar) Barbara Boehm Briony Fer The Contest of the Arts in Spring 2014 France 1660-1740: The Visual Art Historical Hermeneutics Chinese Secular Painting in Arts with and Against Drama, (Colloquium) Asian Perspective, 10th to Music, Dance, Gardens and Robert Lubar the Decorative Arts 15th Century Painters/Sculptors (Seminar) (Seminar) (Seminar) Thomas Crow Jonathan Hay Robert Lubar 57

Titian to Tintoretto: Topics in of Institute Place, Landscape, and Travel John Cage & Experimental Venetian Painting in the Arts of South Asia Composition: Paradigm of (Lecture) (Seminar) Postmodern Art

William Hood 2013 - 2014 Annual Arts Fine Dipti Khera (Seminar) Picturing Alterity in Japan Architectural Space and Julia Robinson Decoration in Eighteenth- (Seminar) Arbus, Friedlander, Century Europe Anton Schweizer Winogrand (Seminar) (Seminar) Islamic Figurative Sculpture: Meredith Martin An Introduction Robert Slifkin The Sculptural Imagination in (Seminar) Sites of Contemporary Art, Italian Renaissance Art Finbarr Barry Flood Mexico City and Oaxaca (Seminar) (Seminar) Wealth: Greek Art from Patricia Rubin the Beginning Edward Sullivan Advanced Study in Medieval (Lecture) The Art Museum: An and Renaissance Architecture Günter Kopcke Imperfect Construct? Culture (Colloquium) Approaches to Greek and (Colloquium/Workshop) Philippe de Montebello Roman Art and Architecture Marvin Trachtenberg (Colloquium) The Paul Lott Lectureship Art Collecting in the USA Clemente Marconi Curatorial Studies: (Colloquium) Exhibition Practices Portraiture in Ancient Egypt: Jonathan Brown A Cross-Cultural Perspective (Colloquium) (Seminar) SoHo in the 1970s: Alternative Diana Craig Patch and David O’Connor Spaces and the Formation of Adela Oppenheim an Artistic Community Women in Ancient Egyp- (Colloquium) tian Art: An Understudied Thomas Crow Category (Lecture) Artworks in Progress: The David O’Connor Changing Materiality of Things (18th-21th Century) Ancient Roman Art and (Seminar) Archaeology of Western Asia Noémie Etienne Minor (Modern Turkey) (Seminar) Katherine Welch

ifa.nyu.edu IFA Course Offerings Conservation Center Courses 2013-2014

Fall 2013 Polychromy and Monochromy: Individualized Instruction: Examination and Treatment Treatment of Deteriorated Courses for Conservators of Wooden Sculpture Works of Art I Material Science of Art and (Seminar and laboratory) (Seminar and laboratory) Archaeology I Michele Marincola Conservation Center faculty (Lecture) and consultants Norbert Baer The Conservation Treatment of Inorganic Archaeological Individualized Instruction: Technology and Structure and Ethnographic Objects Examination and Analysis I of Works of Art I: Organic (Seminar and laboratory) (Seminar and laboratory) Materials Samantha Alderson Conservation Center faculty (Lecture and laboratory) and consultants 58 Conservation Center faculty The Conservation Treatment

