Number 44 – Summer 2008

newsletteAlumnir institute of fine arts

Three lectures by Molly Nesbit 2008 Kirk Varnedoe Visiting Professor Contents Varnedoe Memorial Lectures ...... 1 by Phyllis Tuchman that had seen better times. Yet, Nesbit persuasively established how Buffalo, From the Director. . . . . 3 during a historical period that witnessed Viet Nam War protests, Attica, Kent Conservation Center Symposium State, and Black Power, functioned as “a ...... 5 beacon.” In “Open Sites: April 8, 1970/ Spanish and Latin American Michel Foucault Lectures on Manet at Colloquium...... 6 the Albright-Knox,” she focused on the philosopher who, during the spring of Cook Lecture...... 7 1970, held a teaching position in the Jonathan Brown Symposium. 8 French literature department at the State University of New York at Buffalo. Smyth Interview. . . . . 10 At that time, he was reading Erwin Panofsky, had discussed Las Meninas in Retirement for “Billy”. . . 13 the prologue of one of his books, and Linda Nochlin and Molly Nesbit Memories of Hansen. . . .14 was planning to write another book on Professor Molly Nesbit of Vassar College, Edouard Manet. In Memoriam: the 2008 Kirk Varnedoe Visiting Professor, delivered three lectures under The philosopher, Nesbit explained, saw Noel Frackman . . . . .15 the collective title Light in Buffalo to Manet “turning…toward the light,” Ida Rubin...... 16 attentive audiences at the IFA this a situation which entailed his “taking past April. Both Nesbit’s talents as a into account the real light that would Summer Stipends. . . . .17 commentator on events staged in the ultimately strike and illuminate the art world four decades ago, as well painting…” For Nesbit, Foucault is “a Outside Fellowships. . . .19 as her skills as a speaker earned her master of using a question to interrupt Completed Dissertations . . 20 plaudits from all who attended. Institute the standing questions, using the Professor Linda Nochlin was just one of question as an axe.” And at the outset of Proposed Dissertations . . 20 many who commented on the originality her own presentation, she proposed some and brilliance of these talks. of her own, which served as leitmotifs Faculty News...... 21 for these lively evenings. Nesbit asked: Alumni News ...... 23 Professor Nesbit brought her listeners “What is the physical reality of a to a town far removed from the centers thought? A lecture? A painting? Where Alumni Donors...... 45 of art, a once bustling American city does a work stand? 1 continued on page 5 Institute of Fine Arts Alumni Association

Officers: Board of Directors: Committees:

President Term ending April 1, 2009 Newsletter Suzanne Stratton-Pruitt Gertje Utley Gertje Utley, Editor [email protected] [email protected] Contributors Ariella Budick Lisa Banner Vice-President [email protected] Miriam Basilio Gerrit L. Lansing Anuja Butala [email protected] Term ending April 1, 2010 Ruth Bowman Valerie Hillings Arielle Budick Treasurer [email protected] Marc Cincone Lisa Rotmil Jason Rosenfeld John M. Hunisak [email protected] [email protected] Keith Kelly Susan Galassi Kathleen Heins Secretary Term ending April 1, 2011 Michele Marincola Miriam Basilio Sabine Rewald Jenni M. Rodda [email protected] [email protected] Nita Roberts Marie Tanner Sandra Sider Ex-Officio [email protected] Munir Y. Taja Past Presidents Phyllis Tuchman Mary Tavener Holmes Connie Lowenthal History of the IFA Sandra Sider, Chair Lisa Banner Helen Evans Lorraine Karafel Christopher Noey Rebecca Rushfield Phyllis Tuchman Alison West

Grants Charles Little, Chair Sabine Rewald Miriam Basilio

Walter S. Cook Lecture Beth Holman, Chair Pepe Karmel Carol Krinsky Kathy Schwab Anita Moskowitz

CAA Reunion Mary Tavener Holmes

Nominating Committee Robert Lubar, Chair

2 From the Director Mariët Westermann

When I took up the directorship in Faculty Development Initiatives 2002 I was immediately impressed by There is no question that a superb faculty the community’s deep commitment to makes a premier institution of higher the Institute’s tripartite mission: training education and research. My faculty the next generation of art historians, colleagues and I set the rejuvenation, archaeologists and conservators; advancing diversification and expansion of our faculty research and scholarship; and serving as as major objectives, and have enjoyed a premier public forum in our fields of tremendous opportunities for these goals. interest. Over these past six years, we have I would like to thank the University for continued to steward this mission carefully its innovative Partners Initiative, which and have achieved, I believe, strong provided generous bridge funding for results along the way. We attract the most new professorial lines at the IFA. In promising students in the country and the addition, we began to address vacancies world, and they perform admirably. They in a structural way, determining how make important scholarly and intellectual faculty searches should be sequenced to contributions while still at the IFA, and realize our academic goals without making they form a distinctive, worldwide cohort rushed judgments or overextending our As always, our Commencement Ceremony of alumni at the top of their fields, as search capacity. With gratitude for the in May prompted me to think about our you’ll read in this newsletter. Our faculty diligent work of so many on the faculty, mission as we conferred a record 23 PhDs, is extremely active, leading an impressive I am proud to say that we have met 43 MAs, and 9 Advanced Certificates in range of research endeavors, including with enormous success in an extremely Conservation, and our graduates and their publishing, curating and presenting competitive landscape for top academic families buzzed with excitement about research in the most distinguished venues talent. Over the past two years we have next steps. The end of this academic year in the world. Our role as a public arts welcomed an astonishing eight new also marked the passing of a wonderful forum has much expanded in recent years. members to the Institute faculty. They milestone in the history of the Institute, The IFA provides a neutral and necessary include Clemente Marconi in Archaic and our 75th Anniversary. During the year we platform, in an unparalleled location, for Classical Greece, Hannelore Roemich in paused from time to time to remember the free presentation of new ideas and Conservation Science, Thelma Thompson our history, to marvel at how times have the engagement of intellectual challenges. in Byzantine, Thomas Crow in Modern changed, and to consider future directions. Institute conferences, lectures, workshops, and Contemporary, Barry Flood in The reflective mood has had a particular and conversations with artists foster open Islamic, Alexander Nagel in Renaissance, poignancy for me, as this is the last year discussion and dialogue among the diverse Philippe de Montebello in a newly created I will write to you from the director’s members of the greater arts community. professorship in the history and culture of perspective. My colleague and good friend, museums, and Hsueh-man Shen in Pre- Michele Marincola, has agreed to assume For all of this to happen successfully, Ming China. In addition, we established the role of interim director while the search the Institute is supported by four inter- the Kirk Varnedoe Visiting Professorship, for a new director proceeds and I focus locking pillars that enable us to sustain and and Edward Sullivan will expand his my day-to-day energies on building NYU maintain our position as a first-class center teaching and mentoring responsibilities Abu Dhabi. I am delighted that I remain of graduate education and research. They at the IFA, deepening our capacity in the a member of the Institute faculty, and will are a strong Faculty, healthy Fellowship burgeoning field of Latin American art. be teaching in my area of expertise, 17th resources to attract and retain student century Dutch painting. Now, in light of talent, Facilities that support and enhance The generosity of our Board of Trustees my transition, I would like to reflect on our teaching mission, and a multi-tiered and many other donors contributed what we as a community—of trustees, public Forum. The soundness of these mightily to faculty development by the faculty, administration, students and pillars is critical to our ability to excel, and establishment of five new chairs. The alumni—have shared and accomplished. as such they remain constantly in our focus. Judy and Michael Steinhardt Directorship

3 From the Director Continued and the Eugene Thaw Chair in Paper and we made it a fundraising theme during provided by a passage linking the buildings Conservation, currently held by Peggy our 75th anniversary year. together, the Solow Center presents a truly Ellis, signal the importance of these exciting opportunity to create space and positions for the Institute. The Andrew I am happy to report that our enhance our campus. Fundraising for W. Mellon Foundation and the Sherman Development office has led a most construction is now under way. Fairchild Foundation jointly underwrote successful effort in this and other domains. an endowed conservation science chair, We are particularly proud of and thankful Our Flourishing Forum and anonymous donors supported the for the increased support we have seen Public programming at the Institute Fiske Kimball Professorship in the History from our alumni, whose contributions is wide-ranging, offering a variety of and Culture of Museums. And broadly have grown a remarkable 20% in each of formats from lectures to symposia to based donor support made possible the the past two years. This past December, in conferences that attract and gather Kirk Varnedoe Visiting Professorship, honor of our 75th anniversary, a $50,000 diverse audiences. The academic year which has just completed its second year matching grant was offered by a generous now brims with a full schedule of events to great effect. I send renewed thanks alum, and it was handily met in just three open to the larger community. Just this to the many alumni who helped make months! We are very grateful to everyone past spring, for example, two remarkable this tribute a permanent feature of the who contributed. Our students’ needs, and thoughtful symposia were sponsored Institute’s program. however, remain acute, and I hope that under the auspices of faculty, students, you will consider renewing, increasing or and alumni: Courbet Now: Young Increased Fellowship Support starting your support using the donation Scholars Respond, was organized by Linda Having healthy fellowship funds available form at the end of this newsletter. If you Nochlin and her students to give voice to support students is vitally important. On are interested in issuing a challenge grant to emerging young scholars, and in a average 125 students receive financial aid, for the coming Annual Fund year, I know tribute to our beloved Jonathan Brown, totaling more than $4,000,000 per year. that Michele Marincola would be delighted his students organized a symposium that The reality is that the need is projected to to talk with you. brought together friends, colleagues and grow. Over the past decade the landscape students from around the world. It was for attracting the most talented and Renovation and Expansion of the IFA quite an impressive two-day gathering! promising students has become extremely Facilities competitive, with, on the one hand, Based on a progressive plan, we have All of this makes me very proud traditional programs shrinking to a level at been executing a series of renovations and of everything our community has which they can offer full fellowship support upgrades to tailor our space, the beautiful accomplished over the past six years. to their smaller cohorts of students, and, Duke and Chan Houses, into a more state It has been an extraordinary privilege on the other hand, new programs entering of the art academic center and a more to work with colleagues, students, the discipline. Increasingly, newer fields comfortable home for its residents. Over and partners of the unique caliber the such as visual culture, visual anthropology, the past four years, our visual resources Institute attracts. I would like to thank and museum studies compete for students and projection capabilities have gone fully all alumni for their support of my work, who in the past would have set their sights electronic to the highest level of quality and to recognize the dedicated efforts exclusively on an art history degree. This and depth, thanks to a major University and many contributions of the Alumni new situation makes our ability to offer grant. Our grand lecture hall has been Association in helping us all stay in sound financial packages more critical than enhanced for acoustics, aesthetics, and touch and connected to the Institute. ever. Today, in addition to the high cost comfort. Additional space, however, is very of living in New York, we are challenged much needed. The firm of Architecture Now, I look forward to my continuing by the declining value of the dollar against Research Office has designed a wonderful work with the Institute’s extraordinary other currencies, making necessary travel addition—our first in 25 years—in the students and faculty, and to seeing all of abroad much more expensive for our Sheldon Solow Library and Study Center. you soon. students than it was only a short time ago. By expanding both our library and study Increasing student fellowship monies is a space onto two floors of the town house constant drive in our development efforts adjacent to the Duke House, with access

4 Three lectures by Molly Nesbit Continued from page 1

And for how long? Who speaks for it? revising its assessments of the past. art.” Published in three very different And for how long?” During her last talk, “Towards a Social types of journals of the period, they were: History of Art: March 10, 1968/ in Artforum, “City vs. Country: The The other two lectures Nesbit delivered Marcel Duchamp Takes a Bow After Rural Image in French Painting from were equally enthralling and centered Walkaround Time.” Nesbit called Millet to Gauguin” by Robert Herbert; on activities that might have remained attention to the activities of several figures in Burlington Magazine, “A Bourgeois mere footnotes in the cultural history of during the 1960s, including Duchamp, Dance of Death: Max Buchon on the times. In “Without Walls: Ten Days John Cage, and George Kubler. And she Courbet” by T.J. Clark; and, in an Art in August 1974/Gordon Matta-Clark once again used the Socratic method News Annual, “Why Have There Been Cuts Bingo at Artpark,” she reviewed a as she pondered, “What is the physical No Great Women Artists?” by Linda number of both well-known and obscure reality of a work of art once it has Nochlin. projects initiated by Matta-Clark, a son entered time, and new time has come up of the Surrealist painter and a younger against it? How separate can it be from Professor Nesbit, who has already colleague of Robert Smithson of Spiral the present? From social life? From the published Atget’s Seven Albums, based Jetty fame. As innovative a figure as technologically organized lights of the on her dissertation at Yale, and Their Smithson—both men died at the age of media old and new?” Common Sense and has been involved 35; Smithson, in 1973, and Matta-Clark since 2002 with Utopia Station, a wide in 1978—he never quite got the attention Nesbit also wondered, “Who speaks?” ranging project, plans to expand these that Smithson attracted. In her stirring Addressing this question, she reviewed lectures into a book. Expect this volume iteration of Matta-Clark’s legacy, Nesbit three essays that were, in her words, to join the heady company of Herbert, showed how art history is constantly “staking a new claim on the history of Clark, and Nochlin.

Conservation Center Symposium by Anuja Butala spent part of her summer at the Shaanxi Objects” that she attended through Archaeological Institute in China, while support from the IFA. In October 2007, an audience of IFA Anna Serotta spent six weeks at the students and faculty, supervisors, and IFA’s Aphrodisias excavation in Turkey, A few students offered their experiences guests heard twelve Conservation thanks in part to a grant from The as interns in conservation labs at Center students talk about how they Samuel H. Kress Foundation. Anna’s museums worldwide. Jennifer Badger spent their summer. Students shared participation in the Aphrodisias field gave an account of her summer at the their experiences from archaeological season complemented training she had Victoria Hall Memorial Museum in excavations, museum conservation completed in Rome, studying ancient Kolkata, India, which was funded by labs, Villa la Pietra (NYU’s campus in marble carving techniques with sculptor the IFA; Aimee Ducey described her Florence, Italy) and their White-Levy Peter Rockwell. treatment of an ethnographic feather sponsored travel. cloak at the Bishop Museum in Hawaii; Tara Hornung talked about her work and Diana Johnson spoke about her Several students spoke about on the Panama Gold Project, and her time at the Norsk Folkemuseum in conservation on site, including Eliza participation in an AIC workshop Oslo, Norway treating and examining Spaulding and Melissa Gardner, who “Assessing the Skin: Characterizing the the metal components on traditional participated in the IFA’s excavations Animal Source, Processing Method, and Norwegian costumes. Alisa Eagleston at Samothrace, Greece. Amy Tjiong Deterioration of Museum and Library described her internship at The continued on page 6 5 Tenth Anniversary of the Colloquium on Spanish and Latin American Art and Visual Culture Celebrated at IFA by Miriam Basilio

In 1998, an exciting program that built upon the IFA’s special strengths in the study of Spanish and Latin American art from the early modern period to the present was launched by Professors Jonathan Brown, Robert Lubar and Edward J. Sullivan. Comprised of a series of lectures, panel discussions and exhibition tours, this program has over its ten year life-span brought together over fifty senior and emerging scholars, among notable facet has been the opportunity related to her upcoming exhibition and them Dawn Ades, Kellie Jones, Juan José for students and recent graduates to related publication Joan Miró: Painting and Lahuerta, Jordana Mendelson, Natalia participate in current academic debates Anti-Painting 1927-1937; Anna Indych Majluf, Luis Pérez-Oramas, Natasha Staller and gain insight into emerging scholarship López’s lecture was based on parts of her and Reva Wolf. They have often shared both in the US and abroad. Over the book Mexican Muralism without Walls: their work in process, thus generating years, the Colloquium’s organizers have Rivera, Orozco, and Siqueiros in the United lively discussions that have enhanced the also generously invited a number of States (forthcoming University of Pittsburgh studies of Spanish and Latin American art doctoral students to present their research Press); and this writer spoke about the at the Institute and served as a means of furthering the collegiality that characterizes final section of a book she is writing, furthering contacts between our students these increasingly popular areas of study Spain at War: Visual Culture, Propaganda and the greater academic community. at the IFA. This year, the Colloquium and Exhibitions, 1936-1940. This spring With initial support by AFINSA, and organizers chose to highlight the strength Luisa Elena Alcalá, Sofía Sanabrais, Julie more recently, Roberta and Richard of this area of studies at the IFA by inviting Shean and IFA AA President Suzanne Huber, the Colloquium has become an a series of alumni in the fall semester: Stratton-Pruitt presented new research at a integral part of the IFA’s programs. One Anne Umland, who presented research symposium on Colonial art.

Conservation Center Symposium Continued from page 5

Metropolitan Museum of Art’s Leslie Gat with treatment projects at Villa La Pietra. and archaeology. Students recounted Conservation Center. She participated Students gave a wonderful account of their travels to museum, galleries and in a six-week course funded by the Kress the Villa’s history and current initiatives cultural institutions in Germany, Italy, Foundation in which NYU graduate including conservation of mural Spain, China, Israel, and Great Britain. students in conservation, art history, and paintings, re-housing of works on paper, The talks were a wonderful opportunity museum studies worked collaboratively and sculpture conservation. to hear directly from students about their to survey a portion of the collection at initiatives outside the IFA. Interested the Dyckman Farmhouse Museum. Thanks to IFA travel grants supported alumni are encouraged to attend the by Shelby White and Leon Levy, first presentations this fall. Several students travelled to Florence year conservation students were able to with Conservation Center faculty to help travel widely to examine works of art

6 The Cook Lecture by Susan Galassi musicians, statesmen, and aristocrats Benjamin Franklin. Not long after of the time – some of whom met their Voltaire’s death, Houdon was himself On April 1, 2008, Anne Litle Poulet, end on the guillotine. Its international received as a member – the only Director of The Frick Collection, roster included such notables as sculptor to be so honored. Ms. Poulet renowned expert in French eighteenth- Benjamin Franklin, Count Alexander discussed the reasons why Houdon was century decorative arts and sculpture, Strogonov, Diderot, Dr. Guillotin, drawn into this circle, and the impact and IFA alumna, delivered the annual the scientists Joseph and Etienne of his relationship with the Lodge on Walter S. Cook Lecture, sponsored Montgolfier (who invented the hot his art. by the Institute of Fine Arts Alumni air balloon) the astronomer, Jérôme Association. It was attended by a full de Lalande, and the American naval Ms. Poulet noted that although house of alumni and faculty. In her hero John Paul Jones; at one time or Houdon trained at the French lecture titled The Lodge of the Nine another many of them sat for their Academy of Painting and Sculpture Muses: Houdon and Freemasonry, portraits by Houdon, and the Lodge and won the coveted Prix de Rome, Ms. Poulet discussed the role of also commissioned portrait busts of he encountered difficulties with the Freemasonry in eighteenth-century members, including Voltaire and John court of Louis XVI on his return France and the sculptor’s relationship Paul Jones from him. from Italy. In the early 1770s, the with an illustrious lodge known as sculptor mainly relied on work for La Loge des Neuf Soeurs (the Lodge of The most distinguished member of foreign courts. A commission from the Nine Sisters –or Muses) in Paris. the Lodge, however, was Voltaire. The Diderot for a portrait bust in 1771, The Lodge was founded in 1776 and great philosopher and man of letters however, helped to turn things remained active to 1848, though was inducted in 1778 at the age of 83 around. Houdon’s technical brilliance disbanded through the years of the when he made his triumphant return and his adaptation of the forthright Revolution. It was a gathering place to Paris after a thirty-year exile. He Roman portrait bust type to modern for the most progressive, free-thinking died only a few weeks after he was times impressed Diderot as a new philosophers, scientists, painters, led into the ceremony on the arm of form of representation perfectly suited to conveying Enlightenment ideals, and he promoted Houdon among members of his circle. By 1775 Houdon was represented at the Salon by a wide variety of busts of French sitters in classical garb or contemporary dress, and he would soon receive recognition and commissions from the French crown as well. The turning point in his career, Ms. Poulet noted, was in 1778 when Voltaire returned to Paris and sat for Houdon two or three times in March of that year. The resulting series of busts in different formats, as well as a full-length seated sculpture for the foyer of the Comédie Française, “fixed the image of [Voltaire] for all time.” It was through these works that Houdon Anita Moskowitz, Beth Holman, Anne Litle Poulet, Yvonne Elet, Carol Krinsky continued on page 9

7 “The Hispanic World of Jonathan Brown,” A Symposium in Honor of Jonathan Brown, Carroll and Milton Petrie Professor of Fine Arts

by Lisa Banner Contemplating Christ at the Column. Jesús Escobar spoke about the Court The coincidence of the 75th prison in Madrid, designed by Juan Anniversary of the Institute and Gómez de Mora. the 35th year of Jonathan Brown’s The afternoon session was introduced teaching at the Institute provided the by Luisa Elena Alcalá, Professor at the occasion for a symposium in honor Universidad Autónoma of Madrid, of this eminent scholar and teacher who spoke eloquently about Jonathan’s of Spanish and Latin American contributions to the study of Hispanic colonial art. art outside of Spain. Independent scholar Suzanne Stratton-Pruitt Several of his students organized a spoke about portraits of the Spanish two-day celebration, beginning with a monarchs in the colonies. Marcus keynote address by Sir John Elliott at Burke, Curator of Paintings, Drawings The Frick Collection, on Wednesday and Metalwork at The Hispanic evening, May 21st. The many guests Society of America, followed with were welcomed by Director Anne an engaging and lively discussion Poulet. Susan Galassi, Curator at of the methodology of research in The Frick Collection, described the colonial Latin American painting. productive relationship between The afternoon continued with Clara The Frick Collection and Jonathan Bargellini, Professor of Art History Brown. His long time friend and from the Universidad Nacional collaborator John Elliott’s talk, Autónoma de Mexico, speaking Monarchy and Empire: The Hispanic Hernán Cortés drawing of Jonathan Brown, 2002 about the paintings made for Jesuit World of Jonathan Brown, was received missions in remote northern Mexico, with great applause and enthusiasm. California, and the Southwest. Edward Lisa Banner introduced the Director Sullivan, Dean of the Humanities of the Centro de Estudios Europa and his wife Sandra at a Warhol at NYU and Professor at both the Hispánica, Dr. José Luis Colomer, happening in 1966, revealing a side of Department of Art History and the publisher of Jonathan’s Collected Jonathan that few had seen. Historian Institute of Fine Arts, followed with a Writings on Velázquez, who spoke Richard Kagan showed some photos discussion of a painting by Francisco about the importance of gathering of himself and Jonathan together in Oller of the teacher Rafael Cordero his many significant essays into one the Prado in the early 1970s, and with his students. Robert Lubar, volume. Afterward, guests gathered followed with a talk on El Greco’s Associate Professor of Fine Arts at the for cocktails in the Garden Court, portraits. Alejandro Vergara, now IFA, concluded by examining Picasso’s speaking in many languages and with senior curator of Dutch and Flemish deconstruction of Velázquez’s Las much laughter. art at the Prado, described the “Look, Meninas. He presented Jonathan with Logo and Knockoff” of landscape a photo of Veláquez’s Las Meninas, After welcoming remarks by Professor paintings popularized by the Flemish transferred to canvas, with Jonathan’s Michele Marincola, the speakers were painter Joachim Patinir. Dawson Carr, face in place of Velázquez’s, wearing introduced by Reva Wolf, Associate Curator of Later Italian and Spanish one of his own medals, and with the Professor and Chair, Art History Painting at the National Gallery, current King Juan Carlos I and Queen Department at SUNY, New Paltz. She London, addressed issues concerning Sofía of Spain inserted into the mirror zeroed in on the figures of Jonathan Velázquez’s The Christian Soul in the background.

