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COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2019 Dear students, colleagues, and friends,

The last academic year was a particularly exciting one for the department. Zeynep Çelik Alexander’s book Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design won the College Art Association’s 2019 Charles Rufus Morey Book Award, a distinction given to just a single author across all fields of art history. Branden Joseph spent the year on leave as a Guggenheim Fellow and as the Paul Mellon Visiting Senior Fellow at CASVA, and Michael Waters was a fellow at Harvard’s Center for Italian Renaissance Studies in Florence. One exciting development that will benefit our faculty and students is the inauguration of a new fellowship program at Columbia’s growing Center for Study in Venice at Casa Muraro, currently directed by Holger Klein. Renovations of the house itself are making great headway. This past year, our faculty hosted a number of remarkable conferences. Here on campus, Meredith Gamer and Eleonora Pistis collaborated in organizing an event on British art and architecture, and a conference organized by Elizabeth Hutchinson on the ways that Native North Americans engage with cultural heritage at American museums packed the house at the Italian Academy. In Pictured from left to right: Avinoam Paris, Zoë Strother co-organized an important symposium on the persistence of the idea Shalem, Stefaan Van Liefferinge, Zeynep Çelik Alexander, Holger of “Primitivism” through much of the twentieth century. A. Klein, Gregory Bryda, Matthew Our close interaction with museums and the engagement of our students and faculty McKelway, Michael J. Waters, Elizabeth Hutchinson, Branden in curatorial projects has long been a distinction of the department, and this year was no W. Joseph, Meredith Gamer, Janet Kraynak, Jonathan Reynolds, Kellie exception. Matthew McKelway curated a major exhibition on the painter Nagasawa Rosetsu Jones, Ioannis Mylonopoulos, at the Museum Rietberg in Switzerland. Barry Bergdoll invited contemporary architects Alexander Alberro, Michael Cole. to exhibit projects at Olana. One of our MODA students curated a monographic show on Full-time faculty not pictured: Zainab Bahrani, Frédérique Alice Creischer, and the students in our MA program mounted an exhibition at Avery Library Baumgartner, Barry Bergdoll, around Clodion and Clodion forgeries that should still be on view when you receive this Diane Bodart, Jonathan Crary, Francesco de Angelis, Vidya magazine. We hope you will come to see that, as well as the exhibition our student Natasha Rosetsu: Ferocious Brush by the Agency for Cultural Affairs of the Dehejia, Rosalyn Deutsche, September 6–November 4, 2018 Government of Japan, the exhibit drew Noam M. Elcott, David Freedberg, Marie Llorens curated on Algerian contemporary art, which is on view until March 15 at the from collections in Japan, Europe, and the Anne Higonnet, Rosalind Krauss, Wallach Art Gallery. Eleonora Pistis, Simon Schama, The first retrospective exhibition of United States. Most notably, it included Z. S. Strother, Lisa Trever. Nagasawa Rosetsu’s painting outside a full-scale reconstruction of the interior Wishing you all a happy holiday season, Japan was held last fall at the Museum of the Main Hall (Hondo¯) of the temple Rietberg in Zürich. Curated by Professor Muryo¯ji, the best preserved of a group Matthew McKelway and Dr. Khanh Trinh of temples for which Rosetsu produced (Museum Rietberg), and co-sponsored interior paintings in 1786–1787. Michael Cole Inside front and back cover: Nagasawa Rosetsu, Dragon, 1786, detail from a set of six sliding Professor and Department Chair door panels. Ink on paper. Muryo¯ji, Kushimoto.

Front cover: Art Humanities student Paige Hinkley at the Musée d’Orsay. 2 826 schermerhorn Photograph by Joanne Wang. ART HUMANITIES ART HUMANITIES

Studying Art and Music Humanities in ART HUMANITIES Paris taught me, above all, the impor- tance of directly experiencing works of art and the places in which they were made. It’s one thing to look at photographs of Monet’s Water Lilies; it's something very different to see these paintings in the PARIS Musée de l'Orangerie on one day and on the next to wander in Monet's gardens at Giverny, looking at the scenes he For the fifth consecutive summer, the Department museums, as well as an excursion to Amiens painted, smelling the same air, touching of Art History and Archaeology participated in and an overnight trip to Amsterdam, were at the the same trees, and hearing the same the Art and Music Humanities program in Paris, heart of students’ experience. Without a doubt, sounds. Memories of these experiences based at Reid Hall and sponsored by the Center the most memorable of our museum visits were will stay with me forever. for Undergraduate Global Engagement. Taught tours of the Musée d’Orsay exhibitions Le modèle by art history professors Robert E. Harrist, Jr. and noir, given by curator Denise Murrell, and Berthe SOPHIE HECHT, ’22 Lindsay Cook and music professors Magdalena Morisot, given by Professor Anne Higonnet, a Columbia College Baczewska and Elaine Sisman—along with the foremost authority on the artist. Both visits took assistance of PhD candidates Audrey Amsellem place on Mondays, when the museum is closed and Barthélemy Glama—thirty-four of Columbia’s to the public. The privilege of this special access very best undergraduates took part in a dozen with the guidance of such eminent scholars was hours of class weekly, visited numerous museums not lost on the students: one is said to have and historical sites, and attended several musical broken out in tears of joy. The exhilaration and events, including an opera and an evening at an intellectual excitement we all felt throughout the iconic jazz club. summer is best expressed by the magazine’s cover photograph showing General Studies The success of the joint program lies in the undergraduate Paige Hinkley extemporaneously pedagogical integration of Art and Music performing a grand jeté against the backdrop of Humanities, creating an ideal environment for one of the great clock faces of the Musée d’Orsay. the Core Curriculum philosophy to flourish—one CLOCKWISE FROM LEFT: Claude Monet’s in which ideas, discussion, and argument fuel garden at Giverny; students exploring Le ROBERT E. HARRIST, JR. continuous intellectual excitement. Students Corbusier’s Villa Savoye; Denise Murrell Chinese Art and Robert E. Harrist, Jr. in front of Édouard benefited profoundly from the unique position Manet’s Olympia; students drawing Greek of Paris in the history of art. Visits to the Louvre, LINDSAY COOK, ’18 PhD kouroi at the Musée du Louvre. Photographs Musée d’Orsay, Centre Pompidou, and other Visiting Assistant Professor, Vassar College by Joanne Wang and Robert E. Harrist, Jr.

As a biomedical engineering student with a star-crossed love for the humanities, I found studying Art and Music Humanities in Paris this past summer to be a dream. I delighted in how our conversations of art and music blended into each other like the boundless colors of a Matisse painting. Our six summer weeks now live within us like a melody incorporated into the polyphony of our memories.