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine and consultants of Prints and Drawings I Conservation Courses for Art Coordinator: Sarah Barack (Seminar and laboratory) Historians and Archaeologists Margaret Holben Ellis These courses are open to all Instrumental Analysis I art history, archaeology, and Special Topics in the Conser- (Lecture) conservation students. Dr. Marco Leona vation and Exhibition of Rare Books and Manuscripts The Technical Connoisseurship Easel Paintings I (Seminar) of Works of Art on Paper (Seminar and laboratory) Maria Fredericks (Seminar) Dianne Dwyer Modestini Margaret Holben Ellis The Treatment of Bound Examination and Conservation Materials in the Research Spring 2014 of Modern and Contemporary Library and Archive Paintings I (Seminar) Courses for Conservators (Seminar and laboratory) Alexis Hagadorn Material Science of Art and Suzanne Siano Archaeology II (Lecture) Hannelore Roemich Course highlights Technology and Structure The Treatment of Bound Materials of Works of Art II: Inorganic in the Research Library and Archive Materials (Lecture and laboratory) Alexis Hagadorn (Fall 2013) Conservation Center faculty and consultantsCoordinator: This seminar addressed the technical and aesthetic Sarah Barack considerations of various methods in the conservation of bound works within the context of the large collection Instrumental Analysis II setting. Treatment options, housing and storage were (Lecture) discussed in relation to examples from research library Conservation Center faculty and archive collections, as well as examples treated in and consultants individual student projects. The interactions between the Coordinator: Hannelore special collections book conservation laboratory, library Roemich public services, and the traditional library preservation activities of collection management and reformatting/ digitization were given special emphasis. The students also gained experience in a range of treatments applied to the artifact in general library collections, and collection- level stabilization treatments such as leather consolidation, simple board reattachment, and cloth case rebacks. Principles of Conservation Individualized Instruction: From Ruin to Record: The (Lecture and laboratory) Examination and Analysis II Documentation of Sites Conservation Center faculty (Seminar and laboratory) (Seminar and laboratory) and consultants Conservation Center faculty Will Raynolds and Coordinator: and consultants Anna Serotta Jean Dommermuth Conservation Courses for Art The Conservation of Preventive Conservation Historians and Archaeologists Public Art (Lecture and laboratory) These courses are open to all (Seminar and laboratory) Hannelore Roemich and art history, archaeology, and Julie Wolfe Steven Weintraub conservation students.

Paint, Coatings, and Solvents Issues in Conservation: His- 59

(Seminar and laboratory) torical and Ethical Consider- of Institute Dr. Alan Phenix ations in the Development of a Discipline Easel Paintings III

(Lecture) 2013 - 2014 Annual Arts Fine (Seminar and laboratory) Michele Marincola Nica Gutman Rieppi Connoisseurship: Materials The Conservation Treatment and Techniques of European of Prints and Drawings II and American Paintings, c. (Seminar and laboratory) 1200-1900 Margaret Holben Ellis (Colloquium) Readings in Paper Dianne Dwyer Modestini Conservation Alteration and Deterioration (Seminar) of Works of Art: Photographic Margaret Holben Ellis Materials Special Topics in the Conser- (Seminar and laboratory) vation and Exhibition of Rare Nora Kennedy Books and Manuscripts (Seminar) Maria Fredericks The Treatment of Bound Course highlights Materials in the Research The Conservation of Public Art Library and Archive (Seminar) Julie Wolfe (Spring 2014) Alexis Hagadorn The course explored the complex and interlocking issues Individualized Instruction: involved in the conservation of public art collections. It Treatment of Deteriorated emphasized the conservation of outdoor sculpture and Works of Art II addressed treatment, documentation, and condition (Seminar and laboratory) assessment. Students learned about the physical behavior Conservation Center faculty of materials exposed to a harsh outdoor environment, in- and consultants cluding bronze, stainless steel, painted metal, kinetic art, stone and contemporary materials. The course provided an overview of coatings as well as practical aspects in their application and removal. Other topics fundamental to the care of outdoor collections were addressed including strategies for developing a maintenance plan, evaluating risks, and insuring safe installation.

ifa.nyu.edu IFA Course Offerings Art History and Archaeology Courses 2014-2015

List as of April 2014. Please Late Antique Material Spanish Painting 1550-1700 check the IFA website for Culture: Soft Furnishings (Colloquium) updates: http://ifa.nyu.edu (Seminar) Jonathan Brown Thelma Thomas Fall 2014 El Greco Recent Research on the Art (Seminar) Foundations I for M.A. and Material Culture of Late Jonathan Brown Students: Practices of Antiquity Along the Nile Word and Image in the Art History (Egypt, Nubia, and Ethiopia French Renaissance (Lecture) (Colloquium) (Colloquium) Robert Lubar Thelma Thomas Colin Eisler The Album and Tell El Amarna: A Unique and 60 Music in Northern