8 The speakers, as well as the Massachusetts), to celebrate with pioneering scholarship of Jonathan audience members, came from Jonathan, his students, and his Brown, and the valuable contributions far and wide (Mexico, Germany, family. The museum and academic he has made to our understanding of Spain, and England; Maryland, worlds were represented in equal Spanish and Latin American colonial Wisconsin, Colorado, Georgia, and measure. The celebration honored the art over the past four decades.

The Cook Lecture Continued from page 7 was invited into the privileged bastion with the Lodge, the sculptor found age through his remarkably innovative of the Lodge of the Nine Muses and a clientele with whom he shared the and lifelike portrayals of the enjoyed immersion into the most egalitarian values expressed in his individuals who shaped it, and in progressive currents of thought of art. Houdon handed down to us an doing so gained immorality himself. his time. Through his association enduring testimony of his tumultuous

9 Craig Hugh Smyth: Excerpts from the 1991 Interview with Blanche and Milton Brown

his work were measuring up enough so now very high in Washington, the that it was worthwhile his staying…. other day. And he reminded me that But flexibility was there before, and he too came to the Institute with we tried to keep it. And a lot of what some lack that should’ve kept him determined whether a student came in out, and that we found a way, [laughs] or not was the nature of the interview that I found a way for him to get in that we had with them. And I did anyway. So that was in that tradition. most of the interviewing, as Walter I remember a few interviews. I Cook had always done. I wanted to remember Donald Posner’s interview. mention as a case of flexibility, the He came, as I remember, to say that case of Leo Steinberg. A man who was he would like to go to the Institute, high in the Institute of International but he wanted to spend a year first Education made an appointment to at Harvard. And it seemed to me see me one day. And the purpose of that this was a man who’d certainly his visit was to talk about a young planned his career [laughs] with man who he thought was brilliant, great care. That made an impression who ought to do graduate work in the on me. And I can remember doing history of art, but who had no B.A. an interview with Carter Brown, Craig Hugh Smyth was the Institute’s second, and longest serving, director. He held the degree. Would the Institute consider who I knew had been going from position from 1951 to 1973. Smyth passed away finding some way to get him into department to department to see in December 2006 at the age of 91. graduate work? I said I would certainly where he wanted to study. And I see the person. And Leo Steinberg thought that he should be challenged On Admissions arrived, and I discovered that he had slightly. And so I did. And he tells this already written and published The Eye story always. SMYTH: [I would like to speak now is a Part of the Mind, which seemed a about] what the Institute was like very good recommendation. And so BLANCHE: He told it to me when I when I came, and what, if any, changes the way it often happened with the interviewed him in Washington. But took place; and I think in respect Institute, we found ways of doing do, please, tell it. to students, the Institute’s policy of things that were not regular within the admissions when I arrived, which was University. We found a way of putting SMYTH: Well, I can’t remember, the policy under Walter Cook. And Leo Steinberg into graduate study, really, how it was. But I wanted to this is what we tried to continue, a while at the same time, he began to convey that one had to make one’s flexibility in admissions that didn’t get credit for undergraduate courses, way. And I think I used the notion put the full weight on academic so that he would have a B.A. in the of you can get on the beachhead, record, but rather on the nature of the course of his graduate work. but from then on, it’s a struggle, applicant’s interests, and whether it you know, to [laughs] make it, or seemed that this person was ready for BLANCHE: Was that kind of something like that. And I saw that he graduate work, in spite of not having arrangement tradition, also? reacted to this. It was good. brought lots to it that would normally be considered essential. And this is SMYTH: I don’t know whether • • • what I think Walter had always done. Walter had ever done that, but that On Dissertation Defenses That meant that in my time, we tried was the kind of thing I think that he to have controls in the course of a would’ve approved. And I met that SMYTH: I don’t know whether I student’s stay at the Institute, to see if man [Thomas] Freudenheim, who’s mentioned this before, but in student

10 Craig Hugh Smyth: Excerpts from the 1991 Interview with Blanche and Milton Brown

relationships it had been, I think, you prepared a Latin defense of your that students and faculty member could the tradition at the Institute, but it dissertation and learned it beforehand, do together, with the notion that one certainly was in my time, that no and spoke it. was studying the history of art; one was one could fail the defense of the trying to understand, first of all, the dissertation. Did I mention that SMYTH: Well, at Johns Hopkins objects individually, and the history in before? right now, you can have your which they took part, though we were dissertation approved, but be failed in probably less concerned with context BLANCHE: No. the defense, and not get the Ph.D. than we should’ve been. And that may have had not only to do with the SMYTH: Once a dissertation was BLANCHE: And it does happen. It way history of art was then, but also approved, and it had three readers does happen. Heavens, how horrible. because, as people say, the Institute first, out of five, once three readers had was far from the University. I never approved it, you knew that the next SMYTH: So it’s a real hurdle there. felt that the Institute really lacked two couldn’t disapprove it, because the But with all the hurdles that one greatly what it would’ve had if it had majority would win. And once all five jumped as a graduate student at the been in the University, because I felt readers had read, and the decision was Institute, to have one more at the end that at Washington Square, at that made, then came the defense. But the seemed just impossible. So that sherry time, there was a division very much defense, as Walter Friedlaender once was always waiting, and the friends between departments. And I didn’t see put it, was like a Portuguese bullfight. were always waiting outside, knowing something happening there that ought You could run the bull, but you that the end result was going to be to have happened at the Institute. But I couldn’t kill it. And this, I think, was a alright. may have missed that. very fine thing, because it meant that the defense could bring up matters of • • • BLANCHE: Well, it was the general real import, as far as the dissertation On Teaching circumstance at the time that art goes, for the future. history tended to be taught without SMYTH: The lecture course and the context. BLANCHE: It became a very positive seminar was the combination when I discussion. came. And one gave, in that first year— SMYTH: It wasn’t that people didn’t when everybody taught three courses, know about context and go deeply SMYTH: It became a positive before I changed it—two lecture into it and be concerned with artistic discussion. And you never forget courses and a seminar. And even after theory. For example, my own study of what’s asked you under those it was changed so that it could be one Mannerism was very much involved conditions. And so it could be a for each member of the faculty, one with theory, sixteenth-century artistic real learning process, as well as a lecture course and one seminar a term, theory. It wasn’t something based just celebration. I became more and more, for my own on stylistic analysis. part, sure that lecturing wasn’t what BLANCHE: Were there places where I thought was best, unless one had a BLANCHE: Well, I think some of people did fail the defense? whole new synthesis. I got very tired the teaching was rich in context. Karl of hearing my voice laying down how Lehmann’s was. SMYTH: Yes. it was. And I think that is a direction BLANCHE: Because I remember that has taken more importance in SMYTH: Karl Lehmann’s was Walter Friedlaender saying that the recent years. In any case, I moved then certainly rich in context. And Walter defense was in Latin, in his university, towards seminars that were—if I could, Friedlaender’s always was. and, knowing that you couldn’t fail, make them joint investigations of things

11 Craig Hugh Smyth: Excerpts Continued

MILTON: Friedlaender’s teaching on the drawing book. And another in • • • definitely was. They always talked not 1971 to write the Bronzino drawing On the Wrightsman Lectures in terms of what the picture meant book, and was scheduled for a leave in now; it was always what it meant to the spring of 1973 to work with Hank SMYTH: Out of the [Jayne and the people who made it. So you had to Millon on St. Peter’s. We began really Charles] Wrightsman connection … study theory, you had to study history. working on St. Peter’s about 1964, came the Wrightsman Lectures. And of and published our first piece in 1969. course, Wrightsman wanted to have a • • • And we had a lot to go, and it didn’t part in the choice of the lecture. But so On Transition seem very easy to see how this was did the Institute faculty, so we had to going to be done while I was running agree about who would be chosen. And SMYTH: What stand[s] out in my the Institute. So I was thinking hard this, I think, worked out quite well. The mind is that I more and more felt that about stopping the directorship, but first lecture—and we were all perfectly I should rethink continuing being not leaving the department. I didn’t agreed about this—was Kenneth Clark. director, because it was very hard to seem to want to go anywhere else. And the second lecture was Erwin get time to do my own work and And I’d had opportunities to go to Panofsky. And he lectured on Titian. A time to teach. And having remodeled other places. Whether they were all of year or two before, I had been talking my teaching…, leaving lectures and the same strength, I don’t know. I was with Pan on the phone about what doing seminars in which projects were asked if I would be considered for the course he was going to teach, because posed that we all would work on, the Metropolitan Museum directorship, he, on retirement from the Institute at students and I together, this was a and I said no. That wasn’t what I should Princeton, became again a proper sort satisfaction which I had wanted to do. do. I was asked to go to Princeton by of— he had a professorial title at the But I actually had to—the weight of President Goheen, and I said no. And Institute of Fine Arts. And he said, “I the Institute was so great by 1969 that I then Harvard, and I said no, because I have nothing to teach. I’ve written all taught, I think, the last time in 1969- really did want to stay at the Institute. the things that I intended to write.” 70. For a while, there was a respite. In But I was thinking more and more That’s a nice thing to be able to say, I 1965, the University saw itself entering about it, and Irving Lavin, I think, think. “And so I think the only thing I a very bad period—they said a five-year knew that I was thinking about it, can possibly do is my regular seminar period—financially. And to relieve the because he said one day, “If you do on method, which if you like that, we’ll University of its big commitment to decide not to go on, you have to think do it.” And I said, “We’d certainly like the deficit of the Institute, I thought I of a new director. And do you know that. But I thought that your favorite would go to Doris Duke again and see if Jonathan Brown?” And I did know artist was Titian, and that you have she would be willing to underwrite the Jonathan Brown, because in our stay never written very much about Titian. deficit for a period of five years. And she in 1971 at the Institute in Princeton, What would you say to doing a course did. But as the year 1970 approached, when I was doing the Bronzino drawing on Titian?” “Oh,” he said, “I couldn’t it was clear again that the University book, I met Jonathan at Richard possibly do it. I’d have to go back into wasn’t out of trouble, and that Robert Ettinghausen’s. And I’d seen him in the library for weeks. No, that’s out.” Lehman was quite right in saying, “You meetings with the visiting committee of So that was the end of that. In about a were silly to do that, because they are the Department of Art and Archeology week, he telephoned. And he said, “I’ve never gonna want you to have a deficit at Princeton, that I was on for a while, decided to do a fifteen-week lecture again.” In fact, the University does now and liked the look of him very much course on Titian.” And it turned out pay a lot of the deficit of the Institute, there. So I spent the evening talking to be wonderful. And so when he was so it did go back to that. In any case, to him and asking him about his field. asked to do the Wrightsman Lectures, it was more and more a job that one And in the end, it seemed quite plain it was Titian. And they turned out, I needed to spend time on. I did get that this was the man we ought to think, quite well. leaves. I had a leave in 1963 to work consider very seriously.

12 Craig Hugh Smyth: Excerpts Continued Retirement party for William “Billy” Byrne

by Jenni M. Rodda Street and incorporating images of Billy himself, made by Jason Varone William Byrne, known to everyone and Michael Konrad of the Visual simply as “Billy,” retired in December Resources staff. Dozens of well- 2007 after 43 years of service to the wishers signed the card, which showed IFA as a member of the maintenance Billy up and down 78th Street in his staff. A party honoring Billy for his acknowledged role as the “mayor” of decades of dedicated work and wishing the block. him well in his retirement was held in late January 2008. Faculty, current Many attendees recounted stories of and former staff, students, alumni, and Billy’s many years at the Institute. neighborhood friends gathered with Mariët Westermann stressed how Billy and his family for toasts, hors much Billy’s steady presence and d’oeuvres, and cake. The Loeb Room intimate knowledge of the buildings was filled with laughter and stories, will be missed; Michele Marincola, accompanied by Elvis Presley tunes Chair of the Conservation Center, mixed by former staff member Ray told how students once debated about Riga. dropping water balloons on Billy’s head from the roof of number 14— Billy was honored with gifts: a then thought better of it, since it was beautiful commemorative plaque Billy who would have been showered. presented by Mariët Westermann, Prof. Robert Lubar spoke for the Director of the IFA, on behalf of William “Billy” Byrne and Mariët Westermann faculty, and Ph.D. candidate and GSA the Institute as a whole; a new NYU officer Will Smith thanked Billy on jacket given by Peter Woods on behalf Shrobe on behalf of the department behalf of the current students. Billy of the Facilities and Construction heads; a gift certificate from the will always be the “mayor” of 78th Management office; a variety of Elvis faculty; and a poster-sized card, Street to anyone who was part of the memorabilia presented by Brenda created from a panoramic view of 78th community during his 43 years at IFA.

13 Memories of Donald P. Hansen by Dr. Munir Y. Taha the steps leading up to the Institute I myself relaxing a little, won over by paused for a moment, aware that I was the love of this great man for his about to take a step that might change subject. my life. An official asked me if I was a student, and when I explained that I was told to call again after a couple although I had no appointment I had of weeks, and when I returned I was come hoping to see Professor Hansen, overjoyed to hear that I had been he directed me to his office on the accepted to study at the Institute! third floor. Nervously, I tapped on the My first semester was in the fall of door and was bidden to enter. that year, and I used to see Hansen at his office once or twice a week for After introducing myself I explained supervision. I soon realised that if that I was from Iraq, had studied one wanted to work with Hansen one archaeology at Baghdad University, must dedicate oneself to one’s work. and was hoping to be accepted for He was a brilliant teacher and adept at further studies in New York. training his students to become good Gazing around the room, which had researchers or excavators. piles of books and rolls of plans in every corner, I noticed a map hanging At the end of the spring semester on one of the walls and remarked Hansen told me his dream had A few days after I arrived in New proudly, “This is my country, Iraq.” been realised: he was going to begin York in August 1966, coming from “Indeed, yes,” smiled Hansen, “I excavating at Tel al Hiba in the fall Morocco where I had been teaching worked at Nippur about ten years of 1967. The success he met with ancient history to high school ago. One of our seasons was so rich there has become legendary among students, a friend advised me: “If that The New York Times wrote about archaeologists and scholars: he you really want to go for an M.A. it and published a picture of a stone discovered the site of the famous degree in Mesopotamian archaeology relief found there. Then I worked at ancient Sumerian city of Lagash, with you should meet Professor Donald Tel abu Salabikh in the south of the an oval-shaped temple and quantities Hansen. I believe he teaches at NYU.” country. But I preferred Nippur. It’s a of Sumerian texts. The news of this sacred city, mentioned in sacred texts.” remarkable discovery quickly spread I was delighted to hear this, because among eminent archaeologists. For I had heard of Donald Hansen He went on to tell me that he hoped the first time in thousands of years when I was at the Department of to work on another site in Iraq called the city of the famous Sumerian king Archaeology at Baghdad University. Tel al Hiba. He asked me if I knew Gudea saw the light again. But this He was very well known among it. Humbly, I explained that my great discovery did not change Hansen Iraqi archaeologists. As I recalled, experience in fieldwork in Iraq was at all; he remained the same quiet and he had worked at both Nippur and limited to two seasons of excavation dignified scholar as before. the Tel abu Salabikh sites. All who and restoration only: at Hatra in the had worked with him admired his north and Ur in the south. “I would Good times slip away so fast. After expertise, and he was popularly known very much like to work at Tel al I got my M.A. at the end of 1969 I by the sobriquet of “Sheikh Sami”. Hiba,” I told him. Hansen responded packed my books and belongings and with enthusiasm, “It is a beautiful site; prepared to depart for home. The The very next day I set off to walk actually it’s on an island surrounded farewell party was a mixture of joy through Central Park towards the by marshes.” Eagerly, he went on to and sadness. I returned to Iraq and Institute of Fine Arts. When I reached describe the site in detail, and I found was given a post at the Directorate of

14 Antiquities in Baghdad, and Hansen teams excavating in the UAE, while On the last occasion that we met in was genuinely delighted for me when I Hansen continued to excavate at Tel Baghdad I told him that I had worked told him the good news. al Hiba. In 1975 I met him again in in ten different countries and attended Baghdad and asked him to support conferences and symposiums in places Within a few months Hansen himself me with a letter of recommendation as far apart as Japan and Morocco, and had arrived in Baghdad together with to Cambridge University in the UK, that I owed all this to him and the good his team, on the way to continue where I hoped to study for a PhD. training I received when working under excavating at Tel al Hiba. Seizing He suggested that I return to him. He accepted this accolade with my opportunity, I left everything New York, but I jokingly replied his usual grace: like all those who have to join him. This was my chance to that I never drank from the same accomplished much he liked to be praised. learn the techniques of excavation river twice! and, hopefully, eventually to become When, with grief, I heard of his death a good archaeologist like Hansen. While I was in Cambridge we kept I covered my face with my hands to Within four months I learned how in touch until I finished my studies meditate for a while on the life and to read stratifications and articulate in 1982. Then, sadly, I learned that deeds of Donald Hansen. Not only mud bricks, how to draw sections, he was not able to return to Tel al had he achieved so much in Iraq, he features and pottery, and everything Hiba because of the war between Iraq had worked in Egypt, Syria, Yemen else an archaeologist needs to know. and Iran. After the war we met again and Turkey, devoted to his career and But above all I learned how to devote in Baghdad in 1988. He told me cause and always eager to learn. None myself to my career. with his customary enthusiasm that of his students or those who knew and he had been successful in arranging loved him can imagine the Institute The privilege of working with Mesopotamian exhibitions in several without Donald Hansen. For years Hansen opened the door for me states in the USA. But his dream to come, archaeologists all around towards knowledge, dedication of continuing to excavate in Iraq the world will remember him as a and self-discipline. Within two vanished forever when the second Gulf prominent scholar who devoted his life years I myself was directing Iraqi War broke out in January 1991. to recording the history of mankind.

In Memoriam: Noel Frackman (1930-2008) by John M. Hunisak sculpture by David Smith, a painting by mentor. Her probing research into the Robert Indiana, and important works on career of American sculptor John Storrs Art in all of its glorious complexity was paper by Frank Stella, Jasper Johns, and resulted in a dissertation and impressive at the core of Noel’s life. She loved other major artists. catalogue that accompanied the it. She lived surrounded by it. She retrospective of his works at the Whitney continuously sought what was new and Noel was an oft-published critic before Museum, opening in December 1986. worthy of consideration. Over a period she began the formal study of art of several decades, she clarified the art of history. She took occasional courses at Noel was a devoted teacher and her era with an impressively long—and the Institute of Fine Arts and decided champion of art historical inquiry. varied—bibliography of reviews, articles, that she wanted to earn a Ph.D. Her Until this past year, she regularly taught and catalogue essays. She befriended enormous determination and conviction evening classes at the State University at many artists and amassed an impressive greatly impressed Professor H. W. Purchase, where she and her husband collection. She owned a spectacular Janson, who became her adviser and also established a graduate program in continued on page 16 15 In Memoriam: Ida Rubin by Ruth Bowman The Association has always been full founding member of the Art Committee of enthusiasm—she has channeled at MIT, which was created to enrich the Ida Ely Rubin, a this enthusiasm into effective money educational environment at a university specialist in 18th raising and organized good projects for focused on science and technology Century French art the Alumni Association to carry out through exposure to the visual arts. In and 20th Century for the benefit of the Institute. The 1972, the Art Committee evolved into Latin American art, most notable of these is the Institute’s the Council for the Arts, on which she died on January chartered plane, which takes students served for many years, many of those as first of this year, at and alumni to Europe early in June and President. In 1989, Mrs. Rubin received the age of 85. Mrs. returns them in September at a great the esteemed Eugene McDermott Award Rubin was born saving, but also with enough money from MIT, which is awarded to creative in Argentina and grew up in Buenos cleared to make a scholarship.” artists as well as authors, art historians Aires. Following her graduation from and patrons of the arts in recognition of Wells College, in 1944, she entered Mrs. Rubin dedicated much of her career their contributions to the field. post-graduate work in art history at to bringing the US art world’s attention the Institute of Fine Arts at New York to Latin American artists. Beginning in Over the course of her career, Mrs. University, having won a Belgian- the early 1960’s, she arranged numerous Rubin acted as curator of several American Educational Foundation exhibitions of Latin American art, which important collections. She used her fellowship to continue her studies in art included a number of artists who went exhibition and editorial skills for history in Brussels. on to great fame, such as the Colombian, “The Guennol Collection: Cabinet Fernando Botero. For years, Mrs. Rubin of Wonders,” owned by Mr. and In 1961,when Ida was the President served as President of the Foundation Mrs. Alastair Bradley Martin and his of the Institute of Fine Arts Alumni of the University of the Andes. For wife Edith Park Martin. As part of Association, Director Craig Hugh Smyth her contributions to education and this project, Ida edited three separate and the IFA faculty recommended Ida, the arts in Colombia in that capacity, volumes of catalogues for large Guennol in a letter to James M. Hester, at that she received the Premio Colombia in exhibits at both the Metropolitan time Dean of the Graduate School 1993, the highest award that a foreigner Museum and the Brooklyn Museum. of NYU, for the Alumni Meritorious can receive from the Colombian Award. government. Besides her husband of 50 years, Jerome S. Rubin, Mrs. Rubin is survived by two A quote from the letter: “She has been Working with Kay Stratton, wife of children, Richard Rubin of Chicago, IL, the best President in the nearly ten the President of the Massachusetts and Alicia Ely Yamin of Belmont, MA, years of this organization’s existence. Institute of Technology (MIT), Ida was a and two grandchildren.

Noel Frackman (1930-2008) Continued from page 15 the History of Art. She served on many has left many of us in a state of shocked Her hearty laughter enhanced and boards, contributed generously to art- disbelief. She was elegance personified, complemented her seriousness of related causes, and offered unswerving beginning with her unerring sense of purpose. She had crafted a remarkable support from behind the scenes. fashion and continuing to the smallest, life in which aesthetic, human, and Noel Frackman was such a vibrant, thoughtful detail. Her capacity for emotional dimensions united seamlessly. over-life size personality that her death loyalty and friendship was limitless. How deeply we will miss her!