JOANNE WANG, ’22 School of Engineering and Applied Science

4 826 schermerhorn 5 FIELDWORK: Pañamarca FIELDWORK: Pañamarca

EXCAVATING ART, ARCHITECTURE, AND THE ENVIRONMENT PERU

In July 2019, Lisa Trever and her research team Museum of Nature and Science), and with the carried out the second of three planned seasons assistance of Classical Studies PhD candidate of archaeological and paleoclimatological field- Mary-Evelyn Farrior, Trever has also been examin- work within and around the ancient Moche center ing the paleoclimatic history of the Nepeña Valley, of Pañamarca. Located on Peru’s north coast, this where Pañamarca is situated, in order to chroni- Above: Ceramic fragments, maize cobs, and yuca from city was home to a lively tradition of wall painting cle the changing landscape, the dynamic path of the excavations. Right: Excavation of a mural painting at Pañamarca in 2010. Photographs by Lisa Trever. Below: A from the sixth to eighth centuries CE, as seen in the river, and the effects of climatic disturbances test pit within the agricultural fields surrounding Pañamarca. murals first documented in the 1950s and those within the valley. Ice core data has revealed that Photograph by Hugo Ikehara. uncovered by Trever in her prior excavations. Pañamarca’s founding occurred in a time of Painters brought to life scenes of hand-to-hand climatic crisis with sustained droughts followed combat between a mythological culture-hero (now by intense flooding. Data from more than sixty known as Ai-Apaec) and a series of monsters new radiocarbon accelerator mass spectrometry from the sea, as well as religious ceremonies and dates coupled with ongoing analyses of pollen, martial pageantry, including a procession of war- phytoliths, and soil characterization from the riors dancing in elite regalia. Without texts and environs of Pañamarca will enable the team to inscriptions, ancient Peruvian art history must be test this scenario at the local level. This research, written through this evocative material as well as which has been supported by a grant from the through archaeological and scientific methods, Provost’s office and a gift to the department which are establishing a more comprehensive from the Rubin-Ladd Foundation, will allow for chronology for the site, its architecture, and its a better understanding of the ancient history of painting tradition. Pañamarca and its surroundings, as well as new insights into how cultural and environmental In partnership with archaeologist Hugo Ikehara history were intertwined. (Pontificia Universidad Católica de Chile), soils scientist Marco Pfeiffer (Universidad de Chile), LISA TREVER and archaeologist Michele Koons (Denver Pre-Columbian Art and Archaeology

The Pañamarca team at the end of the 2019 field season. Photograph by Hugo Ikehara.

6 826 schermerhorn 7 FIELDWORK: Tivoli HADRIAN’S VILLA

Twenty-six students from Columbia and several better understanding of the relationships between other universities joined twenty-three “veterans” the various units of the complex. A newly discov- and team members from the Advanced Program ered building revealed conspicuous affinities in of Ancient History and Art (APAHA) last summer layout and function with a previously excavated for the sixth archaeological campaign at Hadrian’s one, shedding light on the architectural planning Villa in Tivoli, led by Professors Francesco de process under Hadrian. Colorful wall and ceiling Angelis and Marco Maiuro (Sapienza Università frescoes, as well as sophisticated black-and-white di Roma). This year’s exceptionally productive floor mosaics, were patiently and lovingly uncov- season focused on the edifices and spaces of the ered, cleaned, and documented. The archaeolog- Macchiozzo, a residential quarter for high-rank- ical activities were complemented by workshops, ing personnel and staff members of the ancient on-site seminars, and field trips. This initiative villa. Findings of potsherds and coins provided a was generously supported by the Rubin-Ladd wealth of new data about the late antique phases Foundation, the Arete Foundation, and four of the site (third to fifth centuries CE), testifying anonymous donors. to the intensity of life there even as emperors visited less often. Careful stratigraphic analysis FRANCESCO DE ANGELIS of the outdoor spaces laid the foundation for a Classical Art and Archaeology

Above: The painting specialists meticulously record fallen fragments of a frescoed ceiling. Right: Rising senior Samuel Powell presents on the Hall of the Philosophers in front of his fellow students and guest professors Janet DeLaine (University of Oxford) and Ginette Vagenheim (Université de Rouen). Photographs by Francesco de Angelis.

Opposite page, far left: A hoopoe alongside several other birds on a newly excavated floor mosaic. Left: Trench supervisor Debbie Sokolowski proudly sports a marble statue base, just unearthed by her team. Photographs by Francesco de Angelis.

8 826 schermerhorn 9 WALLACH WALLACH

NOW ON VIEW WAITING FOR OMAR GATLATO: CONTEMPORARY ART FROM ALGERIA AND ITS DIASPORA October 26, 2019–March 15, 2020

The first major survey in the United States of contempo- rary art by artists from Algeria and its diaspora, Waiting for Omar Gatlato, curated by PhD candidate Natasha Marie Llorens, responds to the imperative to attend to the cultural specificity of postcolonial national contexts. Highlighting the diversity of Algeria, with its population of Amazigh (or Berber) peoples, the exhibition offers an important glimpse of that nation’s history and distinct visual dialects. With the infrastructure of contemporary art having expanded globally in the past decades, the culture of developing nations such NEW WALLACH DIRECTOR as Algeria has become key in its newly widespread matrix. BETTI-SUE HERTZ Waiting for Omar Gatlato offers an example of how metic- ulous research and fieldwork enables us to understand not I am delighted to join Columbia University as director only how varied traditions operate in decolonized localities, and chief curator of the Miriam and Ira D. Wallach Art but also the ways in which this diversity intersects with the Gallery. In this leadership role, I will work closely with homogenizing tendencies of globalization. the Department of Art History and Archaeology to create ALEXANDER ALBERRO a dynamic program of exhibitions, research, scholarly Modern and Contemporary Art exchange, and social engagement to provide in-depth experiences for multi-generational audiences.

Throughout my extensive career, I have led museum departments and curated several exhibitions at the San Diego Museum of Art, Yerba Buena Center for the Arts Installation view of After the End. Photograph by Eddie José Bartolomei. in San Francisco, and Longwood Arts Project in the Bronx, as well as special projects for the Bronx Museum AFTER THE END: TIMING SOCIALISM IN of the Arts and other venues. With these opportunities,

I have developed a special interest in critical visual CONTEMPORARY AFRICAN ART culture, transnational exchange, and socially relevant June 15–October 6, 2019 issues. Past exhibitions include Public Intimacy: Art and Other Ordinary Acts in South Africa, which offered Less than thirty years after African nations achieved colonial insights into the post- post-Apartheid moment through independence, the end of the Cold War brought down photography, performance, and graphic design; Dissident socialist governments and sparked a wave of upheaval Futures featuring artists’ utopic and dystopic visions of across the continent. The need to reimagine national technology, labor, science, and social relations; and Urban narratives gave rise to a generation of artists that seeks to Mythologies: The Bronx Represented since the 1960s. My make sense of the dramatic shifts witnessed during these current research includes contemporary Chinese art and years. Far from situating socialism within a fixed past, the environmentalism, the aesthetics of progressive protest, artists featured in After the End—the first North American and Susan Sontag’s writings on visual aesthetics. exhibition to explore aesthetic responses to African socialisms and their aftermath—complicate it through At the Wallach my role is to create platforms for dialogue, various constructions of time, including nostalgia, repetition, scholarship, and the promotion of art’s communicative historicism, contemporaneity, and utopia. Their work capacity. I aim to marry the academic resources of investigates how temporality shapes new forms of history, Columbia with the rich cultural and community resources subjectivity, and neoliberal global politics. of Upper Manhattan by working collaboratively with faculty, ÁLVARO LUÍS LIMA, ’19 PhD students, and guest curators on projects that make visible Filipe Branquinho, Jorge Macate, Padeiro (Jorge Macate, Baker), 2011. Amina Menia, Chrysanthèmes: Ziama, 2009–ongoing. Photograph Exhibition Curator Photograph courtesy of the artist. the scholarship emanating from our talented community. courtesy of the artist.