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine Chinese Painting Controversial Initiative in An- Renaissance Art (Seminar) cient Egyptian City Planning (Seminar) Jonathan Hay (Lecture) Colin Eisler Chinese Ceramics in Context David O’Connor Medieval Art: Themes and (Colloquium) An Emerging Civilization: Interpretation Hsueh-man Shen New Discoveries about (Lecture) Prehistoric and Early Reproduction and Replication Robert Maxwell (Seminar) Dynastic Egypt Hsueh-man Shen (Seminar) The Image in Movement David O’Connor (Seminar) Aleppo Reconsidered, Alexander Nagel Aleppo “Reconstructed” City of Rome: Republic (Lecture) to Empire Architecture, Art, and the Priscilla Soucek (Seminar) City: Frank Gehry Since 1960 Katherine Welch (Seminar) Jean-Louis Cohen Art and Engagement: The Course highlights Responsibility of Intellectuals Aleppo Reconsidered, Aleppo (Seminar) Robert Lubar and “Reconstructed” Jordana Mendelson Priscilla Soucek (Fall 2014) Contemporary Art and the Plight of Publicness Of the historic cities of the Near East, Aleppo is among (Lecture) the best studied by scholars of urbanism and architectural Robert Slifkin history. Until the outbreak of hostilities that continue to erode its physical state, Aleppo attracted the attention The Modern Monument of generations of scholars for its well-preserved historic (Seminar) core erected in the locally quarried limestone. Its urban Robert Slifkin fabric was analyzed and many structures were mapped Modernism in Four Latin and some of them were published in considerable detail. American Centers Although the degradation of its built environment con- (Lecture) tinues, the published record of the city’s past can still be Edward Sullivan used to examine the process whereby the city changed over time in response to political, military and economic pressures. Such an examination also highlights the broader artistic, architectural and historical forces that affected the region during the tenth to twentieth centuries. 61 Institute of Fine Arts Annual 2013 - 2014 orth ifa.nyu.edu N ineteenth merica, esentation N A ontext, ne– C epr O rt R fect A tudies: f entral S A aribbean C culptor isplay: ubar ubar C S isual L L D V d Sullivan emispheric H - om Boys to Men: Masculini entury: Part merica, rt on uratorial onceptual xhibition Practices r and the (Seminar) Edwar Meaning, (Colloquium) Philippe de Montebello Picasso ties in (Colloquium) Robert C A A C E (Colloquium) Barbara Boehm and Melanie Holcomb (Seminar) Robert F C (Colloquium) Robert Slifkin The Photojournalist Imagination (Seminar) Robert Slifkin The y- oss- H rt r oémie rt A C rance, A N F rt in omans rt: chitecture A R r ent A mbedded chitecture, chitecture, A r E aples urr A C N isions in V iplomacy: agel and elch tudy in Medieval ollections rt D S N chitecture and the chitecture C esuvius: xchange in A r V E rachtenberg A enaissance istories of iction: ch in Medieval R e) ouis Cohen ouis Cohen ork H F rt of enaissance L L Y R A edith Martin eams and chitectural Theory and oto- ew ectur r merican Ideal dvanced ontemporary onservation as r ultural ities of ussian enaissance esear ruth/ L permodernism ( R A (Seminar) Jean- A and N C Jean- C Theory (Colloquium) Alexander Etienne A Practice in the Italian R (Seminar) Marvin T (Colloquium) Marvin Trachtenberg Italian (Seminar) Patricia Rubin Postmodernism to from C D Medieval R C of on the Bay (Seminar) Katherine W The c. 1650-1789 (Seminar) Mer (Seminar) Robert Maxwell T (Colloquium) Robert Maxwell Pr - sia A uring ynasties D eccan: outh D S D urating ntiquity ulnerability ulnerability bject, the rt and Mate C A ellenism V hina uan A O H coni C Y orld and ate tudies: ext emples W L S e in rt and elhi to the

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List as of April 2014. Please The Conservation Treatment The Treatment of Bound check the IFA website for of Stone Sculpture Materials in the Research updates: http://ifa.nyu.edu (Seminar and Laboratory) Library and Archive Michele D. Marincola (Seminar and Laboratory) Fall 2014 Alexis Hagadorn The Conservation Treatment Courses for Conservators of Decorative and Fine Art Color and Perception Material Science of Art Inorganic Objects (Seminar and Laboratory) and Archaeology I (Seminar and Laboratory) Conservation Center faculty (Lecture) Sarah Barack and consultants Norbert Baer Coordinator: The Conservation of Hannelore Roemich 62 Technology and Structure Wooden Artifacts