16 IFA ALUMNI ASSOCIATION 2007 SUMMER STIPENDS by Keith Kelly nine he went to study. He will now Lorraine Krafel – The Alumni incorporate this largely unpublished Association funded a trip from Rome One of the Institute’s most valued material in his dissertation “The to Florence, Milan and Genoa for traditions is the IFA Alumni Polychromy of Ancient Roman Lorraine’s dissertation research on Association Travel Grants. Travel Sculpture,” which is co-sponsored “Mythology and Metamorphoses: awards are funded through the by Katherine Welch and Michele Raphael’s Woven Grotesques for the generous annual gifts of alumni, as Marincola. Vatican Palace,” sponsored by Colin well as income from the the Jean B. Eisler. In Florence, Lorraine was an Rosenwald Memorial Fund and the Jamie Donati – Jamie traveled from invited scholar at the Villa I Tatti Barbara P. Altman Fellowship Fund. Turkey, where he was participating and she conducted research at the This support enables Institute students in the Aphrodisias Regional Survey, Archivio di Stato di Firenze and at the to pursue valuable opportunities to Greece for dissertation field Biblioteca Laurenziana. In Milan, she outside New York for research and research in five Greek cities in the consulted with the tapestry historian professional growth, and have become Peloponnese. His thesis, sponsored Nello Forti Grazzini, who has written all the more important during this by Clemente Marconi, is dedicated on Raphael’s tapestry designs, and, in era of rising costs for travel and living to the spatial and architectural Genoa, she met with the curator Piero abroad. Thanks to the generosity of development of the agora in the Boccardo to discuss the patronage of our alumni, we were able to award Peloponneses. On this exploratory Andrea Doria and studied the interior assistance to seven students for the trip, Jamie assessed the topography decoration at the Palazzo del Pincipe summer of 2007, totalling more than and gained a firsthand understanding by Raphael’s pupil, Perino del Vaga. $14,450. Alumni Charles Little, of the Greek architectural remains. “Thank you for the exceptionally Miriam Basilio and Sabine Rewald, “I’m grateful to the alumni for this generous support. It was a great honor working in conjunction with the unique opportunity to take a first to have my project selected by the IFA Institute’s Fellowship Committee, look in the flesh.” Alumni Association.” selected the grantees. This is how those students used their stipends: Joan Kee – The Alumni Association assisted Joan with transportation costs Mark Abbe – “I thank the Alumni “I met leading art as she traveled from Seoul to Tokyo Association for the support that historians and museum and Kamakura as she prepared her allowed me to undertake dissertation dissertation on Lee Ufan, a Korean research at the American School professionals and was expatriate painter based in Japan, of Classical Studies Excavations invited to view private sponsored by Jonathan Hay. Joan at Corinth, where I was able to met with Mr. Lee in his studio examine nine newly excavated marble collections, giving rise in Kamakura while she pursued sculptures found in a luxurious extensive archival work in Tokyo for Roman house from the later imperial to new questions and approximately six weeks. period. More than half of the pieces avenues of research that I preserve extensive remains of original Kerith Koss – Kerith applied her painting and gilding.” In addition doubt I would have lighted award to living expenses during a 12- to working with these pieces, Mark upon on my own. I thank week internship at the Department of surveyed the preserved polychromy Conservation and Scientific Research on marble sculptures from the site’s the Alumni Association for at the Freer and Sackler Galleries of storerooms and depots, adding over the Smithsonian. During the course thirty five additional pieces, often in a its generous support.” of her summer internship, Kerith remarkable state of preservation, to the assisted in the installation of a major

17 2007 SUMMER STIPENDS Continued

proposes a dissertation concerning allowed me access to dozens of the “Ultraismo” movement and the documents never seen before by any “I was able to complete artists Rafael Barradas and Norah researcher.” In Ivrea, Susan worked a significant portion of Borges, sponsored jointly by Rob in the Ludovico Quaroni archives Lubar and Edward Sullivan. “Some finding material necessary to her my archival research this of my most rewarding experiences explication of the nature of the summer and this would were completely unplanned. I met architectural academic philosophy of leading art historians and museum the period. “The Alumni Association not have been possible professionals and was invited to view fills a genuine need by providing private collections, giving rise to new financial support to those of us whose without the generosity questions and avenues of research that dissertations require research outside of the Alumni. I doubt I would have lighted upon of the country. Indeed, I was able to on my own. I thank the Alumni complete a significant portion of my I am extremely grateful.” Association for its generous support.” archival research this summer, and this would not have been possible without Susan Schafer – Susan traveled to the generosity of the Alumni. I am Bologna, Parma and Ivrea for research extremely grateful.” exhibit concerning Portugal in the in support of her dissertation, “Roma 16th and 17th Centuries, and she Anno Zero: Continuity and Change completed an exacting analytical study in Post-WWII Architecture in Rome,” of Iranian enameled ceramics. sponsored by Jean-Louis Cohen. “The Alumni Association In Bologna, Susan interviewed the Jodi Roberts – With an award to architect Carlo Melograni, a central fills a genuine need augment a Tinker Summer Research figure in postwar housing. She then by providing financial grant, Jodi traveled to Argentina and consulted the archives in Parma of the Uruguay to develop a dissertation structural engineer Pier Luiji Nervi support to those of us topic on the generation of Latin who designed the 1960 Olympics. whose dissertations American modernists of the 1920s “The highlight of my summer was and 30s from Buenos Aires, Sao spending an entire day with Nervi’s require research outside Paulo and Montevideo, and whose granddaughter, who not only shared formative years were spent in Madrid, emotional and personal memories of the country.” Barcelona, Paris and Berlin. Jodi of her grandfather, but generously

18 IFA STUDENTS Who have wON OUTSIDE FELLOWSHIPS FOR 2006-2007

Mark Abbe Casey Gardonio-Foat Elizabeth Nogrady Leon Levy Research Fellow, Travel Fellowship in the History of Art, Elinor Wardle Squier Townsend Sherman Fairchild Objects Samuel H. Kress Foundation Fellowship, Vassar College Conservation Center, Sarah Graff Mary Oey Metropolitan Museum of Art Hagop Kevorkian Curatorial Fellowship, Foreign Language Area Studies Grant, Qamar Adamjee Metropolitan Museum of Art Center for European and Coleman Memorial Fund Fellowship, Tara Hornung Mediterranean Studies Metropolitan Museum of Art Visiting Student Award, Freer Gallery Jeremy Ott Heather Awan of Art/Arthur Sackler Gallery Stevens Fellowship, American School of Bothmer Fellowship, Anne Hrychuk Classical Studies in Athens Metropolitan Museum of Art Social Sciences and Humanities Research Anna Piotrowska Andaleeb Badiee Banta Council of Canada and Sir James Lougheed Theodore Rousseau Fellowship, Moore Curatorial Fellow, Award of Distinction, Alberta, Canada Metropolitan Museum of Art and Morgan Library and Museum Matthew Israel Travel Fellowship in the History of Art, Lisa Banner Curatorial Fellowship, Samuel H. Kress Foundation Samuel H. Kress Curatorial Fellow, New Museum of Contemporary Art Eric Ramirez-Weaver Hispanic Society of America Lauren Jacobi Jane and Morgan Whitney Art History Laurel Bestock Morse Academic Plan Preceptorship Fellow, Metropolitan Museum of GSAS Dean’s Dissertation Fellowship Danielle Johnson Art and GSAS Dean’s Dissertation Johanna Blokker Morse Academic Plan Preceptorship Fellowship Dissertation Research Grant, Anna Jozefacka Marika Sardar Deutscher Akademischer Austauschdienst GSAS Torch Prize Fellowship and Coleman Memorial Fund Fellowship, Jennifer Brown Scott Opler Graduate Student Fellowship, Metropolitan Museum of Art Morse Academic Plan Preceptorship Society of Architectural Historians Lindsey Schneider Kim Conaty Yumiko Kamada Theodore Rousseau Fellowship, Grey Gallery Graduate Assistantship Japanese Government Study Abroad Metropolitan Museum of Art Jacquelyn Coutré Fellowship Alison Strauber Fulbright Foundation Grant Lorraine Karafel Ailsa Mellon Bruce Predoctoral Yassana Croizat Visiting Scholar, American Academy Fellowship, Center for Advanced American Dissertation Fellow, in Rome Study in the Visual Arts American Association of University Women Jongwoo Jeremy Kim Eve Straussman-Pflanzer Orgu Dalgic Junior Fellowship, Theodore Rousseau Fellowship, Jane and Morgan Whitney Fellow, Paul Mellon Center for Studies in Metropolitan Museum of Art Metropolitan Museum of Art British Art, Yale Leah Sweet Jamieson Donati Abby Kornfeld Morse Academic Plan Preceptorship GSAS Predoctoral Fellowship Wexner Graduate Fellowship Denise Teece Mailan Doquang Karen Leader Theodore Rousseau Fellowship, Social Sciences and Humanities Morse Academic Plan Preceptorship Metropolitan Museum of Art research Council of Canada Abby McEwen Rose Trentinella Aimee Ducey GSAS Predoctoral Fellowship Leopold Schepp Foundation Dedalus Foundation Fellowship in Rachel McGarry Scholarship and Elinor Wardle Squier Conservation John E. Andrus Research Fellow, Townsend Graduate Fellowship, Alisa Eagleston Prints and Drawings, Vassar College Hagop Kevorkian Fellowship in Conser- Minneapolis Institute of Arts Jessica Vodofsky vation, Metropolitan Museum of Art Kathryn Moore Helena Rubinstein Foundation Summer Ana Franco Jack Kent Cooke Foundation Fellowship Intern, Museum of Modern Art Fulbright Foundation Scholarship Adele Nelson Michele Wijegoonaratna Amanda Frisosky GSAS Outstanding Graduate Student Chester Dale Fellowship, Award in Conservation, Teaching Award and Rockefeller Metropolitan Museum of Art Samuel H. Kress Foundation Archive Center Grant-in-Aid

19 DISSERTATIONS COMPLETED IN 2007

Ellen Adams, “After the Rain: Quattrocento Antiquarian Sylloge” Liliana Leopardi, “Aesthetic Hybrids: Surrealism and the Post-World War II (Alexander) Interpreting Carlo Crivelli’s Ornamental Avant-Garde, 1940-1950” (Lubar) Style” (Eisler) Lisa Duffy-Zeballos, “Murillo’s Patrick Amsellem, “Remembering Devotional Paintings and the Late Ellen McBreen, “The Pimp and the Past, Constructing the Future. The Baroque Culture of Prayer in Seville” the Primitive: Eros and Africa in the Memorial to the Deportation in Paris and (Brown) Sculpture of Henri Matisse (1906-1909)” Experimental Commemoration after the (Lubar) Second World War” (Cohen) Yvonne Elet, “Papal villeggiatura in early modern Rome: poetry, spoils, and stucco Rachel McGarry, “The Young Guido Susan Anderson, “Witty and Lascivious at Raphael’s Villa Madama” (Brandt) Reni: The Artist in Bologna and Rome, Amusements: The Drawings of Cornelis 1575-1605” (Westermann) Dusart and the Dawn of the Eighteenth Johanna Epstein, “The Impressionist Century” (Haverkamp-Begemann) Brush: Perceptions of Seventeenth- Jonathan Ritter, “The American Civic Century Dutch Art in France” (Nochlin) Center: Urban Ideals and Compromise on Andaleeb Badiee-Banta, “Bernardo the Ground” (Cohen) Strozzi: Defining an Artistic Identity Gregory Galligan, “The Cube in the in Early Seventeenth-Century Genoa” Kaleidoscope: The American Reception of Leah Rosenblatt-Lehmbeck, (Westermann) French Cubism, 1918-1938” (Lubar) “Edouard Manet’s Portraits of Women” (Lubar) Laurel Bestock, “The Development of Sarah Ganz, “Promising Pictures: Royal Funerary Cult at Abydos: Two New Utopian Aspirations and Pictorial Realities Edmund Ryder, “Micromosaic Icons of Funerary Enclosures from the Reign of in 1890s France” (Nochlin) the Late Byzantine Period” (Matthews) Aha” (O’Connor) Mia Reinoso Genoni, “Filarete Marika Sardar, “Golconda through Helen Burnham, “Fashion and the in Word and Image: Persuasion and Time: A Mirror of the Evolving Deccan” Representation of Modernity: Studies in Invention in the Architetonico Libro” (Soucek) the Late Work of Edouard Manet, 1832- (Trachtenberg) 1883” (Nochlin) Adriaan Waiboer, “Gabriel Metsu Lyle Humphrey, “The Illumination (1629-1667): Life and Work” Sarah Cartwright, “The Collectio of Confraternity and Guild Statues (Haverkamp-Begemann) Antiquitatum of Giovanni Marcanova in Venice, ca. 1260-1500: Mariegola (Modena Biblioteca Estense Universitaria Production, Iconography, and Use” Ms. alfa. L.5.15 = Lat. 992) and the (Alexander)

Dissertation Proposals Approved During 2007

Mark Abbe Vanessa Davidson Space in the Peloponnese” (Marconi) “The Polychromy of Ancient Roman “Redefining Conceptualism in South Sculpture” (Welch) America: Alternative Communication Jason Dubs Networks in Argentina, Uruguay, and “Staging the Social Spectacle: Ian Alteveer Brazil” (Storr/Sullivan) Collectivism, Conceptual Strategies, “The Rise of the Poststudio: and Cultural Politics in Latin America, A History of California Institute of the Jamieson Donati 1961-1981” (Sullivan/Storr) Arts, 1961-1980” (Storr) “Towards an Agora: The Spatial and Architectural Development of Greek Civic continued on page 22 20 Faculty News

Jonathan J. G. Alexander of Byzantine Studies, II Abstracts of Hannelore Roemich Seminars: “The Cult of the Saints” Papers (London, 2007), 241-242; Publications: “Glass and Ceramics,” and “Text and Image in Medieval “L’art de la Cilicie: l’Arménie des chapter 7 in E. May and M. Jones, European Manuscripts” Institute of croisades,” in Jannic Durand, Ioanna eds., Conservation Science – Heritage Fine Arts 2007-2008. Rapti and Dorota Giovannoni, eds., Materials (Cambridge, England: Publications: “Otto Pächt and the Arménia Sacra: Mémoire chrétienne des the Royal Society of Chemistry History of Art in England 1938- Arméniennes (IVe-XVIIe siècle), (Paris, Publishing, 2006); Gerlach, S., 1963,” in M. Pächt and A. Rosenauer, 2006), 255-75; “Early Icons of the Roemich, H., Lopez, E., Zanini, eds., Am Anfang war das Auge. Otto Holy Monastery of Saint Catherine F., Mancini, L., Rigon, L., “Phase Pächt, Symposium anlässlich seines 100. at Sinai,” in Robert S. Nelson and contrast microtomography for Geburtstages, 2006, 39-48; “A Newly Kristen M. Collins, eds., Holy Image, archaeological glasses,” in COST Discovered Manuscript Illuminated by Hallowed Ground: Icons from Sinai, Action G8 – Non-destructive testing and Giulio Clovio,” in Quand la peinture (Los Angeles, CA, 2006), 38-55; analysis of museum objects (Stuttgart, était dans les livres. Mélanges en l’honeur “Icons and the Religious Experience,” Germany: Fraunhofer IRB Verlag, de François Avril (Brepols, 2007), 25-33. in Sarah T. Brooks, ed., 2006), 147-151; “Archaeological Lectures and presentations at Byzantium: Faith and Power (1251- glasses – a closer look,” in L’actualite conferences: “Art in Italy c. 1000 to c. 1557), Perspectives on Late Byzantine chimique (October/November, 2007), 1300” and “Art in the British Isles, c. Art and Culture, The Metropolitan 30-33. 600 to c. 1400,” Institute of Fine Arts, Museum of Art Symposia, (New York, Presentations: Roemich, H., Gerlach, 2007-2008; “Francesco da Castello in 2007), 2-19. S., Dupont, A.-L., Lavedrine, B., Lombardy and Hungary,” Italy and Lectures: “Vrt’anes K’ertogh and Cucci, C., Bacci, M., Martin, G.: Hungary: Humanism and Art in the the Theology of Icons,” Association “Development of LightCheck as a new Early Renaissance on the patronage of Internationale des Etudes tool for lighting control in museums Matthias Corvinus, King of Hungary, Arméniennes, Salzburg, 2005; “The and exhibitions,” International seminar Villa I Tatti, Florence, June 2007; Show-Palaces of Constantinople and Impact of loan traffic on works of art, “The study of Medieval Art 1950- Hagia Sophia,” International Congress Rathgen Forschungslabor, Staatliche 2000,” A Century of British Medieval of Byzantine Studies, London, August, Museen zu Berlin, Germany, 4-5 Studies, British Academy, 2007; With 2006; « Les attributes de Sainte Marie September 2006; Michael Kauffmann, account of dans les premières icônes » Les Signes Roemich, “Interdisciplinary research medieval art history in the British Isles dans l’Image, Colloque de l’Institut for cultural heritage – networking in in the twentieth century, A Century National d’Histoire de l’Art, Paris, Europe,” XXVIII National Conference of British Medieval Studies, British March, 2007; “A New Interpretation on Calorimetry, Thermal Analysis Academy, 2007. of the Church of the Peribleptos and Chemical Thermodynamics. and its Place in Middle Byzantine Milan, Italy, 11-15 December 2006; Thomas F. Mathews Architecture,” (with Orgü Dalgic), “Challenges in glass conservation Publications: “The Palace Church International Sevgi Gönül Byzantine and analytical approaches,” New of Sts. Sergius and Bacchus in Studies Symposium, Istanbul, June, lights on ancient materials, European Constantinople,” in Judson J. Emerick 2007; “Le icone di Maria e le loro training school on the analysis of and Deborah M. Deliyannis, eds., origini pagane,” Università di Udine, ancient artifacts using synchrotron Archaeology in Architecture: Studies April, 2007; « Dall’icona pagana radiatio, Synchroton SOLEIL, in Honor of Cecil L. Striker, (Mainz all’icona cristiana, » Università degli Saint-Aubin, France, 14 March am Rhein, 2005), 137-141; “The Studi della Tuscia-Viterbo, April, 2007; “Über Licht und Schatten in Show-Palaces of Constantinople 2007; « Icône pagane come offerte Museen: Abschätzung der Risiken and Hagia Sophia,” in Proceedings votive, » Università degli Studi della für lichtempfindliche Kunstwerke,” of the 21st International Congress Tuscia-Viterbo, April, 2007. ChemART Invited lecture, University

21 Faculty News Continued

of Applied Arts Vienna, Department characterization by synchrotron Project: “Crack patterns in stained Archaeometry, Vienna, Austria, 20 radiation,” ART2008, 9th conference glass: research for improved Mai 2007; “Simulation techniques on non-destructive testing. Jerusalem, conservation,” experiments carried in conservation, an overview,” 25-30 May, 2008. out at ELETTRA, the Synchroton in Past – present – prediction: about Conferences: Member of the Trieste, Italy, 22 to 25 June 2007. simulation techniques, dosimeters, organizing committee: experts sensors in conservation research and meeting on enamel conservation, 1-2 Edward J. Sullivan application. Ohrid, Former Yugoslav July 2006, Chateau de Germolles, Publications: The Language of Objects Republic of Macedonia (FYROM), France; Main organizer: European in the Art of the Americas (New Haven 31 May-2 June 2007; “Assessment forum on nanosciences: a converging and London: Yale University Press, and monitoring lighting conditions approach across disciplines, Brussels, 2007); Continental Shifts: The Art of in museums,” Special Seminar at the 19-20 October 2006; Main organizer: Edouard Duval-Carrie (Miami, Arte Smithsonian Museum Conservation Past – present – prediction: about al Dia/Haitian Arts Alliance, 2007); Institute, Suitland MD, 21 February simulation techniques, dosimeters, Fragile Demon: Juan Soriano in Mexico 2008; “The surface and beyond: new sensors in conservation research and 1935-50, exh. cat., Philadelphia insights in old glass,” PITTCON, application, Ohrid, Former Yugoslav Museum of Art and Yale University International conference and expo on Republic of Macedonia (FYROM), Press, 2008. analytics, New Orleans, 2 March 2008; 31 May-2 June 2007; Member of the Exhibition: Fragile Demon: Juan Roemich, H., Zanini, F., Nawroth, international advisory board: the 41st Soriano in Mexico 1935-50, K., Mueller-Weinitschke, C., Sodini, World Chemistry Congress, session 3, Philadelphia, Philadelphia Museum of N., “Degradation phenomena on Chemistry protecting cultural heritage, Art, February-May 2008. historic glass – non-destructive Turin, Italy, 5-11 August 2007.

Dissertation Proposals, 2007 Continued from page 20

Keely Heuer Lauren Kinnee Susan Schafer “The Head as a Decorative Motif in “The Roman Trophy: From Battle Marker “Roma Anno Zero: Continuity and South Italian Vase Painting” (Mertens) to Emblem of Power” (Welch) Change in Post-World War II Architecture in Rome” (Cohen) Karen Hung Abby Kornfeld “The Master of The Parallel Folds: Hans “On the Margins: Cultural and Artistic Jessica Veith Thoman of Memmingen Interaction in the British Library “Jan de Braij in Perspective” and the Sculptors of Upper Swabia (1500- Haggadah Manuscript Additional 14761” (Westermann) 1550)” (Eisler) (Alexander) Derek Weiler Lauren Jacobi Abby McEwen “Saying ‘I’:John Cage, Richard “The Architecture and Urbanism “The Practice and Politics of Cuban Hamilton, and Proto-Conceptual Art” of Banks in Early Modern Italy, ca. 1400- Abstraction c. 1952-1963” (Storr) 1600” (Trachtenberg) (Sullivan) Daniel Williamson Yumiko Kamada Rory O’Dea “Modern Architecture and Local Culture “Flowers on Floats: The Production, “From the Spiritual to Science-Fiction: in Ahmedabad, 1947-1968” Circulation, and Reception of Early- The Irrational World of Robert Smithson” (Cohen) Modern Indian Carpets” (Soucek) (Storr)

22 Alumni News

James Ackerman avec Tony Oursler, (Brussels: Facteur in the Middle Ages), Kalamazoo, MI, Ph.D. 1952 Humain, 2006); Anil Revri, exh. cat., 2008; “Rosalba e Anton Maria Zanetti Presentations at conferences: Inaugural Vadehra Art Gallery, New Delhi, 2006; tra Parigi e Venezia nella prima metà address for the international symposium “The Colors of Time,” in Building a del secolo,” Convegno internazionale di celebrating the 500th anniversary of the Picture: The Art of Nathan Slate Joseph, Studi, Ro s a l b a Ca rr i e r a (1673-1757), Renaissance architect, Andrea Palladio, exh. cat., Sundaram Tagore Gallery, Fondazione Giorgio Cini, Venice, 2007; Padual, Italy, May, 2008. New York,, 2006; Yigal Ozeri, As Early Project: Member of Organizing Honors: May 2008: made honorary as New York, Mike Weiss Gallery, New Committee for Mille anni tra Venezia citizen and presented with the golden York, 2006. e Pechino (Il Genio di Venezia), an key to Padua in recognition of the Exhibition: Quirky, Westport Arts exhibition planned for Beijing in May influence of my 1977 book,Palladio , Center, Westport, Connecticut, 2009 followed by Rome in September and my scholarship on Andrea Palladio. November 2007. 2009. Awards: Trustees Scholarship Award, Michaël J. Amy RIT (May 2007); Gitner Family Prize, Kim Teresa de Beaumont M.A. 1989, Ph.D 1997 CIAS, RIT (May 2006). M.A. 1975, Ph.D. 1998 New Position: Associate Professor of Project: Michaël Borremans: The Position: Guest Curator (May 2005 Art History, College of Imaging Arts Drawings, (Ghent, Ludion, 2008) through January 2008) for Gabriel & Sciences, Rochester Institute of de Saint-Aubin (1724-1780) at the Technology. Ronni Baer Frick Collection, October 30, 2007 to Publications: “Introducing Reigl,” Art M.A. 1981, Ph.D. 1990 January 27, 2008 and the Musée du in America, 3 (March 2008); “Editing Exhibitions: El Greco to Velázquez: Art Louvre, February 21 to May 26, 2008. Nature,” in Sebastian Lemm: Editing during the Reign of Philip III, Museum Publications: “Reconsidering Gabriel de Nature, exh. cat., Peer Gallery, New of Fine Arts, Boston, April–July 2008 Saint-Aubin: The Biographical Context York, 2008; Lee Waisler, exh. cat., (co-curator with Sarah Schroth); Five for His Scenes of Paris” includng 33 Sundaram Tagore Gallery, Beverly Centuries of European Portraiture, catalogue entries in Gabriel de Saint- Hills, 2008; Tim Prentic:, New Kinetic Nagoya/Boston Museum of Fine Arts, Aubin (1724-1780), exh. cat., The Frick Sculptures, exh. cat., Maxwell Davidson September 2006–February 2007. Collection, New York, October 30, Gallery, New York, 2008; “Nicola Awards: NEH exhibition 2007 to January 27, 2008 and Musée du Verlato: Drawings,” Nicola Verlato, implementation grant for El Greco to Louvre, Paris, February 21 to May 26, Modeling Process, exh. cat., Galleria Velázquez, 2006; NEA exhibition grant 2008; “Gabriel de Saint-Aubin (1724- Comunale d’Arte Contemporanea di for El Greco to Velázquez, 2006. 1780),” The Frick Collection Members’ Monfalcone, 2007; Mark Sheinkman, Magazine (Fall 2007): 4-9. 2007, exh. cat., Von Lintel Gallery, Jennifer Ball Lectures and presentations at New York, 2007; “Sculpture as Living M.A. 1996, Ph.D. 2001 conferences: “Gabriel de Saint- Organism: A Conversation with David Publications: “A Syrian Liturgical Aubin and ‘le Spectacle de l’histoire Altmejd,” Sculpture, 26, 10 (December Stole,” Hugoye: The Journal of Syriac parisienne,’” The Frick Collection, 2007); “Universal Resonances: A Studies 9, no. 1 (January 2006). December 5, 2007 and January 25, Conversation with Berlinde de 2008 (also delivered at the Alliance Bruyckere,” Sculpture, 26, 2 (March William Barcham Française, (in French), Greenwich, CT 2007); “Michelangelo’s Drawings M.A. 1966, Ph.D. 1974 on January 8, 2008); “Caught in the for Apostle Statues for the Cathedral Publication: “Bernardino da Feltre, the Web of Gabriel de Saint-Aubin,” Saint- of Florence,” Viator: Medieval and Monte di Pietà and the Man of Sorrows: Aubin Study Day at the Frick Collection, Renaissance Studies, 37 (2006); “The Activist, Microcredit and Logo,” co- January 22, 2008. Theater of the Absurd,” tema celeste, authored with Catherine Puglisi, Artibus Conferences: Organizer: the Saint- 116 (July-August 2006); “Boston et Historiae 57, (2008). Aubin Study Day in collaboration Light: Daguerreotypes by Southworth Presentations at conferences: “The with Dr. Colin B. Bailey, Associate & Hawes convey mid-19th-century King’s Body and the Man of Sorrows: Director and Chief Curator, The Frick America through its luminaries and The Coronation Book of Charles V,” Collection. ordinary citizens,” Art in America, 3 43rd International Congress on Medieval Exhibitions: Collaborated with Pierre (March 2006); One to One Conversation Studies (session: Kingship and Religiosity Rosenberg, President-Director Emeritus,