10 826 schermerhorn 11 MODA AVERY

MODA Curates is an annual opportunity offered by the MA program in Modern NEW AVERY DIRECTOR expert decisions regarding Avery’s digital environment; and Contemporary Art: Critical and Curatorial Studies (MODA), in conjunction HANNAH BENNETT maintaining a library of incomparable, valuable, and histor- with the Miriam and Ira D. Wallach Art Gallery, for outstanding curatorial ically significant books and archives; and collaborating with proposals related to students’ theses. Through a competitive selection process, It is deeply gratifying to join other divisions of CUL. I have spent my professional career students are appointed MODA Curatorial Fellows for the academic year and work Columbia University Libraries as in major arts research libraries, with prior appointments at closely with the gallery staff to execute their exhibitions. The 2018–2019 fellows director of the Avery Architectural the University of Pennsylvania, the Art Institute of Chicago, were Alessandra Gomez, Pujan Karambeigi, and Claire (Shiying) Li. & Fine Arts Library, where I will Princeton, and Yale. It is an absolute thrill to now assume provide leadership for Avery’s oversight of Avery. I look forward to working with our dedi- JANET KRAYNAK services, facilities, and collec- cated staff and constituencies—especially the Department Director, MODA tions strategies in support of our of Art History and Archaeology—to advance Avery through research, teaching, and steward- innovative projects and programming while stewarding its ship mission. Some key areas unique collections and beloved building. MODA CURATES of responsibility include making March 30–April 14, 2019

I / I CAN / I CANNOT / I CANNOT VENTURE NOW ON VIEW HOPPNER, BEECHEY, FISHER, MYSELF CLODION AND “CLODION MANIA” LAVERY: RESEARCHING September 24–December 13, 2019 COLUMBIA’S PORTRAITS In her first solo exhibition in North America, the conceptual February 11–May 10, 2019 artist Alice Creischer showed a recent body of work The 2019 edition of “MA in Art History Presents” opened this fall in the Wallach encompassing video, photo collage, text, and sculpture. Study Center in Avery Library with an exhibition that offers a fresh look at two Last spring, Avery Library featured an Through her multilayered artistic practice, Creischer has terracotta statuettes, Satyr and Two Nymphs and Nymph and Two Satyrs, that exhibition I co-curated with Roberto become a crucial voice of a post-conceptual, institutionally entered the Columbia collection in 1976. While the statuettes are signed and C. Ferrari of Art Properties focusing critical practice, one that searches for a language to analyze, dated by the much-celebrated eighteenth-century French sculptor Claude Michel on four rarely-seen British portraits comment on, and intervene in the developing socioeconomic (1738–1814), known as Clodion, the MA students studied them in light of the from the collection. The exhibit and fabric. Staging the slow rise of neoliberalism, with its production of spectacular Clodion forgeries in the late nineteenth century. accompanying catalogue explored the imperatives of creative destruction to liberate individuals Drawing on the expertise of Clodion specialist Anne Poulet, director emerita idea of British identity and offered from governmental checks so they venture their dreams of the Frick Collection, who examined the statuettes with the students, the new research on each of the four and sell them on the free market, I / I CAN / I CANNOT / exhibition argues for their deattribution and redating to the nineteenth century, works. Art Properties hosted a special I CANNOT VENTURE MYSELF sought to pin this ghostly thus highlighting a fascinating chapter in the history of sculpture and its evening to celebrate the university’s enemy down to concrete words and events, and thereby collecting practices over time. Guest speakers for the MA colloquium course also collection of British painting, where regain the ability to struggle against it. included Ian Wardropper, director of the Frick Collection, and Michele Marincola, Professor Meredith Gamer gave professor and chair of the Conservation Center at the Institute of Fine Arts, NYU. the keynote lecture and presented PUJAN KARAMBEIGI, ’19 MA thought-provoking ideas on how new FRÉDÉRIQUE BAUMGARTNER research questions can bring forward Director, MA in Art History INTO DARKNESS: EXPLORING ME marginalized groups of sitters within historic British portraiture. Additional AND FINDING YOU works were brought out from storage for the evening—a small fraction of the Featuring a program of new performances, this exhibit nearly one thousand portrait paintings highlighted the work of four experimental choreographers in the Art Properties collection. We who have used darkness as a conceptual framework to hope the exhibition encouraged explore new identity formations connected to East Asia. students, faculty, and researchers to Eiko Otake and DonChristian reflected on trauma and reconsider the world of portraiture and violence through corporeal expressions of mourning rooted to embrace Columbia’s art collection in sustained slowness; Aurelius Carson considered aesthetic, for curricular and educational cultural, and social (im)possibilities in dance history; and programs. Dean Moss investigated the experience of assimilation and fluidity of self. Together, these artists sought to blur social MATEUSZ MAYER and geographical boundaries, resisting the notion of a fixed PhD Candidate and Graduate Curatorial identity and probing darkness as a source of uncertainty, Assistant, Art Properties empowerment, and freedom.

MA students examine Satyr and Two Nymphs and Nymph and Two Satyrs with Anne Poulet. ALESSANDRA GOMEZ, ’19 MA Photograph by Frédérique Baumgartner.

12 826 schermerhorn 13 CONFERENCES CONFERENCES

NEW DIRECTIONS IN BRITISH ART AND INDIGENOUS COMMUNITIES sites of production, including Teri ARCHITECTURE AND ART MUSEUM Greeves (Kiowa), Sonya Kelliher-Combs COLLECTIONS (Athabascan, Iñupiat), Jason Lujan, Professors Meredith Gamer and Eleonora Pistis co- and Crystal Migwans (Anishinaabe of organized the international conference Picture, Structure, Eight Native North American artists Wiikwemikoong Unceded Territory). Land: New Directions in British Art and Architecture, 1550–1850. and curators gathered at Columbia’s Each speaker acknowledged the varied Generously funded by the Dr. Lee MacCormick Edwards Italian Academy last March to discuss challenges of engaging with cultural Charitable Foundation, the two-day event last May brought their experiences working with art heritage in museums. At the same together scholars working across the fields of British art and museum collections and their thoughts time, they opened up ways in which architectural history. Placing scholarship about the visual arts on best practices. The day-long sympo- these institutions can also become and built environment in dialogue, the conference sought sium Resisting, Reclaiming, Reframing: sites of dialogue between Native and to test, blur, and redraw disciplinary boundaries. Presenters Indigenous Communities and Art Muse- non-Native elders, artists, curators, spoke on topics ranging from the architecture of ships to the um Collections attracted an audience of and audiences, as well as between materiality of chintz, from aquatint prints to tea plantations, over 260, including curators, scholars, contemporary Indigenous people and and from Horace Walpole’s Strawberry Hill to J.M.W. Turner’s and arts organization representatives. their ancestors. The program was fire insurance. With a full lecture hall, the event succeeded the second International Observatory William Hodges, A View of Part of the Ruins of the City of Agra, c. 1783. In the morning, participants heather in generating lively debate and dialogue among scholars, Yale Center for British Art, Paul Mellon Collection. ahtone (Choctaw/Chikasaw), Sherry for Cultural Heritage Symposium on curators, and students alike. The conference, which emerged Farrell Racette (Algonquin/Metis/Irish), Indigenous American cultural heritage, out of a pair of graduate seminars taught by Gamer and Conference Scott Stevens (Akwesasne Mohawk), and co-organizers Professor Elizabeth Pistis, concluded the next day with a conversation where participants with and Wanda Nanibush (Anishinaabe of Hutchinson and the Italian Academy seminar students were able to further engage with the graduate students Symposium at the Italian Academy. Beausoleil First Nation) discussed ways hope to develop future programs to presenters. from seminars of indigenizing curatorial practice. The continue this important conversation. on British art Below: Walking With Our Sisters, installation afternoon panel featured artists whose MEREDITH GAMER and architecture in Shingwauk Auditorium, Algoma University, practices have involved working with Eighteenth- and Nineteenth-Century British Art taught by Meredith 2014. Photograph by Melody McKiver. ELIZABETH HUTCHINSON Gamer and museum collections as sources and North American Art ELEONORA PISTIS Eleonora Pistis. Seventeenth- and Eighteenth-Century Architecture