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine of Works of Art I: Organic (Seminar and Laboratory) Individualized Instruction: Materials John Childs Treatment of Deteriorated (Lecture and Laboratory) Works of Art I The Conservation Treatment Conservation Center faculty (Seminar and Laboratory) of Prints and Drawings I and consultants Conservation Center faculty (Seminar and Laboratory) Coordinator: Michele and consultants Marincola Margaret Holben Ellis Individualized Instruction: Introduction to the Conserva- Instrumental Analysis I Examination and Analysis I tion of Photography (Lecture) (Seminar and Laboratory) (Seminar and Laboratory) Dr. Marco Leona Conservation Center faculty Nora Kennedy; and consultants Easel Paintings I Katie Sanderson (Seminar and Laboratory) Conservation Courses for Art Special Topics in the Conser- Dianne Dwyer Modestini Historians and Archaeologists vation and Exhibition of Rare The following courses fulfill the Examination and Conservation Books and Manuscripts Foundations II conservation of Modern and Contemporary (Seminar and Laboratory) requirement for art history Paintings I Maria Fredericks (Seminar and Laboratory) students. Suzanne Siano The Technical Connoisseurship of Twentieth-Century Works of Art on Paper Course highlights (Seminar) Color and Perception Margaret Holben Ellis Lascaux to 9/11: Case Studies Conservation Center faculty and consultants in Architecture Conservation Coordinator: Hannelore Roemich (Colloquium) (Fall 2014) Norbert Baer This course explores the scientific aspects of color in and on works of art. The range of topics includes history and chemistry of dyes and pigments, color measurements and quantification of color change, accelerated and natural light aging studies, color theories and color order systems, chemical and physical causes of color, advanced research on multispectral imaging, as well as relevant aspects of the science of vision and color perception. 63 Institute of Fine Arts Annual 2013 - 2014 - istory H opean onser C rt ur ontaining E A C ight, Mov- L aboratory) L ohnert rtwork ound, A S onservation e) merican Paintings, c. merican Paintings, echniques of echniques A C ectur ontemporary onservation Theory onnoisseurship: Materials onnoisseurship: rt with a Plug: The L (Seminar) Michele Marincola Christine Fr C C ( Salvador Muñoz-Viñas C and T and 1200-1900 (Colloquium) Dianne Dwyer Modestini A vation of Motion, ing Images and Interactivity (Seminar and Issues in Technical

pring 2015) rt S A ontaining Motion, ch C nalysis II esear ights A l R chaeologists: ight, Moving Images and ight, Moving Images and rohnert ( rohnert r ourses for eteriorated n aboratory) aboratory) aboratory) L F A chive C L L L D r A high rt II

A rtwork rse A u rt with a Plug: The ound, hristine o orks of S Interactivity C The preservation of artworks containing technology-based components concern increasing the art of to is conservation profession, not only because of the preservation challenges of rapidly obsolescing components, but also because of the artworks' very specific relationships to time, space and concept. An historical overview of the development of electric and electronic media art will set the basis for closera look at the conservation challenges of media such as film, slide, video, light, sound, kinetic, interactive installations as well as digitally-born, computer-based and Internet art. The significant differences and challenges posed by the examination and the preservation of media-based art will be discussed through case studies. Emphasis is put on the decision-making processes based on ethical standards in conservation. C A of istorians and onservation xamination and ibrary and ibrary and C H The following courses fulfill the L (Seminar and Alexis Hagador W (Seminar and faculty Conservation Center and consultants Individualized Instruction: E Conservation Center faculty and consultants Foundations II conservation for art history requirement students. The Treatment of Bound of Bound The Treatment in the Materials Individualized Instruction: of Treatment (Seminar and - e ar R e lass ganic onser rt and G C A reatment reatment iñas tructur S rawings II nalysis II aboratory) aboratory) aboratory) aboratory) onservation aboratory) aboratory) aboratory) rt II: Inor onservators L L L L D A C L L L onservation xhibition of A C C E cience of e Roemich; Steven S opics in the edericks

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ica Gutman Rieppi ectur ectur ectur ectur ectur pring 2015 r ourses for ourses for asel Paintings II pecial T L L L L L (Seminar and vation and Books and Manuscripts Maria Fr S of Prints and (Seminar and Kar The Salvador Muñoz-V (Seminar and N (Seminar and E The Coor Weintraub and consultants Preventive Conservation Center faculty Jean Dommermuth ( Hannelor Principles of and consultants Conservation Center faculty Coor Instrumental ( ( ( and consultants of Materials faculty Conservation Center ( and Technology Hannelore Roemich Hannelore A C S Material Support the IFA