23 Alumni News Continued

Musée du Louvre, Colin B. Bailey, Celia Bergoffen Controversial Project to National Christophe Leribault, Conservateur-en- M.A. 1982, Ph.D. 1989 Treasure,” University of Oslo, April chef, Département des arts graphiques, Publications: “Style, Context and 2007; “Edvard Munch, the Artist and Musée du Louvre, and Perrin Stein, Chronology: Cypriot Base Ring I the Street,” Munch Museum, Oslo, Curator, Department of Drawings and Kraters from Alalakh,” in The Lustrous May 2007; “Why Study the University Prints, the Metropolitan Museum of Wares of Late Bronze Age Cyprus and Murals?” University of Oslo, May 2007; Art, on the above-mentioned exhibition, the Eastern Mediterranean, Proceedings “Modern Muralism: A False Start?” Gabriel de Saint-Aubin (1724-1780). of the Cyprus Project of the SCIEM Edvard Munch Symposium, Kunsthalle Projects: Preliminary planning and 2000 Conference, November 4-7, 2004 Würth, Schwabisch Hall; “Allegories grant applications for an updated (Vienna: Österreichische Akademie der of Science,” The Sight/Insight of edition of Emile Dacier’s 1931 catalogue Wissenschaften, Vienna, 2007), 25-36; Scandinavian Art and Science, University raisonné of the oeuvre of Gabriel de “Tell el Ajjul’s Foreign Trade and its of Oslo, November 2007. Saint-Aubin. Cypriot Pottery Imports,” in Gaza à la Conference: Co-chair: The Sight/ croisée des civilisations, exh. cat., Musée Insight of Scandinavian Art and Science. Jane Becker d’art et d’histoire, Ville de Genève, University of Oslo, November 2007. M.A. 1992, Ph.D. 1998 Geneva, 26 April – 7 October 2007, Honors and Awards: Named the Position: Editor of United States section Neuchâtel: Chaman, 2007; “Canaanite Theodora L. and Stanley H. Feldberg of “What’s On” in The Art Newspaper Wheelmade Imitations of Late Cypriot Professor of Art at Wellesley College. on a temporary basis. Base Ring II Jugs,” in E. Czerny, I. Projects: Co-editor with Gertje Utley, Lectures: “Camille Pissarro: Inside and Hein, H. Hunger, D. Melman, and A Fine Regard: Essays in Honor of Kirk Outside Impressionism,” The Jewish A. Schwab, eds., Timelines Studies Varnedoe (London: Ashgate Press, Museum, New York, January 2008. in Honour of Manfred Bietak. Vol. II forthcoming Summer 2008). Projects: Ongoing research and writing (Leuven: Peeters, 2006), 331-338. for the National Gallery of Art’s Lectures and presentations at Robert Steven Bianchi systematic catalogue volume on their conferences: “A Jewish Ritual Bath Ph.D. 1976 later 19th-century French paintings. on the Lower East Side,” A.I.A. Louis Publications: Catalogue entries in Joan Blumengarten Lecture, New York, Goodnick Westenholz, ed., Sounds of Pamela Berger December 20, 2007; “Digging in Ancient Music, exh cat., Bible Lands Ph.D. 1974 New York City”, American Schools Museum, Jerusalem, 2007; “The Publications: “Avarice, Money and of Oriental Research, San Diego, stones of Egypt and Nubia,” in Zahi Judgment Day,” in Nancy Netzer and November 15, 2007; “Plank Figurines A. Hawaas and Janet Richards, eds., Virginia Reinberg, eds., Sacred/Secular, as Cradle Boards,” Finds and Results The Archaeology and Art of Ancient exh. cat., McMullin Museum, 2006; from the Swedish Cyprus Expedition: Egypt. Essays in Honor of David B. “Mice, Arrows and Tumors: Medieval A Gender Perspective. Conference in O’Connor (Cairo 2007) (Annales du Plague Iconography North of the Alps,” Medelhavsmuseet, Stockholm, 31 Service des Antiquités de l’Egypte in Franco Mormando, ed., Piety and March – 2 April 2006. Cahier 36), 109-117; “Images of Isis Plague, (Truman State University Press, and her cultic shrines reconsidered. 2007). Patricia Berman Towards an Egyptian understanding of Lecture: “The Art-historical and Textual M.A. 1980, Ph.D. 1989 the interpretatio graeca,” in L. Bricault, Sources Used for the Making of the Publications: In Another Light: Danish M.J. Versluys, and Paul G. P. Meyboom, Film ‘Sorceress’,” Series on Important Painting in the Nineteenth Century (New eds., Nile into Tiber. Proceedings of Historical Films, New York Public York: Vendome Press, and London: the III International Conference of Isis Library, January 2006. Thames and Hudson, 2007); Danish Studies, Faculty of Archaeology, Leiden Projects: A film I wrote and produced translation: Nyt Lys over 1800-tallets University, May 11-14, 2005 (Leiden in 1987, “Sorceress” [“Le moine et la danske maleri (Copenhagen: Aschehoug 2007) (Religions in the Graeco-Roman sorcière”] has just come out in DVD. Forlag, 2007); “Open Oslo” in Oslo World 159), 470-505. I wrote an essay that is published in Open, ed. 2007. Exhibitions: Guest curator for Theater the booklet accompanying the DVD Lectures and presentations at in Ancient Art: The William Knight package. It also includes an interview conferences: “A Curious Modernity Zewadski Collection, The Museum with the director, Suzanne Schiffman. of Munch’s Aula Paintings: From of Fine Arts, St. Petersburg, Florida,

24 December 2007-March 2009; Guest Graduate Center, CUNY (appointed Double Session, Annual College Art curator for Ancient Witnesses—Sacred June 2007). Association Conference, New York, Texts and Treasures, The Explorations in Publications: “Mario Merz: February 2007. Antiquities Center, La Grange, Georgia, Ethnographer of the Everyday,” in Honors and Awards: 2006 National 2007. Mario Merz., The Magnolia Table, exh. Jewish Book Award for The Power of cat., Sperone Westwater Gallery, New Conversation, Jewish Women and Their Arthur R. Blumenthal York, 2007; “Ornament as Evolution: Salons (Yale University Press, 2005). M.A. 1966, Museum Training Gustav Klimt and Berta Zuckerkandl,” Certificate, 1968, Ph.D. 1984 in Gustav Klimt. The Ronald S. Lauder Joan Carpenter-Troccoli New Position: Director Emeritus of and Serge Sabarsky Collections, exh. M. A., 1977, Ph. D., 1985 Cornell Fine Arts Museum, Rollins cat., Neue Galerie and Prestel Verlag, Publications: “‘Tel un fantôme, il fuit College, Virginia; Principle, Loving Art New York, 2007; “The Devil Wore devant nous’: le romantisme et l’art de Partnerships. Balla” Rett Kopi, Oslo (Summer 2007); l’Ouest américain,” in Laurent Salomé Presentation: “How to Look at Art,” special issue on the Manifesto, edited et al., La Mythologie de l’Ouest dans l’art Ringling Museum/FSU, Institute for by Ellef Prestæter and Karin Nygård; américain 1830-1940 (Rouen: Musée Cultural Learning, Sarasota, Florida, “Carnal Knowledge,” in exh. cat., des Beaux-Arts/Silvana Editoriale, February 14-15, 2008. Royal Academy of Arts, London, 2006; 2007); Review of Brandon K. Ruud, Exhibitions: In the Light of Naples: The “Florine Stettheimer: Outsider on the ed., Karl Bodmer’s North American Art of Francesco de Mura, co-curator Inside,” Studia Judaica, 14 (Special Prints (Lincoln: University of Nebraska with Stephen Borys, chief curator, Issue: Jewish Contributors to Modern Press, 2004) in North Dakota History: Ringling Museum, Sarasota, Florida, Art Movements, ed. Ladislau Gyémánt); Journal of the Northern Plains 73 John and Mable Ringling Museum of Cluj-Napoca, Romania: Institute (2006)., 34. Art, Sarasota, 15 November 2010 to 15 for Hebrew and Jewish History, February 2011. 2006; Reprinted essay: “The Faces of Ellen Carrlee Honors and Awards: Florida Art Modigliani: Identity Politics under M.A. 2000, Diploma in Conservation Museum Directors Association’s Fascism” in Vojtech- Jirat-Wasiuty´nski, 2000 Lifetime Achievement Award 2006- ed., Modern Art and the Mediterranean, New Position: Conservator, Alaska State 07; The Orlando Weekly Award for University of Toronto Press, Toronto, Museum. “Best Museum Director” 2006; Petters 2007. Lectures: “Boxes and Mounts for International Initiative Award 2006 Lectures and presentations at Storage and Shipping,” co-presenter (to Rome); invited to be on Comitato conferences: “The Aesthetics of Poverty: with Scott Carrlee, Museums Alaska Scientifico for Accademia delle Arti del Visual Culture in Post-WWII Italy,” Annual Conference, Juneau, Alaska Disegno, Florence, for Cosimo Rosselli, Border Zones: Art History in an Age of October 4-7, 2006; “Conservation and Florence, Museo San Marco, 2010. Visual Culture, New York University, Exhibit of An Archaeological Fish Trap,” Projects: Francesco de Mura (1696- October 6, 2006; Headline Speaker, American Institute for Conservation 34th 1782), forthcoming publication in Political Realisms of the 1930s: America Annual Meeting, Objects Specialty Group 2011; Loving Art: A Path to Astonishing and its Totalitarian Others, Chicago Session, Providence, Rhode Island, Pleasure with Kären Love Blumenthal; Consortium for Art History (Art June 16-19, 2006; “Collaborative Loving Art Partnerships, my museum Institute of Chicago, University of Conservation of Museum Objects,” and art consulting firm, affiliated with Chicago and Northwestern University), co-presenter with Landis Smith, Lord Cultural Resources; executive September 29-30, 2006; Keynote Kelly McHugh and Scott Carrlee, producer (with Kären Love Blumenthal) Speaker, British Society of Italian “Collaborative Conservation of Museum of the television series “Masterpiece Studies, Bi-Annual Conference, Public Objects.” Museums Alaska Annual Mysteries” with I.D.E.A.S. at MGM and Private Spaces in Italian Culture, Conference, Homer, Alaska September Studios. London, April 2006; Moderator: The 26-29, 2007. Art of Politics in the Art World, CUNY Conferences: Program Planning Emily Braun Center for the Humanities, New York, Committee: Museums Alaska Annual M.A. 1982, PhD, 1991 April 5, 2006. Conferences in 2006 and 2007. New Position: Distinguished Professor Conferences: Co-Chair: “Italia Barbara: Exhibition: New permanent exhibit for of Art History, Hunter College and the ‘Primitives from Piero to Pasolini,” the Montana Creek Fish Trap Juneau-

25 Alumni News Continued

Douglas City Museum, 2006. July 2007-June 2010. /I/N /G Online #4. http://writing. Awards: The Montana Creek Fish Trap Publication: The Colors of Clay: Special upenn.edu/pepc/meaning/04/forum. Project was awarded a 2006 Award Techniques in Athenian Vases, exh. cat. html#coughlin. of Merit and WOW award from the Getty Publications, Los Angeles 2006. Conferences: “Rural Women’s American Association for State and Lectures at conferences: “On the Edge: Religiosity, Modern Art and Third Local History. Outline in Athenian Vase Painting,” Republic Politics,” Politics and Projects: The Montana Creek Fish Conference on Athenian Vase Painting Propaganda Nineteenth-Century Studies Trap Project for Juneau-Douglas in Honor of Paul Rehak, University of Association Annual Conference, Florida City Museum; Basketry Survey and Kansas, Lawrence, KS, March 2006; International University, Miami, 3-5 Conservation: treatment of waterlogged “Keynote Address: The Colors of Clay,” April 2008; “The Spectacle of Piety archaeological basketry for Alaska State Symposium on Athenian Vases for The on the Brittany Coast,” Journeys of Museum. Colors of Clay exhibition, Getty Villa of Expression VII: Celebrating the Edges of the J. Paul Getty Museum, Malibu, CA, the World: Tourism and Festivals of the Claude Cernuschi June 2006; “Baskets, Nets and Cages: Coast and Sea, University of Iceland, M.A. 1983, Ph.D. 1988 Indicia of Spatial Illusionism in Archaic Reykjavík, February 29- March 1, 2008; Publications: Pollock Matters, co-edited Athenian Vase Painting,” Annual “Cézanne in the Alps: The Accidental with Ellen G. Landau, (Chestnut Hill, Meeting of the Archaeological Institute of Tourist,” Top of Experience: The Art MA: McMullen Museum of Art, Boston America, January 2007. of Practice in the World of Tourism, College, 2007); “Cutting Pollock Down Exhibition: Guest Curator for The Interdisciplinary symposium and to Size: The Boundaries of the Poured Colors of Clay: Special Techniques in exhibition at the Lucerne School of Technique,” co-authored with Andrzej Athenian Vases, Getty Villa of the J. Art and Design, 15 to 17 November, Herczynski, Physics Department, Paul Getty Museum, Malibu, CA, June 2007; “Jean-François Millet and Mere Boston College, in Ellen G. Landau - September 2006. Decoration,” High/Low. Nineteenth- and Claude Cernuschi, eds., Pollock Honors and Awards: Finalist for Alfred century French Studies, annual Matters (Chestnut Hill, MA: McMullen H. Barr, Jr. Award for Distinction in conference, Mobile Alabama, 18-20 Museum of Art, Boston College, Museum Scholarship 2007, College October 2007; “Cézanne in the Alps: 2007), 73-90; “Abstract Expressionism Art Association (for The Colors of Clay The Accidental Tourist,” Things That and Fractal Geometry,” co-authored catalogue). Move: The Material World of Tourism with Andrzej Herczynski and David and Travel. Centre for Tourism and Martin, Computer Science Department, Maura Coughlin Cultural Change, Leeds, UK 19-23 Boston College in Ellen G. Landau Ph.D. 2001 July 2007 (Published in conference and Claude Cernuschi, eds., Pollock Publications: “Cloaks, Crosses and proceedings); “The Widows’ Walk: Matters, (Chestnut Hill, MA: McMullen Globes: Women’s Material Culture Mourning Culture on the Brittany Museum of Art, Boston College, 2007), of Mourning on the Brittany Coast” Coast.” The Merry Widow: Rethinking 91-104; “Freudian Themes in the in Maureen Daly Goggin and Beth Widowhood in History, Culture and Symbolist Work of George Minne,” in Fowkes Tobin eds., Women and Things: Society, The Centre for Research into Jeffery Howe, ed., A New Key: Modern Gendered Material Practices, 1750- Gender in Culture and Society at the Belgian Art from the Simon Collection 1950. (London: Ashgate, 2008); University of Wales Swansea, UK, 7 - 9 (Chestnut Hill, MA: McMullen “Cézanne and Van Gogh’s Quarries: July 2007; Chair: “Historical Session, Museum of Art, Boston College, 2007), Wasted Landscapes as Modern Art” Piety or Propaganda?” Modern Religious 241-80; “The Subversion of Gravity forthcoming in John F.M. Clark and Art in France, College Art Association, in Jackson Pollock’s Abstractions,” John Scanlan, eds., The World Turned 95th annual conference, New York, 16 co-authored with Andrzej Herczynski, Inside Out: Waste in History and Culture February 2007; “The Widows’ Walk: Physics Department, Boston College, (Cambridge Scholars Publishing: Representing Death and Mourning on forthcoming. UK 2008); “Barbizon Painters” in the Brittany Coast,” Constructions of John Merriman and Jay Winter, eds., Death, Morning, and Memory, WAPACC Beth Cohen Encyclopedia of Europe: 1789-1914 (New (Women Art Patrons and Collectors M. A. 1970, Ph.D. 1977 York: Charles Scribner’s Sons, 2006); Conference), Woodcliff Lake, NJ, 28 New Position: Museum Review Editor, Contributor to online forum “Feminist October 2006 (published in conference The American Journal of Archaeology, Art: A Reassessment” M/E /A/N proceedings): “Cézanne and Van Gogh’s

26 Quarries: Wasted Landscapes as Modern Armstrong, Cézanne in the Studio: 2007; “From Materialism to Matière,” Art” AHRC Centre for Environmental Still Life in Watercolor (Los Angeles: presented at a panel convened by Susan History conference, Modernity and Waste. Getty Publications, 2004), Nina Sidlauskas, “What is there to say now University of St. Andrews, Scotland, Athanassoglou-Kallmyer, Cézanne and about Cézanne?” Annual Conference UK, 16-17 June 2006. Provence: The Painter in his Culture of the College Art Association, Boston, (Chicago and London: University February 2006; “Just (Not) Looking: Aruna D’Souza of Chicago Press, 2003), and Wayne The Department Store and the Visual M.A., 1994, Ph.D. 1999 Anderson, Cézanne and the Eternal Field in 19th Century Paris,” Silberberg Publications: Cézanne’s Bathers: Feminine (Cambridge: Cambridge Lecture series, Institute of Fine Arts, New Biography and the Erotics of Paint University Press, 2005)] in Bookforum York University, February 10, 2006. (University Park, Pa.: Penn State (February/March 2006). Exhibitions Curated: eFEMera: The University Press, 2008); “Feminist Lectures and presentations at Art of Feminist Activism, University Time: A Conversation,” Grey Room conferences: “Strange Bedfellows: Art Museum, Binghamton University, 31 (Spring 2008); “Déformation and Vallotton, Marriage and the Dreyfus November 29, 2007-February 2, 2008. Seduction: Van Dongen’s Images of Affair,” on the panel “Ciphers and Honors and Awards: Mellon Visiting Women,” in Kees Van Dongen (Monaco: Cinders: Images of Women and Professor, Department of Art History, Nouveau Musée National de Monaco, Domesticity in the Visual Arts,” University of California at Berkeley, Montreal: Musée des Beaux-arts, 2008); Nineteenth Century Studies Association 2008-2009; Clark Fellowship, Sterling “Unfinished Business,” [review of Conference, Florida International and Francine Clark Art Institute, Kirk Varnedoe, Pictures of Nothing, University, April 3-5, 2008; “Cézanne’s Williamstown, MA., Spring 2008; (Princeton: Princeton University Press, Erotics of Paint,” Smith College, Library Research Grant, Getty 2006)]. Bookforum (Feburary/March Northampton, Mass., April 28, 2008; Research Institute, Spring 2007; Dean’s 2007); Co-editor and introduction, “Strange Bedfellows: Félix Vallotton, Research Semester Award, Binghamton with Tom McDonough, The Invisible Marriage, and the Dreyfus Affair,” University, Fall 2006. Flâneuse?: Men, Women and Public Space Clark Lecture, Clark Art Institute, Current Projects: Open Secrets: Intimacy in 19th Century Paris (Manchester and April 1, 2008; “Félix Vallotton and the between the street and the home in the London: Manchester University Press, Tyranny of Domestic Space,” Keynote visual culture of late-19th century Paris 2006); “Why the Impressionists Never address at Crossing the Boundaries, (book manuscript); Review of Petra Painted the Department Store,” in Binghamton University, March 14, ten-Doesschate Chu, The Most Arrogant The Invisible Flâneuse? Men, Women, 2008; “Race, Ethnicity, Feminism Man in France: Gustave Courbet and and Public Space in 19th century Paris and Curatorial Practice,” Museum of the Nineteenth-Century Media Culture (Manchester and New York: Manchester Modern Art/Columbia University, (Princeton, NJ: Princeton University University Press, 2006); “Measures of Seminar on Feminist Practices and Press, 2007), The Art Bulletin, Difference [on Mona Hatoum],” in Art Institutions, February 29, 2008; forthcoming 2008; “The Ethics of Rhea Anastas and Michael Brenson, Panelist for Reconsidering Feminism: A Code-Breaking,” in a volume edited by eds., A Witness to Her Art: Art and Year in Review, The Museum of Modern D. Medina Lasansky on the cultural writings by Adrian Piper, Mona Hatoum, Art, November 20, 2007; Co-chair: legacy of the Italian Renaissance Cady Noland, Jenny Holzer, Kara Walker, “Globalism and its Discontents,” (Periscope Press, forthcoming 2009). Daniela Rossell and Eau de Cologne Annual Conference of the College Art (Annandale-on-Hudson, NY: Center Association, New York City, February Kristi Dahm for Curatorial Studies, Bard College, 2007; “Open Secrets: Intimacy between M.A. 2002, Certificate in Conservation 2006); Review of Nina Athanassoglou- Street and Home in Late 19th Century 2002 Kallmyer, Cézanne and Provence: The Paris,” Cornell University School of Publications: Watercolors by Winslow Painter in his Culture (Chicago and Architecture, “Under Construction: Homer: The Color of Light, Martha London: University of Chicago Press, Works in Progress on Architecture Tedeschi with Kristi Dahm and 2003); CAA reviews, and the Built Environment,” October contributions by Judith Walsh and [http: caareviews.org/reviews/912, 17, 2007; Strange Bedfellows: Karen Huang, (New Haven and published by the College Art Félix Vallotton, Marriage, and the London: The Art Institute of Chicago/ Association November 4, 2006]; “The Dreyfus Affair,” VizCult lecture series, Yale University Press, 2008). Comeback Artist,” [review of Carol Binghamton University, September 19, Presentations at conferences: Francesca