ILLUMINATING THE TALE OF GENJI: NEW ART HISTORICAL PERSPECTIVES

On April 13–14, 2019, the Mary Griggs Burke Center for Japanese Art hosted a symposium in conjunction with the Metropolitan Museum of Art exhibition The Tale of Genji: A Japanese Classic Illuminated, the first show devoted to Japan’s classic novel and its related arts to be held at a major American museum. The exhibit was co-organized by Curator John Carpenter (Metropolitan Museum of Art) and Professor Melissa McCormick (Harvard University). The two-day program began with a keynote lecture by Professor Emeritus Ko¯no Motoaki (Tokyo University/Seikado¯ Bunko Museum) and featured lectures by scholars from Japan, France, and the United States on literary theories, iconography, and recent discoveries related to the Tale of Genji and its pictorial representations. Tosa Mitsuoki, Portrait-Icon of Murasaki Shikibu. Seventeenth century. Ishiyamadera Temple, Shiga Prefecture. Image courtesy of Ishiyamadera MATTHEW McKELWAY Temple. Japanese Art

14 826 schermerhorn 15 CONFERENCES CONFERENCES

“PRIMITIVISM” IN THE AGE OF PARALLEL HERITAGES, HUMANITIES DECOLONIZATION IN ACTION

PhD candidates Sarah Bevin, Álvaro Luís Lima, and Oluremi An exciting new joint research project was launched to Onabanjo joined Professor Z. S. Strother in Paris over spring examine the origins, development, and present state break to participate in the conference ‘Primitivism’ in the Age of collections of Classical antiquities at Columbia and of Decolonization, which Strother co-organized with scholar the Université Paris I, Panthéon-Sorbonne. Parallel Maureen Murphy (Université Paris 1, Panthéon-Sorbonne). Heritages, Humanities in Action: The Sorbonne and Lima presented the paper “Primitivism in Mozambique from Columbia Collections of Antiquities aims to inventory the End of Colonialism to Revolution” and Strother presented these collections, trace their history, and highlight their “Leni Riefenstahl and the Nuba.” One of the highlights of the significance. Beyond their inherent research and teaching trip for the Columbia contingent was a day spent exploring values, these collections are tangible institutional heritage the Musée Quai Branly, which is at the center of controversy which recount the parallel histories of knowledge and relating to questions of restitution of cultural heritage. scholarship within two different national and academic settings. Bringing together faculty members, postdoctoral Z. S. STROTHER researchers, and graduate students from both institutions, Columbia alumna Lucia Carbone (American Numismatic Society) and workshop participants studying Roman coins in the Olcott Collection Arts of Africa Conference participants (left to right, top to bottom): Oluremi Onabanjo, the project commenced in March 2019 with a week-long at Columbia. Álvaro Luís Lima, Maureen Murphy, Deborah Laks, Baptiste Brun, research seminar that included excursions and lectures Patricia Musa, Sarah Bevin, Z. S. Strother, Souleymane Bachir Diagne, as well as workshops with Columbia’s Art Properties and Hassan Musa. and Rare Book and Manuscript Library. The group will reconvene in Paris in early November and publish their results in the online journal Europe Now in 2020.

HOLGER A. KLEIN CAMBRIDGE–COLUMBIA SYMPOSIUM students Barthélemy Glama, Jeewon Kim, Adam Harris Early Christian and Byzantine Art and Archaeology Levine, Isabella Lores-Chavez, Sophia Merkin, and Brian van The shared vocabulary of art historians connects us deeply to Oppen spoke on a prodigious range of objects, from ancient one another, even when we are already lucky enough to speak Etruscan candelabra to colonial-era Mexican painting to TEMPLE–SYNAGOGUE–CHURCH–MOSQUE the same language. The Cambridge–Columbia Graduate contemporary lithographs from New Zealand. Made possible Student Symposium, now in its ninth year, brought together each year by a generous grant from Dr. John Weber, the On April 25–26, 2019, the department hosted Temple– students from both sides of the Atlantic to celebrate the symposium fostered lively discussion among the participants Synagogue–Church–Mosque: Connections, Interactions, and ideas that come to life in their respective graduate programs. and ended with invitations to meet again, be it in New York, the Politics of Conversion, an interdisciplinary workshop co- On March 1, 2019, eleven doctoral students convened in Cambridge, or wherever a compelling work of art may lead. organized with colleagues from Université Paris Sciences et Cambridge to share their research and respond to each Lettres (PSL). This joint project sought to expand knowledge other’s work around the theme “Art and Memory.” Columbia ISABELLA LORES-CHAVEZ about Judaism, Christianity, and Islam through a comparative PhD Candidate analysis of their respective spaces of worship across a broad chronological and geographical spectrum, with particular focus on religious sites with long, multilayered histories. Investigating a rich palimpsest of material and immaterial accretions, participants discussed topics ranging from the conscious evocation of certain architectural prototypes to issues of re-use during the Spanish Reconquista and the politics of conversion in the New World. Participants included Savannah Esquivel (University of Chicago), Holger A. Klein (Columbia), Pinar Aykaç Leidholm (Middle East Technical University, Ankara), Arathi Menon (Columbia), Ünver Rüstem (Johns Hopkins University), and PSL scholars Philippe Bernard, Sabine Frommel, Luis Rueda Galan, Ioanna Rapti, and Isabelle Saint-Martin.

HOLGER A. KLEIN Restoration of the Kariye Mosque, formerly the Chora Church, in the Early Christian and Byzantine Art and Archaeology 1950s. Photograph courtesy of Dumbarton Oaks, Trustees for Harvard University, Washington D.C.

16 826 schermerhorn 17 FORUMS CENTERS

COLLINS/KAUFMANN FORUM CASA MURARO FELLOWSHIPS

Celebrating its eighteenth year, the Collins/Kaufmann Forum Thanks to generous support from the Packard Humanities for Modern Architectural History hosted a vibrant roster of Institute, the department was able to offer several compet- public events, including eight talks—the highest number itive fellowships for research in Venice this summer. The on record—as well as three architectural tours and a series inaugural cohort consisted of four faculty members and three of brown bag lunches. Columbia postdoctoral researchers doctoral research fellows, whose projects spanned art and María González Pendás and Ruth Lo bookended the year’s music history, early modern and contemporary subjects, offerings, speaking on fascist Spain and Italy, respectively. archival and digital humanities projects, and oral histo- Pendás’s talk examined, in part, Bruno Zevi’s appraisal of ries and site-specific investigations. The department also the Spanish Pavilion at Expo 58 in Brussels, a topic later awarded new program fellowships to two graduate students picked up by speaker Pippo Ciorra, senior curator at MAXXI. participating in Columbia’s Summer Program in Venice. Talks also included professors Sheila Crane (University These fellowships coincided with significant advances in the of Virginia) on the architecture of Algerian socialism; Eric renovation of Casa Muraro itself. With the completion of Paul Mumford (Washington University in St. Louis) on exterior work, our attention now shifts to the interior reno- I.M. Pei and urban design; Salomon Frausto (The Berlage) vation of the library and the creation of new classrooms and on the South African architect and designer Theo Crosby; conference spaces. Peter Christensen (New York University) on Krupp and the spoliation of steel; and Alex Bremner (University of HOLGER A. KLEIN Edinburgh) on architecture and the British imperial world. Faculty Director, Casa Muraro Faculty and graduate students toured Marcel Breuer’s Neumann House in Croton-on-Hudson, Paul Rudolph’s Modulightor Building, and the MoMA exhibition Toward a Concrete Utopia. Named after faculty members George R. Collins of the Department of Art History and Archaeology Exterior of Casa Muraro after restoration work. Photograph by Holger and Edgar J. Kaufmann Jr. of the Graduate School of A. Klein. Architecture, Planning and Preservation (GSAPP), the forum provides a dynamic community for architectural historians from across the university and beyond to come together.