The James B. Duke House

Support the ifa Connoisseurs Circle

Membership to the Institute of Fine Arts’ patron of Modern Art of Le Corbusier: An Atlas of group, the Connoisseurs Circle, offers unparal- Modern Landscapes with Jean-Louis Cohen, leled access to our rich academic program, Sheldon H. Solow Professor in the History of renowned faculty, and to the art world in New Architecture. Programs expand beyond New York City and beyond. York City as well, with domestic day-trips and global experiences. Auditing Privileges Connoisseurs Circle members receive the To learn more about the Connoisseurs privilege of auditing Institute courses that Circle please contact Andrea Yglesias at cover a range of topics within art history, [email protected] or (212) 992 5812 conservation and archaeology. Recent courses or visit the IFA website at ifa.nyu.edu included Philippe de Montebello’s The History and Meaning of Museums; Issues in Conserva- Connoisseurs Circle 66 tion with Michele Marincola; Women in Ancient

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine Egyptian Art: An Understudied Category Executive Committee with David O’Connor and Jonathan Brown’s Velázquez, to name a few. Stephen R. Beckwith, Chair Special Events William L. Bernhard Members also receive invitations to exclusive art world events which are designed espe- Jane Draizen cially for their benefit. From artist studio visits Roberta Huber to faculty- and curator-led exhibition tours, to visits to some of New York’s finest private Guillaume Malle art collections, the Connoisseurs Circle offers Patricia Rubin (ex-officio) something for every interest. Recent events included a collection visit at the home of Judy Steinhardt Victoria and Samuel I. Newhouse, Jr., and a private after-hours tour at the Museum Alicia Volk

Connoisseurs Circle members at a private collection visit Support the ifa IFA Legacy Society

The IFA Legacy Soci- ety is a special group Corporate Patron Program of alumni, faculty and friends who have This year the Institute of Fine Arts launched recognized the im- the Corporate Patron Program – an exciting portance of planning initiative that provides corporations and their philanthropy by small businesses with the opportunity to providing for the In- align their support with their critical busi- stitute through their wills and estates, or other ness and marketing objectives. Corporate gift planning arrangements, such as gifts that Patrons receive an array of significant pay income to the donor. benefits including invitations to special We are pleased to honor the generosity of the events and unparalleled access to our cel- IFA Legacy Society’s Founding Members. Their ebrated faculty, to opportunities to visit our loyalty to the Institute will further art history, archaeological sites abroad or to entertain 67 conservation and archaeology scholarship closer to home at our historic landmark of Institute into the future: location, the James B. Duke House. To learn more about the Corporate Patron Corrine Barsky David T. Owsley*

Program, please contact Christina Tripi at 2013 - 2014 Annual Arts Fine Patricia and Stephen Anne Litle Poulet* [email protected] or (212) 992 5837 Beckwith Allen Rosenbaum* or visit the IFA website at ifa.nyu.edu. Katherine F. Brush* Virginia St. George Ruth Butler* Smith Anne* and Joel Marvin L. Trachtenberg* Ehrenkranz Joan Troccoli* Margaret Holben Ellis* Patricia Waddy* Maria Fera* Phoebe Dent Weil* Paul Lott Eric M. Zafran* Michele D. Marincola* Anonymous (4) Mercedes Mestre Priscilla Elkow Muller* *IFA alumni To start planning your gift to the Institute or to alert us you have done so already, please contact Andrea Yglesias in the Development Office at [email protected] or (212) 992 5812.

Momentum Campaign The Institute of Fine Arts, in conjunction already secured. Important lead gifts have with New York University’s $1 billion Mo- come from Judy and Michael Steinhardt, mentum Campaign, is pleased to announce Larry Gagosian and the Robert Lehman a goal to raise $50 million for student sup- Foundation. Help us achieve our goal to port by 2017, to ensure that future art histo- continue providing an unparalleled educa- rians, conservators and archaeologists have tion to our students while ensuring that the chance to achieve their dreams, unlock they graduate without incurring substantial debt. To discuss ways in which you can their potential and unleash their ambition. support an Institute student, please contact It is with great pride that we launch this Hope O’Reilly, Director of Development at initiative with $15 million in commitments [email protected] or (212) 992 5869.