27 Alumni News Continued

Casadio and Kristi Dahm, “Transcribing the Italian Renaissance,” in celebration New Position: Associate Professor of Nature on Paper: Effortless Complexity of the Kimbell Art Museum’s 2006 Greek and Roman Art and Classical in Winslow Homer’s Watercolors,” acquisition of the Borromeo Madonna, Studies, Duke University. Conservation Science 2007, Milan, Italy, attributed to Donatello, Fort Worth, Publications: “Portraits of Women May 10-11, 2007. TX, December 8, 2006. in the Early Hellenistic Period,” in Exhibitions: “Camille Claudel and P. Schultz and R. von den Hoff eds., Alan P. Darr Rodin: Fateful Encounter,” The Detroit Early Hellenistic Portraiture: Image, M.A. 1975, Ph.D. 1980 Institute of Arts, The Musée National Style, Context (Cambridge University Publications: “Recent Acquisitions des Beaux-arts du Quebec, Fondation Press, 2007), 63-83; Ancient Greek (2000-2006) of European Sculpture Pierre Gianadda, Martigny, May 26, Portrait Sculpture: Contexts, Subjects, and Decorative Arts at the Detroit 2005 - June 15, 2006 (project director and Styles (Cambridge, 2006); Roman Institute of Arts,” co-authored with for the Detroit venue and member of Portrait Statuary from Aphrodisias, Brian Gallagher, The Burlington the exhibition’s international Scientific R.R.R. Smith (excavation and project Magazine (June 2007), 449-456; “Two Committee). director/editor), with S. Dillon, C.H. newly acquired sculptures by Rude and Honors and Awards: “Cavaliere Hallett, J. Lenaghan and J.V. Voorhis; Rodin in the Detroit Institute of Arts,” dell’Ordine della Stella della Solidarietà Aphrodisias Excavations monograph series, La sculpture en Occident: Etudes offertes Italiana” (Knight of the Order of the Star volume 2. (Phillip von Zabern, 2006); a Jean-René Gaborit (Paris: Musée du of Italian Fellowship), awarded by the Representations of War in Ancient Rome, Louvre, 2007), 273-283. President of the Italian government for co-edited with K. Welch (Cambridge Lectures and presentations at 25 years of work with Italian art and University Press, 2006). conferences: “Donatello, Desiderio culture and contributions to the City of Lectures and presentations at and his brothers, and Quattrocento Detroit. conferences: “Portraits and Politics: Sculpture in pietra serena for a Boni Project: 2006-2008: Collaborated on Honoring Generals in the Athenian Palace and elsewhere in Florence,” the complete renovation, reinstallation Agora,” Keynote Address, Johns Desiderio da Settignano Conference, and reinterpretation of 82 medieval Hopkins Classics Department Graduate co-sponsored by the Kunsthistorisches through early modern European art Student Symposium, October 5, 2007. Institut, Villa I Tatti and Museo galleries of paintings, sculpture and Honors and Awards: James R. Wiseman Nazionale del Bargello, Florence, Italy, decorative arts at the Detroit Institute of Book Award from the Archaeological May 10-12, 2007; “Pietro Torrigiani Arts, 2003-2008. Institute of America for Ancient and his sculpture in Henrician England: Greek Portrait Sculpture, January sources and influences,”Henrici- Andria Derstine 2008; National Endowment for the Medici, Artistic Links between the Early M.A. 1996, Ph.D. 2004 Humanities Faculty Fellowship, The Tudor Courts and Medicean Florence, Exhibitions: The Modern Landscape Female Portrait in Greek Art and Villa I Tatti Conference, Florence, (August 2007- ongoing); European Society, 2005-2006. Italy, September 19-21, 2007; “The Drawings, 16th-19th Centuries Projects: The Female Portrait in the Collection of Early Doccia Porcelain (September 2007-January 2008); Greek World. Sculpture from the Detroit Institute of Running the Numbers: Photographs by Arts: Sources, Context and Influence,” Chris Jordan (March – June 2008), all Eugene Dwyer Baroque Luxury Porcelain International at the Allen Memorial Art Museum, M.A. 1967, Ph. D. 1974 Conference, Liechtenstein Museum, Oberlin College. Publications: “The First Plaster Casts Vienna, Austria, January 28-29, 2006; Honors and Awards: Elected to the of the Pompeian Victims,” in Thomas “Camille Claudel and Rodin: Fateful Souderton Area High School Hall of Dowson, ed., Sculpture and Archaeology, Encounter,” Palm Beach International Fame, 2007. Subject/Object: New Studies in Sculpture Art Fair and Conference, Palm Beach, Project: 2007: acquisition for the Allen (HMI/Ashgate, forthcoming); “Science Florida, February 3, 2006; “Twenty-Five Memorial Art Museum of François or Morbid Curiosity: Giuseppe Years of Collecting European Ceramics Bouche’s painting, Allegory of the Fiorelli and the Last Days of Romantic at the Detroit Institute of Arts,” The Education of Louis XV (1756). Pompeii,” in Victoria C. Gardner International Ceramics Conference and Coates and Jon L. Seydl, eds., Antiquity Fair, London, England, June 17, 2006; Shelia Dillon Recovered: The Legacy of Pompeii and “Donatello and Terracotta Sculpture in M.A. 1989, Ph.D. 1994 Herculaneum (Los Angeles: J. Paul

28 Getty Museum, 2007), 171-188; “From in Maryland, Baltimore, Maryland, vol. 1, forthcoming 2007; Fragment to Icon: Stages in the Making April 6, 2006. “Requirements of Devout and Exhibiting of the Casts of Pompeian Conferences: 2007 International Contemplation: Text and Image for the Victims, 1863-1888,” Interpreting Congress on Medieval Studies, Poor Clares in Trecento Pisa,” Gesta Ceramics, 8 [http://www.uwic.ac.uk/ Kalamazoo, Michigan; Co-organized XLV/I (2006), 61-76; Cimabue and icrc/issue008/articles/06.htm]. and participated in roundtable for Early Italian Devotional Painting, exh. Lectures and presentations at session “Whither Feminist Art History cat., The Frick Collection, New York, conferences: “A Presentation Copy of Now?” co-sponsored by the Medieval 2006; This Anguished World of Shadows: Hubert Goltzius’s Lebendige Bilder Gar Feminist Art History Project and the Rouault’s Miserere et Guerre, with Soo Nach Aller Keysern for Maximilian King Society of the Study of Homosexuality in Yun Kang, exh. cat., Museum of Biblical of Bohemia,” The Renaissance Society of the Middle Ages (May 2007). Art, London: Dan Giles, 2006. America Annual Meeting, San Francisco, Exhibitions: Intimate Devotion: The Lectures and presentations at California, 23-25 March 2006. Book of Hours in Medieval Religious conferences: “The Unicorn’s Garden: Practice, Rare Book Room, Canaday The Lore of Plants in Medieval Martha Easton Library, Bryn Mawr College, January Art,” Saturday Lecture Series, The M.A. 1991, Ph.D. 2001 31 – May 30, 2008; an exhibition Cloisters Museum, New York, May Publications: “The Wound of Christ, organized by students in my seminar, 2008; “Women Wielding Knives: The the Mouth of Hell: Appropriations and “The Book of Hours and the Art of Circumcision of the Christ Child by Inversions of Female Anatomy in the Devotion.” the Virgin in the Meditationes Vitae Later Middle Ages,” in Susan L’Engle Christi,” Sewanee Medieval Colloquium, and Gerald B. Guest, eds., Tributes to Carol Eliel April 2008; “The Art of Forgiveness: Jonathan J.G. Alexander: The Making M.A. 1979, Ph.D. 1985 Images of the Prodigal Son,” Museum of and Meaning of Illuminated Medieval Exhibitions: Lee Mullican: An Abundant Biblical Art, January 2008; “The Art of and Renaissance Manuscripts, Art and Harvest of Sun, LACMA, Los Angeles, Medieval Italy,” Saturday Lecture Series, Architecture (London/Turnhout, Harvey November 10, 2005-February 20, The Cloisters Museum, New York, Miller Publishers, 2006), 395-414; 2006 and Grey Art Gallery, New York November 2007; “Image, Imagination, “Eroticism in Art,” in Margaret Schaus, University, April 25-July 15, 2006. and Devotion: Franciscan Art and the ed., Women and Gender in Medieval Catalogue distributed by DAP for Origins of Renaissance Naturalism” Europe: An Encyclopedia (New York, LACMA; SoCal: Southern California Michael C. Brady Lecture, Saint Routledge, 2006). Art of the 1960s and 70s from LACMA’s Bonaventure University, November Lectures and presentations at Collection for LACMA, Los Angeles, 2007; “Intricate Purity: Medieval conferences: “‘Was It Good For You August 19, 2007-March 30, 2008. Ivories,” Saturday Lecture Series, The Too?’ Eroticism in Medieval Art and Its Projects: Currently working on a Cloisters Museum, New York, July Audiences,” Center for Visual Culture, major exhibition provisionally titled 2007; “Illustrated Manuscripts of the Bryn Mawr College, Bryn Mawr, Cubes and Anarchy: Geometry in David Meditations on the Life of Christ,” Pennsylvania, November 28, 2007; Smith, scheduled to open at LACMA in Conference on Christian Iconography, “Images Gross and Sensible: Violence October 2010, with catalogue. University of Rijeka, Croatia, May and Memory in Medieval Art” for the 2007; “Cimabue and the Imagination fourth annual symposium, Memory Holly Flora in Trecento Art,” New York University, in Medieval France, International M.A. 1998, Ph.D. 2005 May 2007; “History, Monument, Medieval Society of Paris, Paris, New Position: Assistant Professor of Art and Ritual in Ethiopia: A Curator’s France, June 2007; “‘Was It Good History, Tulane University, appointed Journey,” Museum of Biblical Art, For You, Too?’ Medieval Erotic Art July 2007. New York, April 2007; “Late Medieval and Its Audiences,” International Publications: The Art of Forgiveness: Devotional Art at the Cloisters,” Congress on Medieval Studies, Images of the Prodigal Son, exh. cat., Saturday Lecture Series, The Cloisters Kalamazoo, Michigan, May 2006. Museum of Biblical Art, New York, Fall Museum, New York, January 2007; “Girls Will Be Boys: Cross-Dressing 2007. “The Charity of the Virgin Mary “Monastic Gardens: Cloister Sculpture and Other Gender Transformations in in Paris Bibliothèque Nationale Ms. ital. and the Symbolism of Nature,” Saturday Medieval Hagiography and Romance,” 115,” with Arianna Pecorini Cignoni in Lecture Series, The Cloisters Museum, Humanities Symposium, Loyola College Studies in Iconography, New York, September 2007; “Women

29 Alumni News Continued and Franciscan Art in the Trecento,” Kress Foundation Old Masters in Context 2007); “A Kaleidoscope of Colours: Conference on Theological Aesthetics, planning grant. Ceramics from the Islamic World,” Denver, May 2006; “Georges Rouault: Transactions of the Oriental Ceramics Arbiter of Shadows,” Museum of Wayne Franits Society, 70, (2007), 85-88; forthcoming Biblical Art, May 2006; “Text, Image, Ph.D. 1987 2008). and Inscriptions in an Illustrated Publications: The Paintings of Hendrick Lectures: Victoria and Albert Museum, Manuscript of the Meditationes Vitae ter Brugghen (1588-1629), co-authored London, UK, 2006, 2007, 2008: Christi,” College Art Association, with Leonard J. Slatkes, (Amsterdam/ lectures on Ottoman Art, Mughal February 2006; “Picturing the Bible in Philadelphia: John Benjamins Painting, Deccani Painting and Romanesque Art,” Saturday Lecture Publishing Company, 2007); Pieter de Decorative Arts; Course on the Arts of Series, The Cloisters Museum, New Hooch: A Woman Preparing Bread and Asia, British Museum, London, UK, York, February 2006. Butter for a Boy (Los Angeles: The J. 2006, 2007; Lectures on Ottoman and Conferences: Organized “Performing Paul Getty Museum, Getty Museum Qajar Art for Diploma Course in Asian and Presenting the Word: Medieval Studies of Art, 2006); “If the Shoe Art, Classical and Decorative Arts of the Bibles in Context,” Museum of Biblical Fits: Courtship, Sex, and Society in an Islamic World. Art and Columbia University Rare Unusual Painting by Gonzales Coques,” Book Library, May 2007; Organized in A. Golahny, ed. et al, His Milieu; John Garton “New Perspectives on Georges Rouault,” Essays on Netherlandish Art in Memory M.A. 1998, Ph.D. 2003 Museum of Biblical Art, May 2006. of John Michael Montias (Amsterdam: Publications: Grace and Grandeur: the Exhibitions: The Art of Forgiveness: Amsterdam University Press, 2006), Portraiture of Paolo Veronese (Turnhout, Images of the Prodigal Son, Museum 165-72. Belgium & London: Brepols Publishing, of Biblical Art, Fall 2007; Angels of Lectures and presentations at 2008); Book reviews: Carol M. Light: Ethiopian Art from the Walters conferences: “A Gilded Cage in a Richardson, ed., Locating Renaissance Art Art Museum, Museum of Biblical Golden Age? Women in Seventeenth- (Volume Two in The Open University’s Art, Spring 2007; Cimabue and Early Century Dutch Art,” Robert Lee Humber textbook series Renaissance Art Italian Devotional Painting, The Frick Lecture Series, North Carolina Museum Reconsidered) in Renaissance Quarterly, Collection, Fall 2006; This Anguished of Art, Raleigh, NC, 30 April 2006. Spring 2008; “Marianne Koos’ World of Shadows: Georges Rouault’s Exhibitions: Paper Arts in the Low Bildnisse des Begehrens: Das lyrische Miserere et Guerre, Museum of Biblical Countries, ca. 1600 to ca. 1800, Everson Männerporträt in der venezianischen Art, Spring 2006; Gilded Legacies: The Museum of Art, Syracuse, NY, 2008. Malerei des frühen 16. Jahrhunderts Saint John’s Bible in Context, Museum of — Giorgione, Tizian und ihr Umkreis,” Biblical Art, Fall 2006. Eric Frank Renaissance Quarterly 54:4, Winter 2007. Honors and Awards: 2008 William Ph.D. 1988 Honors and Awards: Winner of the Jewell College Alumni Association New Position: Vice-President for 2007 College Art Association Innovative Alumna of the Year; 2007 Ignatius C. Academic Affairs, Dean of the College, Course Design Competition, sponsored Brady Lecturer, Saint Bonaventure Occidental College. by Art Historians Interested in Pedagogy University. and Technology. Projects: A book based on my Aimee Froom dissertation, The Devout Belief of the Ph.D. 2001 E. Adina Gordon Imagination: Gender and Devotion in an Publications: “Adorned Like a Rose: M.A. 1981, Ph.D. 1998 Illustrated Manuscript of the Meditationes the Persian Connection in the Muraqqa Lectures and presentations at Vitae Christi, under contract with for the Ottoman Sultan Murad III conferences: “Surprises on the Brepols Academic Publishers (Austrian National Library, Cod. Mixt. Catalogue Raisonné Trail: Frederick (Turnhout, Belgium, forthcoming 313),” in L. Komaroff, ed., Pearls W. MacMonnies’s Public and Private 2009); Exhibition with co-curator from Water, Rubies from Stone: Studies Sculpture Commissions,” Catalogue Lynn Ransom of the Free Library, in Islamic Art in Honour of Priscilla Raisonné Scholars Association, Special Philadelphia, Renaissance Art and the Soucek, Part I, Artibus Asiae, LXVI, Session, College Art Association Devotional Imagination: Meditations on No. 2, 2006), 137-154; Spirit and Conference, Dallas, February 21, 2008. the Life of Christ, Museum of Biblical Life: Masterpieces of Islamic Art from the Conferences: Chair, “Why Sculpture Art, Summer/Fall 2010; Recipient of a Aga Khan Museum Collection (London, is Never Boring,” Catalogue Raisonné

30 Scholars Association, Special Session, Award, George Mason University, 2006; Private Collections, Yildiz Technical College Art Association Conference, Alan and Gwen Nelson Award, George University, Istanbul, Turkey, April Dallas, February 21, 2008. Mason University, 2006. 12-15, 2006; “The Villa dei Papiri as a House for Art,” Teacher Summer Michele Greet Janet Grossman Institute, J. Paul Getty Museum at the Ph.D. 2004 M.A. 1989, Ph.D. 1995 Villa, August 10, 2006; “Floor or Wall: Publications: Beyond National Identity: New Position: Independent Scholar Thoughts on the Display of Mosaics,” Pictorial Indigenism as a Modernist (Retiring March 28, 2008, as Associate The J. Paul Getty Museum at Getty Strategy in Andean Art, 1920-1960 Curator of Antiquities, The J. Paul Villa, November 11, 2006; “Armed Men (Penn State University Press, Refiguring Getty Museum). Departing: Scenes from Greek Art,” Modernism Series, forthcoming Publications: “Renovation and The Art of Warfare, Michael C. Carlos 2009); “Manifestations of Masculinity: Reinstallation: The Getty Villa Museum, Emory University, January 27, The Indigenous Body as a Site for Experience 1994-2005,” in Collection 2007; “Omens and Symbols in Ancient Modernist Experimentation in Andean Management (Istanbul: Yildiz Technical Art,” The J. Paul Getty Museum Art,” Brújula: revista interdisciplinaria University Press, 2006), 77-96; at Getty Villa, February 19, 2007; sobre estudios latinoamericanos. Art and “Introduction,” co-authored with “Mosaics Through History,” The J. Paul Encounters 6, no. 1, (December 2007); Kristin Kelly, in Stories in Stone: Getty Museum at Getty Villa, March “Pintar la nación indígena como una Conserving Mosaics of Roman Africa, 21, 2007; “Colonization and Trade estrategia modernista en la obra de Masterpieces from the National Museums on the Black Sea,” Teacher Summer Eduardo Kingman,” Revista de Historia of Tunisia (Los Angeles: J. Paul Getty Institute, The J. Paul Getty Museum Procesos, no. 25, Universidad Andina Trust, 2006); “Review of J. Uzzi, at Getty Villa, June 28, 2007; “Self- Simón Bolívar, (October 2007). Children in the Visual Arts of Imperial Representation in the Northern Black Lectures and presentations at Rome,” Bryn Mawr Classical Review, Sea Region,” The J. Paul Getty Museum conferences: “A Transhemispheric (07. 03. 2006); Review of F. Holt, Into at Getty Villa, July 11, 2007; “Making Vision of American Art: Ecuadorian the Land of Bones: Alexander the Great the Whole Beautiful: Some Ideas about Murals at the New School for Social in Afghanistan,” The Classical Bulletin Color in Greek Art,” Third Annual Research,” American Studies Association 82.2, (2006), 268-269; “Review of S. Paul Rehak Symposium on Ancient Art, Annual Conference, Philadelphia, PA, Dillon and K. Welch, Representations of University of Kansas, March 11, 2008. 2007; “The Polarization of American War in Ancient Rome,” American Journal Exhibitions: Antiquity and Photography: Modernism at the ‘American Art Today’ of Archaeology 111, (2007), 817-18; Early Views of Ancient Mediterranean Exhibition at the 1939 New York “Forever Young: an Investigation of the Sites, The J. Paul Getty Museum at World’s Fair,” College Art Association Depictions of Children on Classical Getty Villa, January 28-May 1, 2006; Annual Conference, New York, 2007; Attic Funerary Monuments,” in Stories in Stone: Conserving Mosaics of “From Matta to Gego: Modes of Constructions of Childhood in Ancient Roman Africa, Masterpieces from the Abstraction in Latin America,” Art Greece and Italy, Hesperia Supplement National Museums of Tunisia, The J. Museum of the Americas, Organization 41 (Princeton: The American School Paul Getty Museum at Getty Villa, of American States, 2006; “‘Freedom’ of Classical Studies at Athens, 2007), October 26, 2006-April 30, 2007; Above All Else’: Exhibiting Indigenism 309-322; “Review of J. Corbelli, The Greeks on the Black Sea: Ancient Art in the United States During and After Art of Death in Graeco-Roman Egypt,” in from the Hermitage, The J. Paul Getty World War II,” Latin American Studies American Journal of Archaeology Online Museum at Getty Villa, June 14- Association Annual Conference, San Reviews 112.1, (January 2008), http:// September 3, 2007. Juan, Puerto Rico, 2006. ajaonline.org/onlinebookreviews. Projects: Two books: The Athenian Honors and Awards: Post-doctoral Lectures and presentations at Agora, Results of Excavations Conducted Research Fellowship at The Phillips conferences: “Sculptures from the by the American School of Classical Collection, 2008-2009; Fellow: Stone Villa dei Papiri in Herculaneum,“ Studies at Athens, and Funerary Sculpture Summer Theory Institute, School of the The J. Paul Getty Museum at Getty and Greek Sculpture: Catalogue of the Art Institute of Chicago, 2007; Summer Villa, October 28, 2006; “Renovation Collections of The J. Paul Getty Museum Research Funding for Tenure-Track and Reinstallation: The Getty Villa at Getty Villa. & Tenured Faculty, George Mason Experience 1994-2005,” Collection University, 2007; Hazel Junior Faculty Management Seminar on Museums and

31 Alumni News Continued

Gerald Guest Publications: “Selected case studies Postwar and Contemporary Art at the M.A. 1991, Ph.D. 1998 in the treatment and preservation of Guggenheim,” and “The Guggenheim Publications: “Narrative Cartographies: Middle Kingdom polychromed wood Collection: 1940s to Now,” in Mapping the Sacred in Gothic Stained in the collections of the Museum of Guggenheim Collection: 1940s to Now, Glass,” Res: Anthropology and Aesthetics Fine Arts, Boston,” co-authored with exh. cat., National Gallery of Victoria, 53 (2008); “The Prodigal’s Journey: G. Ryan, in Decorated Surfaces on Melbourne, Australia, 2007, 49-83 and Ideologies of Self and City in the Gothic Ancient Egyptian Objects: technology, 84-90. Cathedral,” Speculum 81 (2006), 35-75; deterioration and conservation (Institute Lectures and presentations at Tributes to Jonathan J.G. Alexander: The of Conservation, Cambridge, England, conferences: “From the Model to the Making and Meaning of Illuminated 2007); “Artists Using Architecture: Gallery: Guggenheim Collection: 1940s Medieval & Renaissance Manuscripts, Exploring the Relationship between to Now,” Guggenheim Collection: 1940s Art & Architecture, co-editor with Susan Architecture, Installation Art and to Now: New York-Venice-Bilbao-Berlin: L’Engle, (London: Brepols / Harvey Conservation,” Index of the American A Symposium, National Gallery of Miller Publishers, 2006). Academy in Rome, AAR, Rome, 2007; Victoria, Melbourne, Australia, 30 June “Where Theory Meets Practice: The 2007; “Concrete Territory: Geometric Susan Hapgood Treatment and Presentation of a Art and Group Formation in Latin Exhibition: Slightly Unbalanced, iCI, Roman Floor Mosaic at the Museum America and Europe, 1940s–1960s,” 2008 (traveling to 2010). of Fine Arts, Boston,” co-authored Re-Constructing Geometry: A Symposium Conference: The Exhibition as a Mode of with Tsu Mei-An, and Christine on Latin American Abstract Art, New Thinking, 2008 CAA Annual Meeting. Kondoleon, Proceedings, 9th Conference York University, 5 October 2007. of the International Committee for Exhibitions: Guggenheim Collection: Cynthia Harris-Pagano the Conservation of Mosaics, Tunisia, 1940s to Now (curator), National M.A. 1967 November, 2006. Gallery of Victoria, Melbourne, Position: Instructor: Oil and Pastel Honors and Awards: Booth Family Australia, 30 June to 7 October 2007; Painting, Red Eft Gallery, Wurtsboro, Rome Prize in Conservation and Modern Masters from the Guggenheim New York; instructor, Atelier, Otisville Historic Preservation Collection (curator), Guggenheim- Studio, NY. Projects: Artists using Architecture: Hermitage Museum, 27 July 2007- Demonstrations: 2000-2008 annual Exploring the Relationship Between Instal- 15 March 2008; Foto: Modernity in pastel portrait demonstrations, lation Art, Architecture and Conservation. Central Europe, 1918-1945 (curatorial Orange County Community College; coordinator), Solomon R. Guggenheim Pastel Portrait, 2006 River Valley Art Marsha Hill Museum, 12 October 2007-13 January Association, Port Jervis, NY; Pastel Ph.D. 2000 2008; Jeff Wall: Exposure (curatorial Portrait, Sussex County Art Federation, Exhibition: Gifts for the Gods, The coordinator), Deutsche Guggenheim, 3 Branchville, NJ. Metropolitan Museum of Art, New November 2007-20 January 2008. Awards in Group Exhibitions: 2006 York, October 16, 2007 – February 18, Honors and Awards: Juror, Kandinsky Connecticut Pastel Society Award at the 2008. Prize, 2007, Moscow, Russian 34th Annual Open Juried Exhibition Publications: Gifts for the Gods: Images Federation. of the Pastel Society of America, The from Egyptian Temples, Marsha Hill National Arts Club, NYC; American and Deborah Schorsch, eds., exh. cat., Mary Tavener Holmes Artists Professional League Award at The Metropolitan Museum, New York, Ph.D. 1986 The Ridgewood Art Institute 26th 2007. Publications: Nicolas Lancret: Dance Annual Regional Open Juried Show, before a Fountain, (Getty Museum Ridgewood, NY. Valerie Hillings Studies in the History of Art, 2006); My Exhibitions: “Portraits, Still-Life, and M.A. 1995, Ph.D. 2002 Travels with Clara, with illustrations by Landscape Paintings,” Cafe Roxanna, Publications: “A Tale of Five Works: Jon Cannell (Getty Publications, 2007); Port Jervis, NY, 2008. Loans from the Guggenheim Collection Franzosische Malerei I: Watteau, Lancret, for Affinities,” inAffinities: New Pater, Lajoue, with Christoph Vogtherr, Pamela Hatchfield Acquisitions Deutsche Bank Collection, Stiftung Preussische Schlosser und Garten M.A. 1986, Certificate in Conservation exh. cat., Heidelberg: DG Medien, Berlin-Brandenburg (forthcoming). 1986 2007, 70-79; “Exposing the Future: Lecture: “Nicolas Lancret: Ile de