LUCY WANG CENTER FOR COMPARATIVE MEDIA PhD Candidate Marcel Breuer, Neumann House, 1953. Photographs by Lucy Wang. This fall, the Center for Comparative Media instituted its advanced certificate program, which will allow doctoral students from various departments, including art history, LATIN AMERICAN ART to pursue interdisciplinary research while collaborating with faculty and students from across the university. Currently The department is grateful to the Institute for co-directed by Professors Zeynep Çelik Alexander and Stefan Studies on Latin American Art (ISLAA) and to Andriopoulos (Department of Germanic Languages), the its president and founder, Ariel Aisiks, for their center brings together scholars from diverse disciplines with continued support of educational programming the goal of understanding media critically and historically. at Columbia. This generosity will enable PhD Juxtaposing media practices and examining how the same students working on twentieth- and twenty technologies work in radically different ways across the first-century Latin American art to carry out their globe, the field of comparative media decenters dominant doctoral research in archives around the world. historiographic modes by highlighting the reciprocal It will also make possible international symposia exchange between aesthetic forms, cultural practices, and such as the upcoming two-day event, Sur technological innovation. Faculty expertise ranges from the moderno: Legacies and new perspectives (February histories of the avant-garde and theologies of Islamic revival 6–7, 2020), co-sponsored with MoMA. to the political culture of communist China and histories of Collins/Kaufmann Forum and Center for Architecture participants at the The center promotes the study of media across a variety of registers, listening, voice, and indigenous media in Latin America. Neumann House. Photograph by Morgan Watson. ALEXANDER ALBERRO including underlying media infrastructure like satellite dishes on a rooftop. Photograph by Brian Larkin. Modern and Contemporary Art ZEYNEP ÇELIK ALEXANDER Architectural History since 1800

18 826 schermerhorn 19 MEDIA CENTER FACULTY

BOOK EXCERPT ART HUMANITIES VIRTUAL REALITY FACULTY HIGHLIGHTS 2018–2019 Wearing Images For nearly two decades, the Media Center for Art History has been creating 360-degree panoramas from heritage sites The basic schema of wearing images as ALEXANDER ALBERRO published around the world. With the advent of virtual reality (VR) second skin, intended as an interface “‘Like the Skin of a Whale’: The Pluri- headsets, these images can be brought into the classroom as between interior and exterior, can be sensorial Art of Lygia Pape” in Lygia Pape immersive pedagogical resources. The instructor seamlessly more broadly applied to single images (Hauser & Wirth, 2018) and gave invited that are adjoined to the body through broadcasts panoramas taken from different locales, directing public lectures in Chicago, Los Angeles, a variety of ways: including painting, students to look at significant features and enabling them Mexico City, New York, Providence, and embroidery, engraving directly on fabric to experience spatial relationships simply by turning their Rome. or steel garment, or accessories sewed, heads. Last spring we worked closely with Professor Noam pinned, tied or hung. These objects can Elcott, chair of Art Humanities, to conduct more than twenty ZAINAB BAHRANI was awarded a take the shape of medallions, badges 2019–2021 Andrew Carnegie Fellowship in-class VR sessions which reached hundreds of Columbia or jewels, and frame coat of arms, for her research project “Monumental undergraduates. In the coming months, the Media Center emblems, portraits, devotional images, Landscapes: Historical Environments will continue this endeavor to further support the mission of mythical or historical characters, and and Human Rights.” She was named a the Core Curriculum. even mirror capturing the reflection of 2019–2020 Heyman Fellow and received miraculous images or relics. The visual a joint award as part of the Humanities inscription of the image on the body, War and Peace initiative for the project which suggests a direct contact, builds “The Humanities in the Wake of War: up a close relationship between the Technologies of Power, Displaced wearer and what the image represents, Histories, and Reconstruction.” Her a relationship that has on the one hand an intimate dimension, because of the article “The Biopolitics of Collecting” physical closeness, and on the other hand a social extension, because of its appeared in Collecting and Empires public display. (Brepols, 2019). She was featured in a video installation within the Metropolitan Excerpt from Diane Bodart’s edited volume Wearing Images (Espacio, Tiempo y Museum of Art exhibit The World Forma, Ser. VII, Historia del Arte, 6, 2018), p. 21. Between Empires in which she spoke about the destruction of heritage in Iraq and Syria, and presented a paper on Parthian antiquarianism at the exhibition symposium. She was invited to lecture Conversation with Nature, which was on the interrelationship of monumental at Emory, Yale, New York University, and view at Olana in the summer and fall of wood sculpture and metalwork in Koya University in Iraq. 2019. He was selected to join the jury of Kunsttransfer und Kunstgenese am the Pritzker Prize in Architecture for a Mittelrhein 1400–1500 (Gebr. Mann FRÉDÉRIQUE BAUMGARTNER’s three-year term. Verlag, 2018) and delivered lectures at article “Hubert Robert in Prison: Self, Bard College, the Bode Museum, the 360-degree panorama of Gian Lorenzo Bernini’s Ecstasy of Saint Teresa and the Cornaro Chapel in the Roman church of Santa Maria della Vittoria. Revolution, and the Contingencies of DIANE BODART edited Wearing Images, Cloisters, and the department’s Graduate Photograph by Tim Trombley. Artistic Inscription” appeared in the Fall a volume of essays that investigates the Student Colloquium. 2019 issue of Journal18. With Roberto different modes of interaction between the image and the body in the Early received ARTIFICIAL INTELLIGENCE AND THE SLIDE LIBRARY C. Ferrari, curator of Art Properties, she ZEYNEP ÇELIK ALEXANDER supervised the MA student exhibition Modern period. With Francesca Alberti, CAA’s Charles Rufus Morey Award for Clodion (1738–1814) and ‘Clodion Mania’ she co-edited the volume of essays Rire her book Kinaesthetic Knowing: Aesthetics, The Media Center wrapped up research last fall on a pilot project which in Nineteenth-Century France, which is en images à la Renaissance (Brepols, 2019) Epistemology, Design (University of uses computer science to detect valuable photographic slides in the 35mm on view at Avery Architectural & Fine which also includes her essay on the Chicago Press, 2017). She gave lectures collection. With the generous support of a Sparks! Ignition grant from the Arts Library (see p. 13). proto-history of political caricature. She at Bauhaus-Universität Weimar, ETH, Institute of Museum and Library Services, we developed software that uses received a Casa Muraro Fellowship for the Harvard, Middle East Technical Uni- artificial intelligence, signal processing, and optical character recognition to BARRY BERGDOLL was elected research project “Renaissance Identikit,” versity, the University of Michigan, and detect whether slides originate from printed materials or consist of original Cattedra Borromini 2018–2019 at the conducted at the Archive of the Inquisi- the University of Oslo. Design Technics: photography. Following the successful completion of the project, we presented Academia di Architettura di Mendrisio, tion in Venice. Archaeologies of Architectural Practice, the results at the Visual Resources Association Annual Conference and will where he delivered a series of public a volume of essays that she co-edited received the 2019 with John May, is forthcoming from publish them in the VRA Bulletin. The software developed under the grant will lectures in the fall and spring. He spoke GREGORY BRYDA Emerging Scholars Essay Prize from the the University of Minnesota Press in now be used to analyze the department’s entire collection of over 400,000 at conferences in Moscow, Rome, and São Paulo, as well as in a small fraction Historians of German, Scandinavian, and December 2019. slides. of the avalanche of events marking the Central European Art (HGSCEA) for his centennial of the Bauhaus. He curated In article on the Isenheim Altarpiece in The STEFAAN VAN LIEFFERINGE Frederic Church’s Ombra: Architecture in Art Bulletin. He published an article on Director, Media Center for Art History