ifa.nyu.edu Support the ifa IFA Fellowships

Endowed Fellowships Estrellita B. Brodsky Fellowship Marica and Jan Vilcek for Latin American Art History Fellowship in Art History Alfred Bader Fellowship For the study of Latin To support outstanding For the study of Dutch art in American art doctoral candidates Holland Florance Waterbury Fellowship Marica and Jan Vilcek Andrew W. Mellon For students specializing in Fellowship in Conservation Foundation Fellowship Asian art and the art of the To support Conservation For the study of Conservation western hemisphere students Bader Fellowship in Florence and Samuel Karlan Martin and Edith Italian Art Memorial Fellowship Weinberger Fund For the study of art in Italy To support a student who For scholarly purposes, Barbara P. Altman presents evidence of creativity including travel Fellowship and initiative 68 National Endowment for the

Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine For student summer travel Isabel and Alfred Bader Humanities Fellowship Beatrice Stocker Fellowship in Dutch Art For the study of Conservation Fellowship For the study of Dutch art at Paul Lott Fellowship Tuition assistance for the IFA Tuition support for IFA students IFA students J. Paul Getty Trust Fellowship Pearson Travel Fellowship Bernard Berenson Fellowship For internships in Conservation For student summer travel For doctoral study in the field James R. McCredie of Italian art Peter Jay Sharp Foundation Summer Grant Fellowship Bernard V. Bothmer Memorial For student summer travel to To provide tuition, living sti- Fellowship archaeological excavations in pend and travel bursary For the study of ancient classical lands for an IFA student Egyptian art Jean B. Rosenwald Fund Phoebe Dent Weil Fund for Charles and Rosanna For student summer travel Art Conservation Education Batchelor Fund Judy and Michael Steinhardt To support training and For student summer travel to Fellowship research programs in art study Mediterranean art and Support for PhD candidates at Conservation archaeology the discretion of the Director Richard Krautheimer Classical Art or Archaeology Khalil R. Rizk Travel Fellowship Fellowship Fellowship in Honor of Leon For student travel in Italy For a distinguished student Levy and Shelby White working in one of Professor For doctoral candidates Larry Gagosian Fellowship in Krautheimer’s fields of interest studying classical art and Modern Art archaeology For doctoral candidates Robert Chambers studying Modern art Memorial Fund Cook Payer Fellowship For student travel In memory of Walter Leon Levy and Shelby White W.S. Cook Fellowship Robert Goldwater Fellowship For internships in the field of Support for outstanding Donald S. Gray Fellowship Conservation doctoral candidates For student travel Lila Acheson Wallace Robert Lehman Fellowship Elizabeth A. Josephson Fellowship for Graduate Study in the Fellowship For students studying Egyptian, Fine Arts Tuition assistance for IFA Modern, Ancient Near East, For students showing promise students Greek and Roman art of making distinguished contributions to the field Roslyn Scheinman Fellowship Donald P. Hansen Student Samuel H. Kress Foundation To provide tuition assistance Travel Fund Aphrodisias Fund to IFA students who dem- To support student travel To support Conservation onstrate financial need and and research in Ancient Near students traveling to academic merit Eastern and Mediterranean Aphrodisias art and archaeology Starr Foundation Fellowship Samuel H. Kress Foundation For the study of Asian art Hagop Kevorkian Conservation Selinunte Fund Fellowship To support Conservation Stein Family Fellowship Support for Conservation students traveling to Support for outstanding students Selinunte doctoral candidates Ida and William Rosenthal The Selz Foundation The Fellowship in Greek and Foundation Fellowship Conservation Fellowship Roman Art and Archaeology For the support of an incoming Support for Conservation For an outstanding doctoral 69

student at the IFA students of Institute candidate in the field John L. Loeb, Sr. Fellowship Shelby White and Leon Levy Theodore Rousseau Fund To support first and second Travel Grant For doctoral candidates who year students at the IFA To support travel for students 2013 - 2014 Annual Arts Fine are considering museum after the completion of their careers, for travel and study Kaplan-Fisch Fellowship first year abroad in the field of Euro- Provides tuition, stipend, pean painting and travel support for the connoisseurship of European Walter W. S. Cook Fellowship paintings To learn about ways in For study in Spain, or the which you can support IFA study of medieval art and La Pietra Conservation students, please contact architecture Stipends Andrea Yglesias at To support Conservation Willner Family Fellowship [email protected] students traveling to Villa La For scholarly purposes, or 212 992 5812. Pietra including travel to Israel and work at the Israel Museum, Leon Levy Fellowship Jerusalem Program in Archaeological Conservation Annual Fellowships Provides financial support for Andrew W. Mellon Foundation students studying archaeo- Fellowship logical Conservation Support for Conservation Nancy Lee Fellowship students Support for outstanding Baroness Zerilli-Marimo doctoral candidates Travel Fund National Endowment for the To support student travel Humanities Fellowship and research Support for Conservation Connoisseurs Circle Fellowship students Support for outstanding Pierre and Tana Matisse doctoral candidates Foundation Fellowship Dedalus Foundation To increase the stipends for Fellowship doctoral candidates Support for a third year Richard Ettinghausen Conservation student Fellowship in Islamic Art Fellows supported by the Hagop Kevorkian Fund ifa.nyu.edu Support the ifa Donors to the Institute