32 Cythere or Ile de France?” Watteau and The Development of La Vie Moderne Race’ in Los Angeles,” co-authored the fete galante, Conference, Louvre, in Third Republic Paris,” Zeitschrift with Daniel J. Sherman in Daniel J. Paris, February 16, 2008. für Kunstgeschichte 69 (2006), 109- Sherman, ed., Museums and Difference 114; “Restoring Guillaume Coustou’s (Bloomington and Indianapolis: Indiana William Hood Samuel Bernard to its Baroque University, Press, 2007), 289–329; Ph.D. 1976 Heritage: An argument for formal “Stars in the Sea of the Church: The New Position: Visiting Professor, analysis,” Studi di Storia dell’Arte 17 Image of the Indian in Eighteenth- Columbia University. Retired from (2006), 1-12; “Conceiving the Child: Century New Spanish Painting,” in The teaching at Oberlin College on British illustrator Kate Greenaway’s Arts in Latin America, 1492–1820, exh. December 31, 2007. determining influence on the graphic cat., Philadelphia, Philadelphia Museum work of Mary Cassatt,” Aurora 7 of Art, (2007), 336–348. Laura Hoptman (2006), 19-34; “Framing the Present Lectures and presentations at M.A. 1986 for Posterity: The Synergy of Early conferences: Conferences organized New Position: Senior Curator, New Photography and the Painted Cityscape or chaired: “La reivindicación criolla Museum, New York. in Third Republic Paris,” The Journal del indio en el Siglo de las Luces,” Publications: Strange Powers, exh. cat., of Architecture, 11 (November 2006), International Symposium on Purity of Creative Time, 2006; Unmonumental: 559-568; “The Search for a Story: Blood in the Hispanic World, Centro The Object in the 21st Century, exh. George Lukàcs’ ‘Narrate or Describe?’ de Estudios Históricos, Colegio de cat., Phaidon and New Museum, 2007; and the Parisian Cityscape,” Zeitschrift México (Colmex), December 2007; Collage: The Unmonumental Picture, exh. für Kunstgeschichte, 71 (2007); “Eighteenth-Century Debates About the cat., Mondadori and New Museum, “Servants to patronage, witnesses to Origins of the Indians,” International 2007; Tomma Abts, exh cat., Phaidon, change: Italian artists abroad and the Seminar of the History of the Atlantic and New Museum, 2008; Elizabeth modern cityscape,” Visual Resources 23 World, Harvard University, November Peyton, exh. cat., Phaidon and the New (2007),183-202. 2007; “La formación de la colección Museum, 2008. Lectures and presentations at de arte latinoamericano en LACMA,” Lectures and presentations at conferences: “The Individual Revealed: ArteBA, International Conference on conferences: “Contemporary Narrative vs. Descriptive Cityscape in The Construction of Latin American Abstraction,” Cornell University, the twentieth century,” Art and the City, Art in International Collections: Actions Department of Art and Art History, University of Amsterdam, May 2006. and Discourses, Buenos Aires, May 2006; “Live Action Radical,” Performa, 2006; “White or Black?: Eighteenth- New York University, 2007; “Curatorial Ilona Katzew Century Portraits of Spotted Blacks in Practice: Profession or Vocation?” Ph.D. 2000 the Colonial World,” Seminar: Race ARCO, Madrid, 2008. New Position: Curator of Latin and Science in the Atlantic World, Exhibitions: Strange Powers, New York, American Art, Los Angeles County Early Modern Studies Institute, Creative Time, 2006; Unmonumental: Museum of Art USC, November 2006; “White or An Exhibition in Four Parts, New York, Publications: Una visión del México Black: Eighteenth-Century Portraits New Museum 2007; Tomma Abts, New del Siglo de las Luces. La codificación of Albinism in the Colonial World,” York, New Museum, 2008; Elizabeth de Joaquín Antonio de Basarás (Mexico Eighteenth Century Meetings, University Peyton, New York, New Museum, 2008. City, Landucci, 2006); Race and of California, Los Angeles, November Honors and Awards: American Art Classification:The Case of Mexican 2006; “The Origins of the Indians Critics Award for best group exhibition America, co-editor with Susan Deans- and Spanish Colonial Painting,” outside New York; 54th Carnegie Smith, (Stanford University Press, International Symposium Tradition and International Arttable Award for forthcoming); “That This Should Innovation in Spanish and Portuguese Women in the Arts. be Published and Again in the Age America, Los Angeles County Museum of the Enlightenment: Eighteenth- of Art, October 2007; Commentator, Caroline Goldberg Igra Century Debates About the Indian Interdisciplinary Symposium: The Ph.D. 1995 Body in Colonial Mexico,” in Race Power of Images: Images of Power in New Position: Assistant Professor, Beit and Classification: The Case of Mexican Colonial Latin America, University Berl College. America, (Stanford University Press, of Pennsylvania and the Philadelphia Publications: “Constructing an Image: forthcoming); “Dossier: ‘Inventing Museum of Art, November 2006;

33 Alumni News Continued

“Stars in the Sea of the Church: The for the Tokyo government, and Brooklyn, Whitney, and Guggenheim Indian in Eighteenth-Century New subsequently received the Order of the Museum entries in The Museum Spanish Painting,” John Carter Brown Sacred Treasure; Gold Rays with Neck Experience (Belmont, CA: Thomson- Library, Brown University, August 2006; Ribbon from the Japanese emperor. Wade, 2006); Festschrift for Lucy “White or Black? Eighteenth-Century Freeman Sandler, co-editor with Kathryn Portraits of Albinism and the Colonial Victor Koshkin-Youritzin A. Smith, (forthcoming); ”Urban World,” Conference: The Science of Race M.A., 1967, Certificate in Museum planning in Kazan, Tatarstan, Russia,” in the Long Eighteenth Century, USC- Training, 1969 in Vostochny Express (June, 2006); edited Huntington Early Modern Studies Positions: David Ross Boyd Professor first draft ofThe Buildings of Missouri Institute, April 2006; Commentator, of Art History, The University of (part of SAH Buildings of the U.S. Panel: Material and Visual Culture Oklahoma, Norman; Vice-President, series); “The Synagogues of Poznan,” as Historical Documentation: New National Koussevitzky Recordings Polin 20 (2007). Approaches to the History of Colonial Society, Inc. Lectures and presentations at Latin America, American Historical Publications: Insights: The Portraiture conferences: “Understanding Association, Philadelphia, January 2006. of Charles Rushton, co-authored with Manhattan,” Thiagarajar College Exhibitions: Curator of Los Angeles Charles Rushton, exh. cat., Oklahoma, of Engineering, Thirapakundram, venue of The Arts in Latin America, Mabee-Gerrer Museum of Art, 2008; Madurai, January 2006; Seven lectures 1492–1820 (organized with the “Thomas Hart Benton’s Bathers,” on aspects of American architecture, Philadelphia Museum of Art in in exh. cat., H. George, ed., Selected University of Architecture and conjunction with the Los Angeles Paintings and Sculpture from the Engineering, Kazan, Tatarstan, Russia, County Museum of Art and the Antigüo Collection: Oklahoma City Museum of May 2006; “Gordon Bunshaft and Colegio de San Ildefonso, Mexico City), Art, Oklahoma City Museum of Art, SOM,” Gruzen-Samton architects; August–October 2007. 2007; Wrote and narrated three video “The Baptist Page of the Turin-Milan Honors and Awards: NEH planning presentations on the paintings of Hours (and why Jan van Eyck didn’t grant Glenda Green that were produced by paint it),” Columbia Renaissance Projects: Exhibition: Contested Visions: the Oklahoma Arts Council for the Seminar, September 2006; Similar The Image of the Indian in Colonial inaugural year-long exhibition of the subject: College Art Association, Mexico and Peru, at the Los Angeles Oklahoma State Art Collection in its February 2006; Lecture on synagogue County Museum of Art, 2010-2011. new gallery in the Oklahoma Capitol, architecture for docents, Eldridge Street Oklahoma City, November 2007. Project, October 2006; “Architecture,” J. Edward Kidder Exhibitions: Curator: Insights: The public lecture, Eldridge Street Project, M.A. 1949, Ph.D. 1955 Portraiture of Charles Rushton, Goddard April 2007; “SOM at Smith College,” Publication: Himiko and Japan’s Elusive Center, Ardmore, OK, February 20- Advent of Modernism in the Pioneer Chiefdom of Yamatai (University of March 29, 2008; Photography of the Valley, University of Massachusetts, Hawaii Press, 2007). artist Harold Stevenson, Gallery of Amherst, September 2007; “Liebeskind’s Honors and Awards: Celebrated in the Oklahoma State Art Collection, Jewish Museum in Berlin,” International Tokyo on June 2, 2007 at the 25th Oklahoma Capitol, Oklahoma City, Congress on Jewish Architecture in Europe, anniversary of the opening of the ICU November 2007-November 2008. Braunschweig-Technische Universität, Hachiro Yuasa Memorial Museum Project: Photography acquired in October 2007; “German Synagogue with a lecture, forum, reception and 2007 by the Bibliotheque Nationale of Architecture,” Conference on German retrospective exhibition, having served France, Paris, The Strasbourg Museum synagogues and digital reconstructions, as its director until retirement in 1993, of Modern and Contemporary Art, City University Graduate Center with Himiko and Japan’s Elusive Chiefdom France and the Douglass Library of Technische Universität, Darmstadt, of Yamatai, was awarded a Choice Rutgers University. October 2007; “The Physical Structure Outstanding Academic Title for 2008. of Midtown Manhattan,” Juilliard Project: Reviewing and summarizing Carol Herselle Krinsky School, October 2007; Conferences 36 years of archaeological work done M.A. 1960, Ph.D. 1965 chaired: CAA session, February 2006 in Japan and as head of the ICU Publications: Obituary for Phyllis and SAH session, April 2006 (replaced Archaeology Research Center beginning Williams Lehmann (IFA), Newsletter, original chairmen); Moderator: Design in 1975 where I directed 15 excavations Society of Architectural Historians, 2006; Awards Panel, American Institute of

34 Architects, New York Chapter, 2006. 4 vols. (Pasadena: Salem Press, 2007), Publications: Projects: Recently completed a book 203-5; “May 15, 1863: Paris’s Salon “Do I want a small painting? The on the Turin-Milan Hours and Jan van des Refusés Opens,” in John Powell, correspondence of Thomas Merton and Eyck’s followers; preparing a projected ed., Great Events from History: The 19th Ad Reinhardt: An Introduction and volume in the SAH series on buildings Century, 1801-1900. 4 vols. (Pasadena: Commentary,” The Merton Annual 18 of New York City. Salem Press, 2007), 1099-1101; (2005), 260-414 (pub. 2007); “Merton, “Michelangelo’s Last Judgment: The Suzuki, Zen, Ink: Thomas Merton’s Karen Kurczynski Culmination of Papal Propaganda in the Calligraphic Drawings in Context,” in M.A. 1998, Ph.D. 2005 Sistine Chapel,” Studies in Iconography Bonnie Bowman Thurston, ed., Merton New Position: Visiting Assistant 27 (2006), 103-56. & Buddhism: Wisdom, Emptiness & Professor, Massachusetts College of Art. Lectures and presentations at Everyday Mind (Louisville: Fons Vitae, Publications: “Expression as Vandalism: conferences: “An Ideal Circle of Friends: 2007), 137-175; Angelic Mistakes: Asger Jorn’s Modifications,”RES, Federico da Montefeltro’s Cycle of The Art of Thomas Merton (Boston: (forthcoming Spring 2008); “Fordrejet Famous Men at Urbino,” Renaissance Shambhala Publications, 2006). Udtryk [Detourned Expression],” Society of America, Chicago, 2008; Lectures and presentations at Billedkunst 15, no. 3 (December 2007); “Look to the Book: Images of Authority conferences: “In the Zen Garden of the Book review, “The Apotheosis of Eva at the Florentine Badia,” Renaissance Lord: Thomas Merton’s Stone Garden,” Hesse,” Woman’s Art Journal 28, no. 2 Society of America, Miami, 2007; biannual meeting of the International (Fall/Winter 2007); “Interview with “The Art of Devotion in Renaissance Thomas Merton Society, Memphis, TN, Jacqueline de Jong,” Cringo 13 [Vienna Europe,” Casper College Humanities June 2007. artists’ periodical] (2008). Festival and Demorest Lecture: Honors and Awards: The “Louie” Lectures and presentations at Renaissance Revisited, 2007; “Cloister, presented by the International Thomas conferences: “Drawing is the New Control, and Community: Art and Merton Society for Angelic Mistakes, Painting,” public lecture, Department of Observance at the Florentine Badia,” named the best book in Merton studies Art, Syracuse University, Oct. 10, 2007; College Art Association, New York, in the preceding two years, June 2007. “The Situationist Times: Art, Politics, 2007; “Claiming a City Corner: The Projects: Mr. Hammarskjöld: The and the Split in the International,” Medieval Transformation of Piazza Spirit in Public Life (book in progress Expect Everything, Fear Nothing: Sant’Apollinare, Florence,” Society of on the mind and methods of Dag Scandinavian Situationism in Perspective, Architectural Historians, Savannah, Hammarskjöld). Copenhagen, March 2007. 2006. Projects: Writing a monograph on Asger Conference panel organized: “The Alisa Luxenberg Jorn. Life of St. Benedict in Medieval and Ph.D. 1991 Renaissance Italy,” Renaissance Society Publications: The Galerie Espagnole and Anne Leader of America, Miami, 2007. the Museo Nacional, 1835-1853: Saving M.A. 1995, Ph.D. 2000 Honors and Awards: PSC-CUNY 38 Spanish Art, or The Politics of Patrimony Publications: Review of James R. Research Award, The City University (Ashgate, April 2008); “Patrimony and Lindow, The Renaissance Palace in of New York, 2007-2008; Faculty Museum Politics in the 19th Century: Florence: Magnificence and Splendour Fellowship Publications Program, The Louvre’s Galerie Espagnole,” in Fifteenth-Century Italy, Renaissance Humanities Group, CUNY, Spring International Foundation for Art Research Quarterly (forthcoming 2008); 2007; President’s Professional Journal 9, 3/4 (2007); “La Galeria “Reassessing the murals in the Chiostro Development Awards, The City Española del Louvre (1838-1848): degli Aranci,” The Burlington Magazine College of New York, 2006, 2007; Etica de la adquisición, política de 149:1252 (July 2007), 460-70; Scott Opler Endowment for Emerging patrimonio,”Goya (forthcoming 2008). “Technology and the Teaching of Art Scholars Travel Stipend, for Society of Lectures and presentations at History,” Visual Resources Association Architectural Historians 59th Annual conferences: “The Louvre’s Galerie Bulletin 34: 2 (Summer 2007), 8-12; Meeting, Savannah, GA, April 26-30, Espagnole (1838-1848) and the Politics “Goya Paints Third of May 1808: 2006. of Acquisition,” The Unethical Art Execution of the Citizens of Madrid,” Museum, College Art Association, New in John Powell, ed., Great Events from Roger Lipsey York, 2007. History: The 19th Century, 1801-1900. M.A. 1966, Ph.D. 1974 Honors and Awards: 2007 publication

35 Alumni News Continued

subvention from the Program for Understanding, The Rothko Chapel Art Kogman-Appel, Illuminated Haggadot Cultural Cooperation between the Series, The Rothko Chapel (Houston, from Medieval Spain. Biblical Imagery Spanish Ministry of Culture and U.S. 2007); “Marden’s Materiality: The and the Passover Holiday (University Universities; another from the Willson Monochromes” in Plane Image: A Brice Park, PA: The Pennsylvania University Center for the Humanities and Arts, Marden Retrospective, exh. cat., The Press, 2006) in Speculum (2008). UGA; 2006 Research and Travel Grant, Museum of Modern Art, New York, Lectures and presentations at Program for Cultural Cooperation 2006. conferences: “Behrend Lehmann, J. P. between the Spanish Ministry of Morgan and the Met,” Jewish Patronage Culture and U.S. Universities. Vivian Mann and Collecting¬ a Tribute to Western Publications: “Printing, Patronage and Culture, University of Heidelberg, Natalia Majluf Prayer: Art Historical Issues in Three May-June 2007; “The Jewish Woman in M.A. 1990 Responsa,” with Daniel D. Chazin, in Art,” Conference on the Jewish Woman, Publications: “Los fabricantes de Images. A Journal of Jewish Art and Visual Patrimonio de Aragón, Jaca, Spain, emblemas. Los símbolos nacionales Culture 1 (2007): 91-101; “Images of Jud October, 2007; “Beakers of the Burial en la transición republicana. Perú, Süss Oppenheimer, an Early Modern Jew,” Society of Worms,” Jewish Consumption 1820-1825,” in Ramón Mujica, ed., in M. Merback, ed., Beyond the Yellow and Material Culture in the Early Visión y símbolos. Del virreinato criollo Badge: Anti-Judaism, Anti-Semitism and Modern Period, University of Maryland, a la república peruana (Lima: Banco European Visual Culture before 1800, 2007; Commentator at colloquium, de Crédito del Perú, 2006), 203-241; (Leiden, 2008); “The Court Jew at the Looking Jewish: Photography, Memory “Pattern Book of Nations: The Costume Met,” Metropolitan Museum Journal and the Sacred, New York University, Book in Asia and Latin America, ca. (2008); “Recapturing the Past,” Gilded May, 2007; “The Problem of Definition 1800-1860,” in Reproducing Nations: Lions and Jeweled Horses: The Synagogue and the Problem of Acceptance,” The Costume Book in Asia and Latin to the Carousel, exh. cat., Museum of Session: Jewish Art and Visual Culture America, ca. 1800-1860, exh. cat., American Folk Art, New York, 2007, in the Academy, Association of Jewish Americas Society, New York, 2006; 1-13; “Gold Embroidery from Spain to Studies, December, 2007. “Sobre fotografía: Una autonomía the Diaspora,” in Nitza Behroozi Bar- Honors and Awards: Fellow, Hamad esquiva,” in Natalia Majluf and Jorge Oz, ed., Shimmering Gold. The Splendor Bin Khalifa Symposium on Islamic Art: Villacorta, eds., Sobre fotografía. Serie of Gold Embroidered Textiles, exh. cat. “Water in Islamic Art and Culture,” MALI fotografía 00, Lima, Museo de Eretz Israel Museum, Tel Aviv, 2007, Virginia Commonwealth University, Arte de Lima, 2006. 14-15, 26-9 (Hebrew); “A History of the Doha, Qatar, November, 2007. Exhibitions: Reproducing Nations: Types Mezuzah,” A Kiss for the Mezuzah, exh. and Costumes in Asia and Latin America, cat., Philadelphia Museum of Jewish Anna Marguerite McCann, ca. 1800-1860, Americas Society Art Art, Philadelphia, 2007; Entries on M.A. 1957 Gallery, New York, April – June 2006. “Synagogue Architecture,” “Jewish Art New Position: Visiting Scholar, Sebastián Rodríguez Morococha, with and Material Culture,” “Micrography,” American Academy in Rome (2007- Ricardo Kusunoki, Museo de Arte de “Jewish Clothing and Distinctive 2008) Lima, November 2007. Dress,” and “Wedding Rings,” in Lectures and presentations at Honors and Awards: Visiting Fellow, Robert Bjork, ed., Oxford Dictionary of conferences: “Collaborative Research in Centre of Latin American Studies, the Middle Ages (forthcoming); Entries Deep Water, Legal and Ethical Issues,” Cambridge University, 2007; Getty on “Art in the Islamic World” and Archaeological Institute of America Curatorial Research Fellowship “Carpets,” in Norman Stillman, ed., Annual Meeting, Chicago, January 2005/2006. Encyclopedia of Jews in the Islamic World 2008; “Underwater Archaeology: (in press); Review of Eva Frojmovic, Exploring the Deep with SCUBA, Carol Mancusi-Ungaro ed., Imagining the Self, Imagining the Robots and Subs,” AIA Memorial Publications: “A Sum of Corrections” Other. Visual Representation and Jewish- Lecture for Harry Rutledge, Knoxville, in Jasper Johns: An Allegory of Painting, Christian Dynamics in the Middle Ages TN, March 11, 2008; “The Beginning 1955-1965, National Gallery of Art and Early Modern Period (Leiden, of Deep Water Archaeology: Skerki (Washington, D.C. 2007); “The Rothko Boston, Cologne, 2002) in Jewish Bank,” Internet 2, Long Distance Chapel Paintings: A Personal Account” Quarterly Review 97, 3 (Summer, Learning, with Texas A&M University in Image of the Not-Seen: Search for 2007): 104-09; Review of Katrin and New York University, April 2008.