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MICHAEL COLE published an essay Core course since its founding in 1947. Retrospective (Albright-Knox Art Gallery); on Nagasawa Rosetsu in Amsterdam, Traditional and the Contemporary in entitled “The Technical Turn” in the Last year he directed the Center for Kim Gordon: Lo-Fi Glamour (The Andy Leiden, Heidelberg, and London, and on African Art (Mercatorfonds, 2018). catalogue to the exhibition Florenz und Comparative Media and helped establish Warhol Museum); and Artforum. He gave Sakai Ho¯itsu at the Musée Cernuschi in seine Maler: Von Giotto bis Leonardo the Graduate Certificate in Comparative lectures at the University of California, Paris. LISA TREVER received an award da Vinci, held at the Alte Pinakothek Media (see p. 19). He continues to lead San Diego and at Christie’s, New York. from the Provost’s grant program for in Munich, and, with Carolyn Yerkes, the August Sander Project (MoMA/ ELEONORA PISTIS was Michael I. faculty who contribute to the diversity another on Leonardo da Vinci’s staircase Columbia) and edit the journal Grey HOLGER A. KLEIN was named the first Sovern Affiliated Fellow at the American goals of the university to support her designs, in the volume Leonardo in Room. director of the Sakıp Sabancı Center for Academy in Rome from June to July archaeological research in Peru (see Dialogue. He gave keynote lectures at Turkish Studies in July 2019 after serving 2019. She co-organized the conference pp. 6–7), as well as a Lenfest Junior the conference “Canonicity Revisited” In addition to teaching, DAVID in an interim capacity since the center’s Picture, Structure, Land: New Directions Faculty Development Grant to hold a at Wesleyan University and at the FREEDBERG continued to direct founding in 2017. As faculty director of in British Art and Architecture, 1550–1850 book manuscript workshop. She gave conference “Ingenuity in Early Modern Columbia’s Italian Academy for Advanced Casa Muraro, he continues to oversee the with Meredith Gamer (see p. 14) and invited lectures in the University Seminar Art and Science” at the University of Studies. In cooperation with department renovation work in Venice as well as the the Columbia Early Modern Architecture on the Arts of Africa, Oceania, and the Cambridge. With Alessandra Russo, he members, the Academy’s International department’s newly established academic Workshop with Michael Waters. She Americas; at the Pre-Columbian Society continued work on the Getty-funded Observatory for Cultural Heritage program of activities (see p. 19). He presented the papers “How the Temple of of New York; and in the Smart Lecture project “Spanish Italy and the Iberian sponsored a number of critical events co-organized workshops with colleagues Bacchus at Baalbek Travelled to Britain” Series in the Department of Art History Americas.” relating to threats to Native American, from the Université de Paris I, Panthéon- at the conference British Art and the at the University of Chicago. This fall she African, and Middle Eastern cultural Sorbonne (Parallel Heritages, Humanities Global and “Visible and Invisible Rome: welcomes two new doctoral students in JONATHAN CRARY spoke at the heritage. He received the Sigillum in Action, see p. 17) and the Université British architectural education in the Pre-Columbian art history. Whitney Independent Study Program Magnum of the Università di Bologna de Paris, Sciences et Lettres (Temple– Eighteenth Century” at the conference 50th Anniversary Symposium in October in October and was made honorary Synagogue–Church–Mosque, see p. 17). The Roman Art World in the Eighteenth MICHAEL J. WATERS spent the year 2018. He has been an affiliated faculty member of the Accademia Nazionale ELIZABETH HUTCHINSON was Among other publications, he contributed Century and the Birth of the Art Academy on leave in Florence at Villa I Tatti, the member at the ISP since 1988. He gave di Agricultura. He will spend the rest on the advisory committee for Art of the essay “Amalfi, Byzantium, and the in Britain. She also gave a talk at the Harvard Center for Italian Renaissance lectures at Yale and MIT, and published of the year thanking those thirty-seven Native America: The Charles and Valerie Vexed Question of Artistic ‘Influence’” to symposium Pirro Ligorio’s Worlds Studies. In addition to working on the articles “Climate Control” in October colleagues and former students who Diker Collection at the Metropolitan the Festschrift for Rainer Kahsnitz. organized by Francesco de Angelis. his book manuscript, he published a and “Notes on Eye Tracking” in Harvard contributed to Tributes to David A. Museum of Art. In conjunction with this book review, an article on architectural Design Magazine. His essay “Terminal Freedberg (Brepols/Harvey Miller, 2019). exhibition, she offered public programs, ROSALIND KRAUSS published Willem AVINOAM SHALEM spent his materiality, and another on sixteenth- Radiance” appeared in the anthology led a graduate seminar, and organized de Kooning Nonstop (University of sabbatical at the Getty Research Institute, century panoramic prints of the Baths of Unwatchable (Rutgers University Press, MEREDITH GAMER presented papers an international symposium on the Chicago Press, 2016) and is working on the Kunsthistorishes Institut in Florenz, Diocletian. He presented papers at the 2019). at the 25th Anniversary Conference of relationships between Native American her latest book, Roland Barthes: Charms and the BildEvidenz research center at Society of Architectural Historians annual the Historians of Eighteenth-Century Art communities and art museums (see and Demons, also with Chicago. the Freie Universität Berlin. He gave meeting as well as at conferences in FRANCESCO DE ANGELIS founded and Architecture and at the conference p. 15). In May 2019, she was honored lectures at the Freie Universität, UCLA, Mendrisio and Florence. He gave invited the Columbia Workshop of Etruscan Portraiture and Biography at the National with Barnard’s Tow Professorship for JANET KRAYNAK’s book Contemporary and the University of Basel. He organized lectures at the Bibliotheca Hertziana, Art, an initiative aimed at promoting Portrait Gallery, London. She gave invited Distinguished Scholars and Practitioners. Art and the Digitization of Everyday Life the session “Art and Nature” at the 35th British Institute, Kunsthistorisches and critically reflecting on the history talks at Boston University, Yale University, She gave the 2019 Kollar American Art is forthcoming from the University of International World Congress of the Institut, and University of Edinburgh. of art and architecture of pre-Roman and the Yale Center for British Art. With Lecture at the University of Washington. California Press in 2020. She gave the Historians of Art (CIHA), held in Florence Italy. The workshop convened for the Eleonora Pistis, she co-organized the talks “Camille Henrot and the Alterities in September 2019. With Isotta Poggi, first time last April. With colleagues in conference Picture, Structure, Land: New KELLIE JONES has been inducted of Search” for the Rewald Seminar he co-curated and wrote the brochure Emeritus Professors Art History, Classics, and EALAC, he co- Directions in British Art and Architecture into the American Academy of Arts and series at the CUNY Graduate Center texts for Peter Aarons’ Photographs: Syria: organized the Columbia–PSL conference (see p. 13). She is the proud recipient of Sciences. Her latest essay, “The World and “Serious Play” at MoMA. A Spanish Before the Deluge, held at the Center for The second edition of RICHARD The Anthropology and Aesthetics of Arms a 2018–2019 Faculty Mentoring Award According to Z,” appeared in Senga translation of her book Please Pay Architecture in New York. With Cynthia BRILLIANT’s book Portraiture is and Armor, held in October 2018. He from the Graduate School of Arts and Nengudi: Topologies (Himer, 2019), the Attention Please: Bruce Nauman’s Words: Hahn, he co-edited the forthcoming book scheduled to be published in 2020 and also organized the mini-symposium Sciences. first major monograph on the artist. Writings and Interviews (MIT Press, 2003) Seeking Transparency: Rock Crystals Across will include a chapter on the selfie. Pirro Ligorio’s Worlds. He gave talks and was published in collaboration with the the Medieval Mediterranean. participated in conferences at Yale and ANNE HIGONNET is a 2019–2020 BRANDEN W. JOSEPH received a Museo Picasso Málaga. Her review of the ESTHER PASZTORY gave the lecture Princeton as well as in Berlin, Bern, Radcliffe Institute Fellow at Harvard. She 2018–2019 Guggenheim Fellowship. He 2019 Venice Biennale was published in Z. S. STROTHER was named Phi Beta “Debunking Myths of Pre-Columbian Art” Kiel, Paris, and Rome. For the 2019 was on the advisory board of, and wrote was also Paul Mellon Visiting Senior Artforum. Kappa Visiting Scholar for 2019–2020. at the de Young Museum. She published archaeological campaign at Hadrian’s a lead catalogue essay for, the exhibition Fellow at the Center for Advanced Study Related to her continuing research on “Wonderful Journey,” an intellectual Villa, see pp. 8–9. Le Modèle Noir at the Musée d’Orsay in the Visual Arts at the National Gallery MATTHEW McKELWAY spent the the history of iconoclasm in Africa, autobiography, in the April 2019 issue (see back cover) and in October spoke of Art in spring 2019. He published the fall semester in Zürich. He co-curated she published the article “Les iconoclas- of Ancient Mesoamerica; the article NOAM M. ELCOTT published at the conference for the exhibition’s essay “White Light/White Noise” in the exhibition Rosetsu: Ferocious Brush, mes en Afrique: emergence d’un sujet “Una Nueva Perspectiva de la Antigua articles and essays in Aperture and September–December Guadeloupe the catalogue to the Whitney Museum held at the Museum Rietberg (see inside d’étude” in Perspective: actualité en America” in the journal Arqueologia PhotoResearcher. His first book, Artificial venue. For the Wallach version of the exhibition Andy Warhol: Before and front cover). In the spring he taught Art histoire de l’art (2018) and the book Mexicana; and a review of the book Made Darkness (University of Chicago Press, exhibition, Posing Modernity, she wrote After. Additional writings appeared in Humanities at Reid Hall and a graduate chapter “Kendell Geers: or, How to to Order: Ancient Ceramics of Teotihuacan 2016), was issued in paperback. As chair the catalogue introduction. She also Simultaneous Soloists (Pioneer Works seminar on painting in eighteenth- Philosophise with a Hammer” in in the June 2019 issue of Latin American of Art Humanities—and with invaluable wrote a lead catalogue essay for the Press); Introducing Tony Conrad: A century Kyoto at Université Paris 1, Kendell Geers: AniMystikAKtivist Between Quarterly. input from many faculty and graduate Musée d’Orsay’s June–September Panthéon-Sorbonne. He gave lectures students—he initiated the first major exhibition Berthe Morisot. pedagogic and curricular reform of the