Philanthropy plays an essential Roberta and Richard Huber Elizabeth B. Estabrook* role in fulfilling the Institute’s Stephen S. Lash Carol Hass Goldman mission to educate future Janice Carlson Oresman* Toni and James Goodale generations of art historians, Robert S. Pirie Jane Mack Gould conservators and archaeologists. Aso Tavitian Elisabeth Hackspiel-Mikosch* We gratefully acknowledge the Maurice Tempelsman Magda Saleh and Jack A. generosity of our supporters. Josephson $10,000-24,999 Mary S. Manges $5,000,000+ Jurate Kazickas and Mercedes Mestre Judy and Michael Roger Altman Priscilla Elkow Muller* Steinhardt Mary Lee Baranger* Michael A. O'Connor Patricia and Stephen Beckwith $1,000,000-4,999,999 Purcell Palmer Darcy F. and John T. Beyer Anne* and Joel Ehrenkranz Laleh Javaheri-Saatchi and Glenys and Kermit Birchfield 70 Larry Gagosian Cyrus Pouraghabagher Catherine* and Robert Brawer Fine Arts Annual 2013 - 2014 Annual Arts Institute of Fine Arthur L. Loeb Patricia Allen Ross Ildiko and Gilbert Butler Robert Lehman Foundation Fredric T. Schneider Hester Diamond Nancy Peretsman and $400,000-999,999 Estate of Evelyn B. Harrison* Robert Scully Andrew W. Mellon Foundation The Ida and William Rosenthal Virginia St. George Smith Marica and Jan Vilcek Foundation, Inc. Stephanie Stokes* Christina and Guillaume Malle $100,000-399,999 Susan B. Tirschwell Helen Nash Deborah Loeb Brice and Julie and David Tobey Victoria and Samuel I. James Brice Marie-Hélène Weill Newhouse, Jr. Estrellita* and Daniel Brodsky Mariët Westermann* and Dara J. Mitchell* and Rachel Davidson and Charles H. Pardoe, III Michael R. Offit Mark Fisch Daniel Wolf Barbara Pine Dedalus Foundation, Inc. Nadia Zilkha Cynthia Hazen Polsky and Marina Kellen French Anonymous (2) Leon Polsky Hagop Kevorkian Fund Jonathan D. Rabinowitz IFA Legacy Society Leon Levy Foundation Elizabeth and Reuben Richards We are pleased to honor the Malcolm Hewitt Wiener Kenneth J. Rosenbaum generosity of our Charter Foundation, Inc. Elaine L. Rosenberg Members of the IFA Legacy Pierre and Tana Matisse Alexandra Munroe* and Society. Their loyalty to the Foundation Robert Rosenkranz Institute will further art history, Samuel H. Kress Foundation Lois Severini* and Enrique conservation and archaeology Peter Jay Sharp Foundation Foster Gittes scholarship into the future: Deanie and Jay Stein Douglas Tilden World Monuments Fund Corrine Barsky Alicia and Norman Volk Anonymous (2) Patricia and Stephen Beckwith $5,000-9,999 $50,000-99,999 Katherine F. Brush* Lawrence B. Benenson Ruth Butler* 1984 Foundation Michelle Lita Berenfeld* Anne* and Joel Ehrenkranz American Research Center Catherine Cahill and Margaret Holben Ellis* in Egypt William L. Bernhard Maria Fera* Institute for Studies on Debra and Leon Black Paul Lott Latin American Art Evelyn Streit Cohen Michele D. Marincola* Dafna and Tom Kaplan Eileen Cohen Mercedes Mestre The Selz Foundation Amy Kathleen Cosgrove Priscilla Elkow Muller* $25,000-49,999 Margaret Culver David T. Owsley* Suzanne Deal Booth* and Cary Davis and John McGinn Anne Litle Poulet* David Booth Georgia Riley de Havenon Allen Rosenbaum* Gail and Alfred B. Engelberg and Michael