36 Tom McDonough October, 18-20, 2004 (forthcoming Interpretation of his Namepiece,” Antike M.A. 1993, Ph.D. 1998 2008); “Bronzino in Pesaro and Kunst XLIX (2006): 17-28; “Athens Publications: “The Beautiful Language After: The Impact of Raphael and 803 and the Ekphora,” Antike Kunst L, of My Century”: Reinventing the Raphaelism on Bronzino’s Florentine 9-23; “The Princeton Painter in New Language of Contestation in Postwar Manner,” in Henk Van Veen, ed., The York,” Metropolitan Museum of Art France (Cambridge, MA and London: Translation of Raphael’s Roman Style, Journal XLIII (2008): 21-56. The MIT Press, Coll. “OCTOBER Conference proceedings, Groningen, the Books,” 2007); The Invisible Flâneuse? Netherlands, November 2002 (Leuven, Marsha Morton Gender, Public Space and Visual Culture Belgium: Peeters Publishers, 2007), 81- Ph.D. 1986 in Nineteenth-Century Paris, co-editor 105; “Simultaneität und der paragone: Publications: “Spellbound: Klinger and with Aruna D’Souza, (Manchester: Die Rechtfertigung der Kunst im Auge the Psychology of Hypnosis, Nerves and Manchester University Press, Coll. des Betrachters,” (translated from the the Unconscious Self,” in Max Klinger: “Critical Perspectives in Art History,” English by H.Preimesberger) in Ulrike Wege zur Neubewertung (Leipzig: 2006); “Calling from the Inside: Filmic Mueller Hofstede, Hannah Baader, Museum der bildenden Künste, 2008); Topologies of the Everyday,” Grey Room, Kristine Patz, and Nicola Suthor, eds., “Painted Sounds: Music in the Art of no. 26 (Winter 2007): 6-29. Im Agon der Künste. Paragonales Denken, Max Beckmann,” in Maria Makela and Lectures, presentations and ästhetische Praxis und die Diversität der Rose-Carol Washton-Long, eds., Of conferences: “The Use of History: Sinne, Acts of the Conference, Berlin, Truths Impossible to Put into Words: Max Situating the Situationist International,” 19-22 February 2001 at the Freie Beckmann Contextualized (Munich: Expect Anything Fear Nothing: Seminar Universitat (Berlin: Fink Verlag, 2007), Peter Lang, 2008); “The Ethnographic on the Situationist Movement in 294-335. Vision of Max Klinger,” in Cordula Scandinavia, Folkets Hus, Copenhagen, Lectures: “Charles V and the Loves of Grewe, ed., Die Schau des Fremden: 15-16 March 2007; Session co-chair the Gods: Imperial Iconography and Ausstellungskonzepte zwischen Kunst, with Aruna D’Souza: “Globalism Italian Court Painting,” Renaissance Kommerz und Wissenschaft (Washington and Its Discontents,” College Art Society of America, Chicago, April D.C.: The German Historical Institute Association annual conference, New York, 2008; “The Imperial Jupiter and the and Stuttgart: Franz Steiner Verlag, February 2006; “Contes capitalistes: Malevolent Eros: Politics in the Court 2006); “The Face of Medicine: Doctors’ Pierre Huyghe’s Contemporary Fairy of Love,” College Art Association Portraits at the University of Lund,” The Tales,” The Art of Projection symposium, Annual Convention, New York, 2007; Face of Medicine: Doctors’ Portraits at Hamburger Bahnhof and Kino Arsenal, Renaissance Society of America, Annual Lund, exh. cat., Lund, Sweden Berlin, October 2006; “Chronicle and Convention, Miami, Florida, 2007; Kulturen, 2006. Critique: Filming the Everyday in Paris, Co-Organizer and Chair of three Lectures: “Spellbound: Klinger and circa 1960,” Graduate School of Design, sessions; “Presenter: ‘The Paris Psalter: the Psychology of Hypnosis, Nerves Harvard University, March 2007. A Byzantine Substitute for Classical and the Unconscious Self,” Max Honors and awards: with Nancy Painting in the Renaissance’,” Columbia Klinger: Wege zur Neubewertung, Davenport, Arts Writers Grant, Creative Renaissance Forum, “Jupiter and Eros at Museum der bildenden Künste Leipzg Capital/Andy Warhol Foundation, Court: The theme of the Loves of the and the Institut für Kunstgeschichte 2007. Gods in North Italian decorative cycles,” der Universität Leipzig, May 2007; Columbia Faculty Club, 2007; “Mortal “Grotesque Tales: Max Klinger and Leatrice Mendelsohn Combat: The Survival of a Battle Motif the German Self,” German Studies M.A. 1968, Ph.D. 1978 from Leonardo to Vasari,” Symposium Association Conference, Pittsburgh, Publications: “Mortal Combat: in Honor of Andrew Ladis, University September 2006. The Afterlife of a Battle Motif from of Georgia, Athens, GA, 2006. Conferences: Session Chair: “The Leonardo to Vasari,” in The Historical Self Within: Art between Mesmer and Eye: Essays on Italian Art in Honor of Mary B. Moore Freud,” CAA Conference, Dallas 2008. Andrew Ladis, (forthcoming 2008); Ph.D. 1971 “Leonardo’s Mirrors: Simultaneity, Publications: “Hoplites, Horses, and a Anita F. Moskowitz Sculpture, and the Spectre of Relativity” Comic Chorus,” Metropolitan Museum M.A. 1971, Ph.D. 1978 in Acts of the Conference on Science and of Art Journal XLI (2006): 33-57; New Position: Chairperson, Art Depart- Art, CEMERS, Binghamton University, “Satyrs by the Berlin Painter and a New ment, Stony Brook University, SUNY.

37 Alumni News Continued

Publications: “Janson’s Leaping Italian Renaissance and the sculpture of 2007): 539-540; Review of Jill Burke, Monkey: Monkey See Monkey Do,” Giovanni Bastianini. Changing Patrons. Social Identity and Source. Notes in the History of Art the Visual Arts in Renaissance Florence XXVI/3 (Spring 2007); “The Case of Jonathan Nelson (University Park, Pen.: Pennsylvania Giovanni Bastianini-II: A Hung Jury?,” M.A. 1986, Ph.D. 1992 State University Press, 2004) in The artibus et historiae (Fall 2006). New Position: Chair, Art History Burlington Magazine CXLVIII (2006): Lectures and presentations at Department, Syracuse University in 39-40. conferences: “Dell’ Anima Trasmigrata”: Florence. Lectures: “Quality Control for Giovanni Bastianini and Desiderio Publications: The Patron’s Payoff: Commissions: The Roles of Rejections da Settignano,” International Conspicuous Commissions in Renaissance and Replacements,” Renaissance Society conference on Desiderio da Settignano, Italy, co-editor and author with Richard of America, 2008; “Leonardo da Vinci’s Kunsthistorisches Institut and Villa J. Zeckhauser (Princeton: Princeton Leda: Reinventing the Female Nude,” I Tatti, Florence, May 2007; “The University Press, 2008, in press); Renaissance Society of America Annual Sculpture of Giovanni Bastianini: Leonardo e la reinvenzione della figura Meeting, 2007; “A Framework for Masterpiece or Master Fraud?,” Daniel femminile: Leda, Lisa e Maria (Florence: Calculating Commissions: Benefits, H. Silberberg Lecture, Institute of Fine Giunti, 2007); “Putting Botticelli and Costs, and Constraints,” Basel Arts, New York University, March Filippino in their Place: the Intended Renaissance Colloquium: New Perspectives 2007; “Biography of a Research Height of Spalliera Paintings and on Patronage, 2006; “Quality as signal: Project: The ‘Other’ Italian Gothic Tondi,” in Nicoletta Baldini, ed., The economics of information applied Sculpture,” Distinguished Lecture as Invisible agli occhi. Atti della giornata to Italian Renaissance art,” Value, Senior Kreitman Foundation Visiting di studio in ricordo di Lisa Venturini Production, Consumption and the Issue Fellow: Ben Gurion University in the (Florence: Fondazione Roberto Longhi, of Quality in Renaissance Italy, London, Negev, Beer Sheva, Israel, June 11, 2007), 53-63; “Il nuovo ruolo delle 2006. 2006; “Pulpit and Preacher: Stage donne artiste,” with Meghan Callahan and Performance in Late Medieval in Stefano Zuffi, ed.,Storia dell’Arte, Elizabeth A. Pergam Italy,” Research Workshop of the Israel vol. XI (Milan: Electa, 20 vols., 2006), Ph.D. 2001 Science Foundation: Art, Liturgy, and 59-89; “Memorial Chapels in Churches: Lectures and Presentations: “The Religious Cult in Late Antiquity and the The Privatization and Transformation Gilded Age: Gold-Ground Paintings in Middle Ages, Ben Gurion University of Sacred Spaces,” in Roger J. Crum America,” Art, City, Spectacle: The 1857 in the Negev, Beer Sheva, Israel, June and John T. Paoletti, eds., Renaissance Manchester Art-Treasures Exhibition 12-14, 2006; “Bastianini in Context: Florence. A Social History (New Revisited, November 9-10, 2007; The Delight of Deception – from York: Cambridge University Press, “Provenance as Pedigree,” CAA Annual Michelangelo’s Amorino to Giovanni 2006), 353-375, 582-584; Review of Conference, February 20-23, 2008. Duprè’s Cofano,” Annual Meeting of Michelle O’Malley, The Business of Renaissance Society of America, in session Art: Contracts and the Commissioning William Pressly on “The Forging of Italian Renaissance Process in Renaissance Italy (New Ph.D. 1974 Sculpture,” San Francisco, March 2006; Haven: Yale University Press, 2005); Publications: The Artist as Original “A Leap of Imagination: Monkey See Review of Evelyn Welch, Shopping in Genius: Shakespeare’s ‘Fine Frenzy’ in Monkey Do,” Annual Meeting of College the Renaissance. Consumer Cultures in Late-Eighteenth-Century British Art, Art Association, in session entitled, Italy 1400–1600 (New Haven and (University of Delaware Press, 2007) “The Real Art History: Tales from the London: Yale University Press, 2005) in Trenches and Stories from the (Honest- Oxford Art Journal XXX. 3, (Autumn Jennifer Casler Price to-Goodness) Crypts– Art Historians 2007): 512-515; Review of Alessandro M.A. 1986, Certificate in Curatorial Doing Art History,” Boston, February Cecchi, Botticelli, (Milan, Motta, 2005) Studies 1990 2006. and Frank Zöllner, Sandro Botticelli Publications: “A Cambodian Projects: Essay accompanying book (Munich: Prestel, 2005) in Renaissance Masterpiece Restored,” Apollo Magazine of photographs on the facade reliefs of Quarterly 60, 3 (Fall 2007): 915-918; (October 2007): 58-63. Orvieto Cathedral, Harvey Miller Press; Review of Cristina Acidini, Michelangelo Monograph and/or exhibition proposal Scultore (Milan: Motta, 2006) in Lisa Rafanelli on the 19th century-reception of the Renaissance Quarterly 60, no.2 (Summer M.A., 1989, Ph.D. 2004

38 Publications: “Seeking Truth and Museum, Amsterdam, 2008 (English England, 6 September 2007 - 13 Bearing Witness: The Noli Me Tangere and Dutch editions); Millais: A Sketch January 2008; Van Gogh Museum, and Incredulity of Thomas on Tino by Marion Harry Spielmann preceded Amsterdam, 15 February - 18 May di Camaino’s Petroni Tomb (1315- by Thoughts on our Art of Today by 2008; Kitakyushu Municipal Museum 1317),” Comitatus 37 (2006): 32-65; John Everett Millais, edited and with of Art, Fukuoka: 7 June - 17 August “Thematizing Vision in the Renaissance: an introduction by Jason Rosenfeld 2008; The Bunkamura Museum of Art, The Noli Me Tangere as a Metaphor (London: Pallas Athene, 2007); Millais, Tokyo, 30 August - 26 October 2008 for Art Making” in A. Sanger and S. exh. cat. with Alison Smith, London: (co-curator with Alison Smith, Senior Kulbrandstad Walken, eds., Sense and Tate Publishing, 2007; Review of Paul Curator, Tate Britain). the Senses in Early Modern Art and Barlow, Time Present and Time Past: Cultural Practice (forthcoming 2008); The Art of John Everett Millais (London: Deborah Rothschild “To Touch or Not to Touch: The Ashgate Press, 2005) in Victorian Studies M.A. 1976, Ph.D. 1991 Noli Me Tangere and Incredulity of (Fall 2007); Review of Jan Marsh, ed., Publications: Making It New: The Art Thomas in Word and Image from Early Black Victorians: Black People in British and Style of Sara and Gerald Murphy, Christianity to the Ottonian period,” in Art 1800-1900 (Aldershot: Lund exh. cat., University of California Press, The Proceedings of the 2008 International Humphries, 2005) in The World of Berkeley, 2007. Conference: Noli Me Tangere: Word, Interiors 26, no. 5 (May 2006): 37. Lectures and presentations at Image, Context, Rome, 2008 (Peeters Lectures and presentations at conferences: “The Surface Is Part of the Publishers, forthcoming 2008-2009). conferences: “Millais’s Jewish Patrons,” Depth,” A Place for Style in Everything, Conferences: “ To Touch or Not to Millais, Hunt and Modern Life Williams College, September 15, Touch: The Noli Me Tangere and Symposium, Tate Britain, London, 2007; “The Making of “Making It Incredulity of Thomas in Word and England, November 30, 2007; New,” First Family Lecture, Williams Image from Early Christianity to Curator’s Talk, “John Everett Millais College, October 27, 2007; “Sara and the Ottonian period,” International in His Time and Ours,” Tate Britain, Gerald Murphy” Boston Athenaeum, Conference: Noli Me Tangere: Word, London, England, September 28, November 27, 2007; “Making It New” Image, Context, Academica Belgica, 2007; “Greenery Galleries: John Everett Cosmopolitan Club, New York, March 4, Rome, 2008; Session chair and Millais, Cecil Gordon Lawson and the 2008; “What I Learned from Sara and organizer: “The Thematization of the Exhibited Landscape in the 1870s,” Gerald Murphy,” Yale University Art Senses in Sixteenth-Century European Opulence and Anxiety: Landscape Gallery, April 11, 2008; A Conversation Art,” College Art Association 95th Annual Paintings from the Royal Academy of with Deborah Rothschild, Marion Conference, New York, February 14- Arts Symposium, Paul Mellon Centre, Seldes, and Amanda Vail, National Arts 17, 2007; “Thematizing Vision in the London, England, May 11, 2007; Club, New York, April 22, 2008. Renaissance: The Case of the Noli Me “Artists Talk on Art: Inspiration, Influence Exhibitions: Making It New: The Art Tangere,” Renaissance Society of America or Intrusion?,” School of Visual Arts, and Style of Sara and Gerald Murphy, Annual Conference, San Francisco, dialogue with artist Melinda Camber Williams College Museum of Art, March 23-25, 2006. Porter and Peter Trippi, editor of Fine Williamstown, MA, Yale University Art Connoisseur magazine on how Art Gallery, New Haven, CT., Dallas Beatrice Rehl historical masterpieces affect art making Museum of Art, Dallas, TX, 2007 M.A. 1979; Ph.D.1984 now, November 17, 2006; “Hacking – 2008. New Position: Publishing Director, MoMA, or, the Conversational Object- Humanities, Cambridge University Analysis Paper: The ArtMobs Podcasting Reagan Ruedig Press Project,” College Art Association M.A. 2004 Conference for College Art Association New Position: Conservator, Building Jason Rosenfeld Education Committee Panel; “The Conservation Associates, Inc. M.A. 1993, Ph.D. 1999 Museum Connection: Bridging the New Position: Associate Professor of Divide Between the Classroom and Rebecca Rushfield Art History, Marymount Manhattan the Gallery,” CAA meeting, Boston, M.A. 1980 College February 24, 2006. Conferences: Chair of session: “Abstract Publications: John Everett Millais, exh. Exhibitions: John Everett Millais: A Expressionist Painting: Looking cat., with Alison Smith, Van Gogh Retrospective, Tate Britain, London, Closely,” College Art Association

39 Alumni News Continued

Annual Meeting, 2008; Coordinator Change in Position: Conservator and and the Public Memorialization of Death of lunchtime workshop “Learning to Technical Director for International (New York: Palgrave MacMillan, 2006), Look: Abstract Expressionist Paintings.” Projects, Solomon R. Guggenheim 41-49; “Engaging the Off-Campus Foundation. Audience,” Public Art Review (Spring/ Julie Saul Exhibitions: Conservator and Summer 2006): 38-42. M.A. 1983 technical consultant for the Solomon Projects: I am starting a CAA-affiliated Exhibitions: “The Sweethearts of Mr. R. Guggenheim exhibitions: Spanish organization, Public Art Dialogue. Bartlett,” New York, Julie Saul Gallery, Painting from El Greco to Picasso; The initial meeting was held in Dallas, July – August 2007.Named Best Gallery America 300 for the venues in Beijing February 2008. Book project tentatively Show of the Year by New York Magazine, and Shanghai; Guggenheim: The tilted, Transforming American Memorials: December 2007 and Best Show of the Collection at the Art and Exhibition Hall Vietnam to 9/11. Year by Time Out, December 2007. of the Federal Republic of Germany in Bonn; and for the Peggy Guggenheim Thomaï Serdari Jeffrey Schrader Collection exhibitions: Lucio Fontana, M.A. 2001, Ph.D. 2005 Ph.D. 2003 Venice/New York and Barney and Beuys. New Position: Director of Research New Position: Assistant Professor, Honors and Awards: re-elected to Collections, Department of Art History, University of Colorado Denver the Executive Council of the IIC, the New York University Publications: La Virgen de Atocha: International Institute of Conservation. Conferences: “Open Eyes and Open Los Austrias y las imágenes milagrosas, Projects: Team member for the on- Mind: The Art History of Robert trans. Teresa Sans and Fabián Chueca going restoration of the exterior of Rosenblum,” New York University, (Madrid: Ayuntamiento de Madrid, the Frank Lloyd Wright Solomon R. October 13 and 14, 2006. 2006); review of Andrés Úbeda de los Guggenheim Museum building; team Cobos, ed., Paintings for the Planet King: member developing the technical design Sandra Sider Philip IV and the Buen Retiro Palace of the future Frank Gehry-designed Publications: “Origins of American (Madrid: Museo Nacional del Prado, Solomon R. Guggenheim Museum Art Quilts: Politics and Technology,” in association with Paul Holberton in Abu Dhabi, the same function Proceedings of the Textile History Forum, Publishing, 2005), posted on caa.reviews I performed for the Guggenheim 2007; “NYC’s Mood: Where Project on 5 July 2006; “The Standardization Museum in Bilbao. Runway Shops,” Fiberarts (January/ and Management of Digital Media for February 2007); “Educating the Quilt Instruction in the History of Art,” VRA Harriet F. Senie Artist,” Fiberarts (September/October Bulletin 34 no.2 (Summer 2007): 5-7. Ph.D. 1981 2007); “Arlé Sklar-Weinstein: Sheer Lectures and presentations at Publications: “Gendered in Stone: Delight,” Fiberarts (September/October conferences: “Goya and His View of Women in New York City’s Public 2007); juror’s essay on quilt art in Miraculous Imagery in the Disasters of Art,” in Karen Frostig and Kathy A. Transformations 2007: Reverberations, War,” Society for Spanish and Portuguese Halamka, eds., Blaze: Discourse on Art, exh. cat., Studio Art Quilt Associates, Historical Studies annual meeting, Women and Feminism (Cambridge 2007; Pattern and Decoration: An Ideal Miami Beach, April 2007; “Portraiture, Scholars Publishing, 2007); “Louise Vision in American Art, 1975-1985, Identity, and Marian Images in Colonial Nevelson’s Public Art,” in Brooke http://www.artcritical.com/sider/ Latin America,” Midwest Art History Kamin Rapaport, ed., The Sculpture of SSPatternDecoration.htm. Society annual conference, Indianapolis, Louise Nevelson (The Jewish Museum Lectures: Organized and chaired panel: March 2007; “The House of Austria and Yale University Press, 2007); “Art “Art Quilt Workshops: What’s Art as a Source of Miraculous Images in and Public Space,” David Goldfield, Got To Do With It?,” Traditions and Latin America,” Society for Spanish and ed., Encyclopedia of American Urban Trajectories (international symposium), Portuguese Historical Studies annual History (Sage Publications, 2007); “The International Quilt Study Center, meeting, Lexington, Kentucky, April Controversy that Wouldn’t Die: Tilted University of Nebraska, Lincoln, March 2006. Arc and the Triumph of Spectacle,” 2007; “Nativity Scenes in Venetian Sculpture (June 2007); “Mourning in Quattrocento Painting,” Columbia Paul Schwartzbaum Protest: Spontaneous Memorials and Renaissance Seminar, September 2007. M.A. 1972; Certificate of Conservation the Sacralization of Public Space,” in Exhibitions and Collections (as artist) 1972 Jack Santino, ed., Spontaneous Shrines Stir Crazy cyanotype quilt acquired

40 for the permanent collection of the Lectures and presentations at Donna Stein International Quilt Study Center, conferences: “City and Court: Origins M.A. 1965 University of Nebraska, Lincoln; and Ownership of the Taymouth Publications: “The Art of Helen Penumbra #1: Summer Dance Hours,” 34th Annual St. Louis Conference Lundeberg: Illuminating Portraits,” cyanotype quilt in juried Members’ on Manuscript Studies, Vatican Film Woman’s Art Journal 27, no. 1 (Spring Exhibition: Visions Art Quilt Gallery, Library, St. Louis University, October 2006/Summer 2006): 10-16; Advancing San Diego, fall 2007. 12-13, 2007; “The Monk Who the Moment: Recent Work by California Exhibitions (Curatorial): Juror for Crucified Himself: Literalism, Metaphor Photographers, exh. cat., Pasadena California Fibers, Visions, Art Quilt and the Imitation of Christ in the Museum of California Art, October Gallery, San Diego, Winter 2007. Fourteenth Century,” Humanities 15, 2006 - January 7, 2007 (brochure Projects: Book-in-progress: Centre, University of Toronto, April published, 2006); Forthcoming Contemporary American Quilt Art: 27, 2007; “The Monk Who Crucified publications in Woman’s Art Journal, Art Sources and Synergy (University of Himself and the Imitation of Christ and Antiques. Nebraska Press, forthcoming 2009). in the Fourteenth Century,” Border Zones: Art History in an Age of Visual Perrin Stein Kathryn A. Smith Culture, New York University, October M.A. 1986, Ph.D. 1997 M.A., 1989; Ph.D. 1996 6, 2006; “Narrative and Interiority in the Publications: Gabriel de Saint-Aubin, Publications: Kathryn A. Smith and Taymouth Hours,” In Honor of Penelope 1724-1780, exh. cat., The Frick Carol H. Krinsky, eds., Tributes to Lucy D. Johnson II: Spiritual Partnerships and Collection, New York, October 30, Freeman Sandler: Studies in Illuminated Shared Devotions across the Gender Divide, 2007 – January 27, 2008, and Musée Manuscripts, (London and Turnhout: 41st International Congress on Medieval du Louvre, Paris, February 28 – May Harvey Miller Publishers, 2007); “Lucy Studies, Western Michigan University, 26, 2008, catalogue entries, nos.14, 19, Freeman Sandler: An Appreciation,” in Kalamazoo, MI, May 4-7, 2006; 24, 41, 42, 52a, 52b, 67, 69, and 71; Kathryn A. Smith and Carol H. Krinsky, “Chivalric Narratives and Devotional “Fragonard in Naples: two rediscovered eds., Tributes to Lucy Freeman Sandler: Experience in the Taymouth Hours drawings,” Burlington Magazine Studies in Illuminated Manuscripts, (London, British Library Yates CXLIX, No.1250 (May 2007):305-08; (London and Turnhout: Harvey Miller Thompson MS 13),” Secular and Sacred “Les Chinoiseries de Boucher et leurs Publishers, 2007); “Accident, Play and in Medieval Art: Bridging the Divide, sources: l’art de l’appropriation,” in Invention: Three Infancy Miracles in College Art Association, Boston, Georges Brunel, ed., Pagodes et dragons, the Holkham Bible Picture Book,” in February 24, 2006. Exotisme et fantaisie dans l’Europe rococo Gerald B. Guest and Susan L’Engle, Honors and Awards, 2006 and 2007: 1720-1770, exh. cat., Musée Cernuschi, eds., Tributes to Jonathan Alexander: The Sylvan C. Coleman and Pamela Coleman Paris, February 24 – June 17, 2007, 86- Making and Meaning of Medieval & Memorial Fund Art History Fellowship, 100; book review of David Mandrella, Renaissance Illuminated Manuscripts, Art The Metropolitan Museum of Art, Hermann Mildenberger, Benjamin & Architecture (London and Turnhout: 2007-8; Marquis Who’s Who in American Peronnet, and Pierre Rosenberg, From Harvey Miller Publishers, 2006), 357- Education; Who’s Who of American Callot to Greuze: French Drawings from 69; “Books of Hours,” in Susan Mosher Women. Weimar, (Berlin, 2005) in Burlington Stuard, Thomas Izbicki and Margaret Projects: The Taymouth Hours: Stories Magazine CXLVIII, No. 1238 (May Schaus, eds., Women and Gender in and the Construction of the Self in Late 2006): 353. Medieval Europe: An Encyclopedia (New Medieval England, The British Library York and London: Routledge, 2006), Studies in Medieval Culture (London: Cecil Stiker 89-92; review of Richard Marks, Image The British Library Publications and M.A. 1960, Ph.D. 1968 and Devotion in Late Medieval England Toronto: University of Toronto Press). Publications: With Y. Dogan Kuban, in The Art Bulletin 88, no. 2 (2006): Book in progress: The Social Life of Kalenderhane in Istanbul: The Excavations, 396-9; review of Marie-Dominique Illumination; Joyce Coleman, Markus Vol. 2, (Mainz: von Zabern, 2007). Gauthier-Walter, L’histoire de Joseph: Cruse and Kathryn A. Smith, eds., Honors: Eds. Judon J. Emerick and Les fondements d’une iconographie et son Medieval Texts and Cultures of Northern Deborah M. Deliyannis, Festschrift: développement dans l’art monumental Europe (Turnhout: Brepols), edited Archaeology in Architecture: Studies in français du XIIIe siècle in Speculum 80, volume in progress. Honor of Cecil L. Striker (Mainz: von no. 2 (2006): 515-16. Zabern, 2006).