22 826 schermerhorn 23 GRADUATE STUDENTS GRADUATE STUDENTS

DISSERTATION FELLOWSHIP NINA HORISAKI-CHRISTENS: ISABELLA LORES-CHAVEZ: “Plaster Museum of Modern Art, Andrew DIANA MELLON: “Painting, Miracles, MICHAEL ANTHONY FOWLER: AWARDS 2019–2020 “VIDEO HIROBA: Contingent Publics Casts in the Life and Art of Seventeenth- W. Mellon Museum Research and Vernacular Healthcare in the Early “Human Sacrifice in Greek Antiquity: and Video Communication, 1966–1985” Century Dutch Painters” Consortium Fellowship Italian Renaissance” Between Myth, Image, and Reality” American Academy in Rome, Donald JEEWON KIM: “Liberating the Brush: CAITLIN MILLER: “On Renaissance RATTANAMOL SINGH JOHAL: STEVEN NIEDBALA: “Penal Aesthetics (Ioannis Mylonopoulos) and Maria Cox / Samuel H. Kress Art and Geopolitics in Post-1945 Korea” Attributes (1440–1560)” “Dissolving Margins: Indian Art in the in the United States, 1950–1985” Foundation Rome Prize in Medieval BRIAN VAN OPPEN: “Cast of Bodies: HASBROUCK MILLER: “State Globalized 1990s” WILLIAM GASSAWAY: “Extraordinary Studies Lighting the Gaze upon Etruscan Architecture of the Argentine Interior Seoul National University International Bodies: Death, Divinity, and Distortion ALEXIS WANG: “Intermedial Sites, Candelabra Statuettes” under Juan Domingo Perón, 1946–1955” Nederlands Interuniversitair Center for Korean Studies Fellowship in the Art of Postclassic Mexico” (Esther Sanctified Surfaces: Framing Devotional CATHY ZHU: “Born in a Golden Light: CLEO NISSE: “The Development of Kunsthistorisch Instituut Fellowship JEEWON KIM: “Liberating the Brush: Pasztory) Objects in Medieval Church Decoration” Images of Omens and Imperial Ambition Canvas Supports in Venice from Bellini RAYMOND CARLSON: “Michelangelo Art and Geopolitics in Post-1945 Korea” in the Southern Song Dynasty” to Tintoretto” between Florence and Rome: Art and ÁLVARO LUÍS LIMA: “Art in Ary Stillman Finishing Fellowship DANIEL RALSTON: “Painting in Literary Culture in Sixteenth-Century Italy” Whitney Museum of American Art, Mozambique at the End of Socialism” COURTNEY FISKE: “Rethinking Eighth-Year Service Fellowship, Spanish: Mariano Fortuny, Édouard Joan Tisch Teaching Fellowship (Z. S. Strother) Post-Minimalism: Gordon Matta-Clark Art Humanities Manet, and the Spanish Tradition in Philadelphia Museum of Art, VIVIAN CROCKETT: “‘The Skin of All’: and the Cut c. 1970” DAVID SCHNELLER: “Strangers in Paris in the Later Nineteenth Century” Suzanne Andrée Fellowship The Racial Politics of an Anthropophagic ARATHI MENON: “Hipped and Gabled: the Shrine: Itinerant Objects in Greek COREY RATCH: “(Dis)assembly: CLARE KOBASA: “Sacred Impressions: Return in Hélio Oiticica and Lygia Pape” Similitude and Vicissitude in Kerala’s Byzantine Studies at Dumbarton Sanctuaries of the Geometric and Rendering the Human and Nonhuman Printmaking in Seventeenth-Century Sacred Art and Architecture” (Vidya Oaks Fellowship Archaic Periods” in Surrealist Photography” Sicily” CALEB SMITH MEMORIAL Dehejia) MIKAEL MUEHLBAUER: “‘Bastions of MARY SUPERFINE: “Radical Touch: FELLOWSHIP 2018–2019 the Cross’: Medieval Rock-cut Cruciform Eighth-Year Service Fellowship, Performative Sculpture and Assemblage Pierre and Marie-Gaetana Matisse MATTHEW PEEBLES: “Act as Attribute: Churches of Tigray, Ethiopia” Italian Academy in the 1970s” Finishing Fellowship MO ZHANG, ’19 MA “Visual and Poetic The Attacking Body in Ancient Greek Art” MARGOT BERNSTEIN: “Carmontelle’s NICHOLAS CROGGON: Imagination in The Four Seasons, a Ming (Ioannis Mylonopoulos) Center for Advanced Study in the Profile Pictures and the Things that Made GSAS Writing Studio Fellowship “Reconstructing the Utopian Moment: Dynasty Handscroll in the Metropolitan Visual Arts, David E. Finley Fellowship Them Modern” KARIN CHRISTIAENS: “Passageways Experimental Video Practices in the Late Museum of Art” (Robert E. Harrist, Jr.) LEAH PIRES: “Finesse: Louise Lawler’s RACHEL BOYD: “Experimentation and to Public Space: Monumentalizing 1960s and 1970s” Pictures” (Alexander Alberro) Specialization: The Glazed Terracotta Frick Collection, Anne L. Poulet the Greek Polis in the Hellenistic and DISSERTATIONS DEPOSITED Sculpture of the Della Robbia Workshop, Curatorial Fellowship Imperial Periods” Rudolf Wittkower Finishing Fellowship 2018–2019 SIDDHARTHA SHAH: c. 1430–1550” ROZEMARIJN LANDSMAN: “Art, EMOGENE CATALDO: “Living Stones: “Ornamenting the Raj: Opulence and Technology, and the City: The Work of Jan Van Eyck Academie Fellowship An Ecology of Gothic Vegetal Sculpture, JENS BARTEL: “Style, Space, and Spectacle in Victorian India” (Vidya Center for Advanced Study in the Jan van der Heyden (1637–1712)” NATASHA MARIE LLORENS: c. 1140–1330” Meaning in the Large-scale Landscape Dehejia) Visual Arts, Samuel H. Kress Fellowship “Imagining Violence, Imagining the RACHEL JULIA ENGLER: “Adolphe Paintings of Maruyama Okyo (1733– TERESA SOLEY: “Tomb Sculpture in Fulbright Fellowship Nation: Algerian National Cinema Appia’s Time and Space” 1795)” (Matthew McKelway) IRINA