de Havenon Virginia St. George Smith Marvin L. Trachtenberg* Carol Hass Goldman Fredric T. Schneider Joan Troccoli* Toni and James Goodale Lise Scott Patricia Waddy* Lorna B. Goodman Nancy Peretsman and Phoebe Dent Weil* Jane Mack Gould Robert Scully Eric M. Zafran* Sharon Grotevant The Selz Foundation Anonymous (4) Elisabeth Hackspiel-Mikosch* Lois Severini* and Enrique Gregory S. Hedberg* Foster Gittes Momentum Campaign Kathryn Moore Heleniak* Peter Jay Sharp Foundation Donors Roberta and Richard Huber Christine M. Singer* We are pleased to recognize Mary and Michael Jaharis Betty Selly Smith* those supporters of the In- Tom S. Kaplan Virginia St. George Smith stitute of Fine Arts who have Patricia E. Karetzky* Deanie and Jay Stein contributed to the Momen- Hagop Kevorkian Fund Judy and Michael Steinhardt tum Campaign for student Susan and Robert Klein Stephanie Stokes* 71 support. The following list Samuel H. Kress Foundation Anna* Marguerite McCann of Institute reflects those donors who Stephen S. Lash and Robert D. Taggart made a gift since the start of Robert Lehman Foundation Maurice Tempelsman the Momentum Campaign Leon Levy Foundation Cristin Tierney* 2013 - 2014 Annual Arts Fine on September 1, 2011 in the Christina and Guillaume Malle Susan B. Tirschwell amount of $1,000 or more. Mary S. Manges Julie and David Tobey Laurel Acevedo Claire Svetlik Mann* Anne W. Umland* Antiquarium, Ltd. Mercedes Mestre Marica and Jan Vilcek Meg A. Armstrong* The Mario Modestini Alicia and Norman Volk Patricia and Stephen Beckwith Foundation Stark* and Michael* Ward Lawrence B. Benenson Charles S. Moffett* Susan M. Wasserstein Catherine Cahill and William Priscilla Elkow Muller* Marie-Hélène Weill L. Bernhard Joanne D. Murphy Felecia Weiss Glenys and Kermit Birchfield Terry Naini Daniel Wolf Debra and Leon Black Helen Nash Reva June Wolf* Catherine* and Robert Brawer Victoria and Samuel I. Eric M. Zafran* Deborah Loeb Brice and Newhouse, Jr. Dale* and Rafael Zaklad James Brice Michael A. O'Connor Nadia Zilkha Estrellita* and Daniel Brodsky Dara* J. Mitchell and Nicholas S. Zoullas Ildiko and Gilbert Butler Michael Offit Anonymous (3) Nancy Maria Chang* Purcell Palmer *IFA alumna/us Sofia Chappuis Barbara Pine Eileen Cohen Cynthia Hazen Polsky and These lists include commit- Evelyn Streit Cohen Leon Polsky ments received from April 22, Amy Kathleen Cosgrove Laleh Javaheri-Saatchi and 2013 to April 10, 2014. Margaret Culver Cyrus Pouraghabagher Georgia Riley de Havenon Jonathan D. Rabinowitz and Michael de Havenon Caroline Cummings Rafferty* For information on how Philippe de Montebello* Elizabeth and Reuben Richards you can support the IFA, Dedalus Foundation, Inc. Anne N. Rorimer* contact Andrea Yglesias at Hester Diamond Kenneth J. Rosenbaum [email protected] Nancy P. Durr The Ida and William Rosenthal or (212) 992 5812. Anne* and Joel Ehrenkranz Foundation, Inc. Elizabeth B. Estabrook* Mimi and James B. Judith W. Evnin Rosenwald, Jr. Next page: Abydos excavation, 2013 Rachel Davidson and Patricia Allen Ross Annual design by Mark Fisch Lisa A. Rotmil* The Mardiney Group, Inc. Larry Gagosian Tina Samii www.themardineygroup.com ifa.nyu.edu