41 Alumni News Continued

Joyce Hill Stoner Distinguished Guest Lecturer in the new Herakles type and archaic, east M.A. 1970, Certificate in Conservation History of Art, Vassar College, fall 2007. Greek terracottas at the sanctuary of 1973 Publication: “Imperial Designs: The Demeter and Persephone at Cyrene,” New Position: Director, Preservation Decoration of the Library of the International Conference on Greek Studies Doctoral Program, UD. Escorial,” Hispanic Research Journal 8, and Roman Terracottas in the Eastern Publications: “An Evolving Technique: no. 5 (December, 2007): 389-408. Mediterranean, Izmir, June 2-6, 2007. N. C. Wyeth’s Methods and Materials,” Lectures and presentations at symposia: Conferences: Coroplastic Studies in N. C. Wyeth catalogue raisonné (Scala, “South American Viceregal Paintings: Interest Group, AIA Meeting, Chicago, 2008); “Materials for Immateriality,” Who Painted Them and What Were January 5, 2008, Chai. in Like Breath on Glass: Painting Softly They For?,” Tucson Museum of Projects: http://www.cyrenaica- from James McNeill Whistler through Art, Tucson, AR, January 19, 2007 terracottas.org/ Arthur B. Davies, in exh. cat., Clark and The Art Centre, University of Art Institute, Williamstown, MA, Toronto, November 7, 2007; “The Gertje Utley June 2008; “The Patriarch of Pop and Immaculate Conception in Hispanic M.A. 1983, Ph.D. 1997 the Prince of Realism: Andy Warhol Art: Theme and Variations,” The Publications: “Mas Meninas: Through and Jamie Wyeth in the 1970s,” Meadows Museum, Southern Methodist the Looking Glass, Repeatedly,” in Factory Work: Warhol, Wyeth, Basquiat University, Dallas, TX, May 8, 2007; Olvidando a Velázquez. Las Meninas, (University Press of New England, “El arte virreinal hispanoamericano exh. cat. Picasso Museum, Barcelona, 2006), 30-65. en las colecciones norteamericanas” Spain, May-September 2008; “Die Lectures and presentations at in Quito, Ecuador. Arte quiteño más Übermarionette: Egon Schiele’s Private conferences: “The Message of the allá de Quito. Simposio Internacional Codes,” in Patricia Berman and Gertje Medium,” in connection with the Quito 13-17 Agosto, 2007; “Mementi Utley, eds., A Fine Regard: Essays in exhibition Memory and Magic, Mori in the Andes,” 10th Anniversary: Honor of Kirk Varnedoe (London: Philadelphia Museum of Art, April The Colloquium on Spanish & Latin Ashgate Publishing, Ltd., 2008); Co- 1, 2006; “Documenting Ourselves: American Art and Visual Culture, IFA, editor with Patricia Berman, A Fine The First Thirty Years of the FAIC February 28, 2008; “Mementi Mori in Regard: Essays in Honor of Kirk Varnedoe Oral History Project,” History of the Andes,” Belle Ribicoff Distinguished (London: Ashgate Publishing, Ltd., Conservation Lecture for the conference Guest Lecture, Vassar College, April 2008). of the Association of North American 10, 2008; “Picturing the Monarchy in Lectures: “Picasso: Master printer,” Graduate Programs in Conservation, the Indies,” A Symposium in Honor of Joslyn Art Museum, Omaha, 8 at the Fogg Art Museum, April 27-28, Jonathan Brown, IFA, May 21-22, 2008. November 2005; “Picasso and Politics” 2007; “Conservation Goes Public,” Sakip Sabanci Museum, Istanbul, IMLS Summit Connecting to Collection, Jaimee P. Uhlenbrock Turkey, 8 March 2006 in the context Smithsonian American Art Museum, Ph.D. 1978 of the Picasso in Istanbul exhibition; June 27-28, 2007. New Position: Associate Curator of the “Picasso in the 1930’s:, politics and the Exhibitions: Factory Work: Warhol, Collections, Samuel Dorsky Museum of USA connection,” panel on Picasso and Wyeth, Basquiat. Guest Curator, Art, SUNY, New Paltz American Art for Whitney American Brandywine River Museum, McNay Publications: “Influssi stranieri nella Fellows, 8 November 2006; “Matisse, Museum in San Antonio, and coroplastica cirenaica,” in Cirene e Léger, Le Corbusier and the Renewal Farnsworth Art Museum, Rockland, la Cirenaica nell antichità (Atti del of Christian Art and Architecture after Maine, 2006-07. convegno internazionale di studi, World War II,” Museum of Biblical Projects: With Rebecca Rushfield co- Roma-Frascati, 18-21 December 1996), Art, New York, 11 January 2007; editing a 59-author 350,000-word book (2007), 719-741. “From Gauguin to Picasso and Serrano: on Conservation of Easel Paintings Lectures and presentations at The Uses and Misuses of Christian for Butterworths/Elsevier forthcoming conferences: “Tipi coroplastici di Iconography in Modern Art,” Museum 2011. femmine in trono del V secolo a.C. of Biblical Art, New York, 8 March del santuario extraurbano di Demetra 2007. Suzanne Stratton-Pruitt e Persefone a Cirene,” XI Convegno Exhibitions: Curator of Mas Meninas: Ph.D. 1983 Internazionale di Archeologia Cirenaica, Variations on Velázquez’s “Las Meninas” New position: Belle Ribicoff Urbino, 30 June - 2 July 2006; “A in Contemporary Art, as part of the

42 exhibition Olvidando a Velázquez. Las Strunck, ed., Rom—Meisterwerke der Publications: Two chapters on Meninas, Picasso Museum, Barcelona, Baukunst von der Antike bis Heute: German Renaissance jewelry and Das Spain, 15 May – 15 September 2008. Festgabe für Elisabeth Kieven, (Petersberg Kleinodienbuch der Herzogin Anna [Germany]: Michael Imhof, 2007), von Bayern (Cod.icon. 429), exh. cat., Alexander Vergara 350-355; “Barberini Cardinals Need Bayerische Staatsbibliothek, Munich/ Ph.D. 1994 Places to Live,” in Lorenza Onori Kindler Verlag: Berlin, 2008; Fischer Publication: Patinir. Studies and Critical Mochi, Sebastian Schütze, and in Rom und die Künstlerfamilie Schor, Catalogue, exh. cat., A. Vergara, ed., Francesco Solinas, eds., I Barberini publication of the papers of the Museo del Prado, Madrid, 2007. e la cultura Europea del seicento, Atti international symposium Bernhard Exhibition: Curator of Patinir. The del convegno internazionale, Roma 7- Fischer von Erlach: Ein Architekt für Invention of Landscape, Museo del 11 dicembre 2004 (Rome: De Luca, Europa, organized by the Dommuseum, Prado, Madrid, July-September 2007. 2007), 487-500; “Many Courts, Many Salzburg, forthcoming in Barockberichte Spaces,” in Malcolm Smuts, George 50, 2008; “’Ganz irregulier’ - Ein Susan Mullin Vogel Gorse, and Marcello Fantoni, eds., barocker Betstuhl aus Rom,” in Ph.D. 1977 The Politics of Space: Courts in Europe Barockberichte 48/49 (2007): 154-161; Publication: “Des ombres sur la Seine: and the Mediterranean ca. 1500-1750, “The sculptures of Christina of Sweden L’art africain, l’obscurité et le musée du Proceedings of the Conference at the in the palaces Riario and Odescalchi quai Branly,” in Le Debat (Gallimard) Huntington Library 26-27 January 2007, in Rome”, in José María Luzón Nogué no. 147, (November-December 2007): (Rome: Bulzoni, 2008), in press. and Anne Christine Borgenstierna, eds., 178-192. Lectures and presentations at Esculturaas para una reina/The Queen’s Film: The Future of Mud: A Tale conferences: “Beyond the Façade: sculptures. The collection of Christina of of Houses and Lives in Djenne. Co- Maderno and the Design of Palaces,” Sweden, exh. cat., Fundación Berndt Production with the Musée National Carlo Maderno (1556-1629): Architect Wistedt, Madrid, 2007, 40-56; “Das du Mali and Trevor Marchand, 58 min. and Engineer in Baroque Rome, Swiss Festmahl für Maximilian von Bayern Distributed by First Run / Icarus Films. Institute, Rome, 30 November—2 und seine Brüder 1593 in Rom: Eine Lectures/ Presentations: “Mud and December 2006; “Many Courts, Many Begegnung zwischen Formen des White Vinyl: ‘Truth’ and Fiction,” Spaces,” The Politics of Space: Courts Zeremoniells,” in Zeichen, Raum und Le Dialogue des cultures: Rencontres in Europe and the Mediterranean, ca. Zeremoniell and den deutschen Höfen inaugurales du musée du quai Branly, 1500-1700, The Huntington Library, der frühen Neuzeit. Rudolstädter Paris, 14th Triennial Meeting of the San Marino, CA, 25-27 January 2007; Forschungen zur Residenzkultur, 2006, Arts Council of the African Studies “Evidence, Etiquette, and Architecture 123-134. Association, Gainesville; “Shadows on in Seventeenth-Century Rome,” Lectures and presentations at the Seine: African Art, Darkness and Architecture and Ritual in Early Modern conferences: “Die Schmuckminiaturen the Quai Branly Museum,” Silberberg Europe: Interdisciplinary Strategies of von Hans Mielich für Herzog Albrecht Lecture, Institute of Fine Arts, New Interpretation, Princeton University, 31 V. von Bayern,“ Zentralinistitut für York; “Visual Language: Presenting the March 2007; “The Del Bufalo Family Kunstgeschichte, Munich, 2007; Architecture of Djenne on Film” on the at Piazza Colonna,” New York Chapter, “A Royal Pretender in Rome: Livio panel “(Im)possibilites of Representing Society of Architectural Historians, New Odescalchi and Christina of Sweden,” Cultural Production in Postcolonial York, 23 April 2007; “Where to Live? international workshop Collecting Africa,” African Studies Annual Meeting, How to Live? Barberini Cardinals in and Dynastic Ambition, Institute of New York. Seventeenth-Century Rome,” Boston Historical Research, University of Honors: Distinguished Service: College, Boston, 13 April 2007. London, London, 2006; “Fischer von Leadership Award of the Arts Council of Projects: Between Palazzo and Casa: The Erlach in der Werkstatt von Johann the African Studies Association, granted Del Bufalo Family in the City of Rome. Paul Schor”, international symposium every three years. Bernhard Fischer von Erlach (1656- Stefanie Walker 1723): Ein österreichischer Architekt in Patricia Waddy M.A. 1987, Ph.D. 1994 Europa, Dommuseum, Salzburg, 2006. Ph.D. 1973 New Position: Senior Program Officer, Honors and Awards: Craig Hugh Publications: “Palazzo Barberini Division of Research Programs, National Smyth Fellowship, Villa I Tatti, alle Quattro Fontane,” in Christina Endowment for the Humanities. Florence, January - March 2006.

43 Alumni News Continued

Jack Wasserman in Honor of Lilian Armstrong, Wellesley San Francisco, NYC, Houston, 2001- Ph.D. 1961 College, Sept. 30, 2006; “The Louvre 2008. New position: Professor emeritus, ‘Madona…con Josep e tre angeli’: in Honors and Awards: Appointment: Temple University consideration of titles, texts, and the Board of Directors, The Magnum Publications: La Pietà di Michelangelo cult of St. Joseph,” Convegno Lorenzo Foundation; a Firenze (Florence: Mandragora s.r.l., Lotto nelle Marche, Monte San Giusto, Reappointment: Collections 2006); “Rethinking Leonardo da Vinci’s April 16, 2007. Committee, Harvard University Art Last Supper,” Artibus et historiae 25, no. Conference: Chair: “Italian Renaissance Museums 55 (2007): 23-35. Art: Devotion and Patronage,” Midwest Projects: Adjunct Professor, Steinhardt Art History Society Annual Conference, School of Education, NYU Masters in Carolyn C. Wilson Dallas, March 2006. Arts Administration Program. M.A. 1970, Ph.D. 1977 Publications: “Some Further Evidence Bonnie Yochelson of St. Joseph’s Cult in Renaissance Italy M.A. 1979, Ph.D. 1985 and Related St. Joseph Altarpieces,” Publications: Bonnie Yochelson and Die Bedeutung des hl. Josef in der Daniel Czitrom, Rediscovering Jacob Riis, Heilsgeschichte. Akten des IX. Exposure Journalism and Photography in Internationalen Symposions über den Turn-of-the-Century New York. (New hl. Josef (Kisslegg: FE-Medienverlag York: The New Press, 2008); Looking GmbH, 2006, 2 vols.), v. 2, 903-33; for Work: Industrial Architecture in Review of Carl Brandon Strehlke, Columbia County; Photographs by Anita Italian Paintings 1250-1450 in Giraldo (Columbia County Historical the John G. Johnson Collection and Society, Kinderhook New York, 2007); the Philadelphia Museum of Art, Helen M. Stummer: Rest In Peace, exh. (Philadelphia Museum of Art in cat., Aljira, A Center for Contemporary association with the Pennsylvania State Art, Newark, New Jersey, 2007. University Press, Philadelphia 2004) in caa.reviews (September 18, 2006); Alice Sachs Zimet Review of Charlene Villaseñor Black, M.A. 1974 Creating the Cult of St. Joseph: Art and Lectures and presentations at Gender in the Spanish Empire (Princeton conferences: “Sponsorship Today: University Press, 2005), Catholic What Works? What Doesn’t?,” National Historical Review, 90 (July 2007): Arts Marketing Project Conference, 652-55; Review of Jonathan Bober, ed., Miami, FL, Arts & Business Council of with Piero Boccardo, Franco Boggero, New York, New York, NY; “Corporate Clario Di Fabio, and Lauro Magnani, Sponsorship: New Trends, Hot Tips,” Luca Cambiaso: 1527-1585, exh. cat., Arts & Culture Consultants Network: Jack S. Blanton Museum, University of A Dance/NYC Roundtable, New York, Texas at Austin, September 15, 2006 NY; US Department of State, Budapest, - January 14, 2007 (Silvana Editoriale: Hungary; US Department of State, St. Cinisello Balsamo, 2006), caa.reviews Petersburg, Russia; US Department of (June 7, 2007); Review of Anne B. State, Moscow, Russia; Golden Mask Barriault, Andrew Ladis, Norman E. Festival, Moscow, Russia; “Sponsorship Land and Jeryldene M. Wood, eds., Today: What Works? What Doesn’t?” Reading Vasari, (London and Athens, County Cultural Commission, Fort GA, 2005), Sixteenth Century Journal, Lauderdale, FL. 38:4 (2007): 1141-43. Conference: Chair: Annual Sponsorship Presentations: “What’s in a Name? Day, National Arts Marketing The Case for Renaissance Titles for Conference (Americans for the Arts), Renaissance Art,” Renaissance Symposium Miami, Chicago, Los Angeles,

44 Alumni donors

The Institute extends its deepest gratitude to all alumni who generously contributed during Thank you! With your help, the past academic year. We are especially thankful to everyone who responded to the IFA alumni met this year’s $50,000 challenge grant in honor of the Institute’s 75th anniversary, and to the anonymous 75th Anniversary Challenge alum who offered the challenge. The goal was surpassed in just three months—but the Grant in record time, enthusiasm has not abated. We are delighted that this campaign continues to be such a providing $100,000+ in resounding success, generating overwhelming support from so many of you in this special additional funds for Institute milestone year for the Institute. students and programs! Your gift is not only a personal expression of support for your alma mater, but is crucial in helping us continue our tradition of educating the next generation of leading art historians, archeologists and conservators. Thank you again for everything that you’ve done! YEARS INSTITUTE of FINE ARTS 75 This list includes gifts received between April 2007 and May 2008.

$10,000 or more Christine M. Singer Marianne V. Elrick-Manley Barbara G. Mathes Estate of Fred Brauen Joan Troccoli Eric M. Frank Margaret Minnick Catherine C. Brawer Dale G. Zaklad Suzanne P. Fredericks Roald Nasgaard Gerrit L. Lansing Leslie and Tom Robert S. Nelson Myron Laskin $500 to $999 Freudenheim Jo Anne C. Olian Alexandra Munroe Marta E. Ameri Patricia Mosle Friedman Elsie Holmes Peck Phoebe Dent Weil Ruth Bowman Laura M. Gadbery Meg J. Perlman Mariët Westermann Emily F. Braun Emilie E.S. Gordenker Paul N. Perrot Marcia E. Brocklebank E. Adina Gordon Ines Losada Powell $5,000 to $9,999 Anne Bick Ehrenkranz Lauren A. Gross Francis L. Richardson Katherine F. Brush Judith C. Fox Janet B. Grossman Betsy J. Rosasco Margaret Holben Ellis Carol Herselle Krinsky Prudence Oliver Harper Allen Rosenbaum Noel S. Frackman Dorothy and Terrence Mahon Susan A. Harris Katherine A. Schwab Anna Marguerite McCann Mary B. Moore John J. Herrmann Marjorie N. Shelley Shelley K. Sass Anne and James Morganstern Ariel H. Herrmann Kaoru Shino Harada Anonymous Christopher A. Noey Sharon R. Herson Sandra Sider Elizabeth A. Oustinoff William G. Holman Sharon Dunlap Smith $1,000 to $4,999 Deborah Rothschild Laura J. Hoptman Paul Stanwick Meg A. Armstrong Lucy Freeman Sandler Isabelle Hyman Marie L. Swietochowski Mary Braman Buchan Stephen K. Scher Michael Jacoff Carol F. Tabler Richard A. Fazzini Priscilla Parsons Soucek Anna D. Kartsonis Marcia R. Toledano Irving L. Finkelstein Marlene Barasch Strauss Norman L. Kleeblatt Erin Toomey Beatrice H. Guthrie Claire Svetlik-Mann Anne Hrychuk Kontokosta Gertje R. Utley Kathleen M. Heins Michelle Wijegoonaratna Desiree G. Koslin Emily Trevor Van Vleck Michele D. Marincola Joannah C. Wilmerding Linda Konheim Kramer Irene Cioffi Whitfield Beatrix Medinger Andrew J. Kronenberg Marina D. Whitman Charles S. Moffett $200 to $499 Richard S. Lanier Walter M. Widrig Linda Nochlin Susan Anderson A. Floyd Lattin Reva June Wolf Janice Carlson Oresman Adrienne Atwell Jay A. Levenson Eric M. Zafran Anne Litle Poulet John D. Bandiera Alison D. Lonshein Alice M. Zrebiec Anne N. Rorimer Karen F. Christian Constance Lowenthal Shelley E. Zuraw Lisa A. Rotmil Odile U. Duff Deborah Markow

45 Alumni donors Continued

$100 to $199 William S. Feldman Alisa L. Luxenberg Sarah W. Schroth James S. Ackerman Mary H. Fong Vivian B. Mann Ellen C. Schwartz Joseph D. Alchermes Susan P. Freudenheim Leatrice Mendelsohn Sheila Schwartz Lynne D. Ambrosini Jasper Gaunt Jerry D. Meyer Nancy J. Scott Michael J. Amy Rosalind R. Grippi Naomi Miller Kent John Severson Susan and Richard Arms Steven R. Haas Anita F. Moskowitz Suzanna B. Simor Nancy E. Ash Ena S. Heller Priscilla Elkow Muller Kathryn A. Smith Theodora Wheeler Ashmead Ann M. Heywood Maya B. Muratov Lauren Soth Mary Lee Baranger Michelle Martha Hobart Won Y. Ng Jack Soultanian William Lee Barcham Beth L. Holman Andrea Spaulding Norris Elizabeth Rosen Stone Robert A. Baron Mary Tavener Holmes Margaret A. Oppenheimer Suzanne L. Stratton-Pruitt Daniel M. Belasco Paula Rand Hornbostel Luisa J. Orto Cecil L. Striker Jo Anne G. Bernstein Eugene J. Johnson Ronald Y. Otsuka Mary L. Sullivan Martha W. Briggs William R. Johnston Joan H. Pachner James W. Sykes Sarah Tyler Brooks Abdallah M. Kahil Barbara J. Parker Marie C. Tanner Katharine R. Brown Carolyn Kane Elizabeth C. Parker Janet D. Thorpe Leslie Davidson Bruning Charles J. Katz Philip M. Pearlstein Margaret Kelly Trombly Thomas A. Buser Ellen V.R. Kenney Suzanne Meek Pelzel Deborah Lee Trupin Walter B. Cahn Rochelle Lynne Kessler Catherine R. Puglisi Marjorie S. Venit Gabriella B. Canfield Dorothy Kosinski Kyung-hee Pyun Paula J. Volent Ellen Carrlee Lisa B. Kurzner-Bloomenkranz Ilaria S. Quadrani Fredrica L. Wachsberger Carolyn Loessel Connor Marsa Laird Bridget J. Quinn Patricia A. Waddy Rachel L. Danzing Sarah B. Landau Gary M. Radke Stefanie Walker Ellen N. Davis Marilyn A. Lavin Lisa M. Rafanelli Steven A. Weintraub Martha L. Dunkelman Heather N. Lechtman Beatrice C. Rehl Carolyn C. Wilson Eugene J. Dwyer Ursula Lee Valrae Reynolds Tom M. Wolf Martha E. Easton Susana T. Leval Phyllis D. Rosenzweig Roberta May-Hwa Wue Carol S. Eliel Candace J. Lewis Diana P. Rowan Lynn H. Zelevansky Christine M. Faltermeier Roger W. Lipsey Sofia Sanabrais Beatrice Farwell Charles T. Little Susanna Meade Schindler

46 INSTITUTE OF FINE ARTS – NYU 75th Anniversary Annual Giving Campaign For Alumni

Alumni giving has always played a vital role in supporting many areas of the Institute. With a contribution of $50 or more, you secure a year of IFA Alumni Association membership, and enjoy access to the IFA library, continued invitations to IFA events, and the annual Alumni Newsletter. Thank you in advance for your support and for staying involved with your alma mater. Name: ______Address: ______Phone: ______email: ______

Amount of Gift: $100 $250 $500 $1,000 $5,000 Other $______With a gift of $50 or more you can enjoy daytime library privileges at the IFA. Alumni who donate $100 or more are recognized in the Alumni Newsletter.

Designation: Please designate my annual fund gift toward:

The IFA Annual Alumni Fund (10-89540) Supports alumni outreach like the Walter S. Cook Lecture, reunions, newsletters, and summer stipends for student travel and research, and more.

The IFA Annual Alumni Fellowship Fund (10-89540-AF001) Exclusively supports student financial aid.

The Conservation Center Annual Fund (22-89000-R2145) Provides essential support that can be directed to areas of greatest need at the Conservation Center.

Payment Method: Check enclosed (made payable to New York University)

Transfer of securities (please call Kathleen Heins at 212/992-5804)

Credit Card – card #:______Expires ____ / ____ / _____ Signature: ______

The Institute is part of the Graduate School of Arts & Sciences at New York University, a not-for-profit 501(c)(3) organization. All gifts to NYU, including the Institute of Fine Arts, are tax-deductible to the full extent of the law.

47 OFIT PAID NON-P R U.S. POSTAGE APPLETON, WI APPLETON, R MIT NO. 39 PE A rts – NY U A ssociation A lumni T he I nstitute of F ine 1 East 78th Street, NY 10075 York, New

48