TOLSTOY: “Camillo Trevisan’s Portugal, c. 1460–1570” VALERIE ZINNER: “Sumiyoshi Gukei 1965–1979” AYS¸E ERCAN: “Fashioning a Palace and Villa Culture on the Island of and Early Modern Yamato-e” Medieval Capital: The Topography and CONNIE CHOI: “‘A Matter of Building Murano” (Michael Cole) Center for the Art and Architectural Louise Wallace Hackney Fellowship Archaeology of the Mangana Quarter in Bridges’: Photography and African History of Port Cities Research GSAS International Travel Fellowship for the Study of Chinese Art Constantinople (843–1453)” American Education, 1957–1972” LORENZO VIGOTTI: “The Origin of the Residency CATHY ZHU: “Born in a Golden Light: CATHY ZHU: “Born in a Golden Light: MATTHEW GILLMAN: “Medieval Glass (Kellie Jones) Renaissance Palace: Private Architecture DIANA MELLON: “Painting, Images of Omens and Imperial Ambition Images of Omens and Imperial Ambition and the Aesthetics of Simulation” during the Florentine Oligarchy, 1378– Miracles, and Vernacular Healthcare in the Southern Song Dynasty” in the Southern Song Dynasty” ADAM HARRIS LEVINE: “Divine Gifts: MICHAËLA DE LACAZE: “Populist 1432” (Francesco Benelli) in the Early Italian Renaissance” Relics and Reliquaries at Holy Roman Counter-Spectacles and the Inception GSAS Research Excellence Dissertation Metropolitan Museum of Art, Hagop Emperor Charles V’s Court” of Mass Media Art in Argentina: Marta ALEX WEINTRAUB: “Authoring Art in Christ Church, Oxford University, Fellowship Kevorkian Fellowship Minujín’s Happenings, Performances, Nineteenth-Century France, 1793–1902” Junior Research Fellowship OLIVIA CLEMENS: “Forming ‘Islamic JACOB STAVIS: “The Formation of and Environments of the 1960s” (Jonathan Crary) BRIGID VON PREUSSEN: Art’ in the United States: Collecting and Achaemenid Art: Beyond Iconography (Alexander Alberro) “Manufacturing Classicism: Reproduction Exhibiting in the American Context, and Attribution” and Authorship in Late Georgian Britain” 1880–1940” ALEXANDER EKSERDJIAN: Metropolitan Museum of Art, Sylvan C.V. Starr Finishing Grant “Shared Visual Space: The Sculptural C. Coleman and Pam Coleman Roberto Pesenti (In Memoriam) SEHER AGARWALA: “Wondrous Representation of the Bodies of Memorial Fellowship In early September, the department learned that Roberto (Robbie) Pesenti, an advanced PhD candidate, Frontiers: Topographical and Historical Mortals and Gods in the Sanctuaries of ABBE SCHRIBER: “For a Politics of Painting in Persian and Mughal Hellenistic Central Italy” Obscurity: David Hammons and Black had died in a tragic accident while travelling in Uzbekistan. Robbie was an extraordinary student, Manuscripts” TIFFANY FLOYD: “Dreams of Ancient Experimentalism, 1974–1989” promising scholar, passionate teacher, and devoted mentor of undergraduates. Much beloved and MÜGE ARSEVEN: “Reality and Times: Antiquity, Archaeology, and the admired in our community for his joie de vivre, wit, and commitment to a seemingly “old-fashioned” Representation: Depictions of Sacred Struggle for Contemporaneity in Modern Museum of Fine Arts Boston, Niarchos type of art history, he came to Columbia with a BA from Cambridge University, an MA from the Space in Greek Antiquity” Iraqi Art” Fellowship in Classical Art Courtauld Institute, and experience in running his own media company. A true citizen of the world, BAILEY BARNARD: “Beyond the Face: TARA KURUVILLA: “Disjecta Membra: MONICA BULGER: “Facing Forward: Robbie was at home in many places. In addition to his native Italian, he spoke English, French, and A New Approach to Hellenistic Royal The Fragmentation of the India Museum Apotropaia in the Archaic and Early German flawlessly, allowing him to pursue dissertation research on “Artistic Circulation and Saintly Portrait Statues” and the Colonial Construction of Classical Periods” Competition between France and Venice in the Fourteenth Century” in London, Paris, Venice, and elsewhere. As he prepared Knowledge over the Long Nineteenth for a future museum career, Robbie brought a passion for objects and their close analysis, but he was also at home in the Century” classroom, receiving a Columbia Presidential Teaching Award in 2014. His warmth and lively presence will be sorely missed 24 826 schermerhorn by those who had the privilege to know him. 25 UNDERGRADUATE STUDENTS ALUMNI

UNDERGRADUATE AWARDS CLARA HE: “Building an Exotic Summer Thesis Travel Grants ALUMNI NEWS BENJAMIN BINSTOCK ’97 PhD is CANADA A. CHOATE ’17 BA is AND PRIZES Home: Architects’ Intervention in Rural CLARA APOSTOLATOS, CC ’20 to director of the Center for Advancement assistant editor at Artforum, where she 2018–2019 Reconstruction in Contemporary China” research the works of conceptual and of Visual Technologies in Art History in writes on the intersection of art, music, (Mary McLeod) performance artist Teresa Margolles in PHILIP AARONS ’73 BA co-edited In Amsterdam. Through the innovative use and intellectual history. Departmental Honors Mexico City and Venice. Numbers: Serial Publications by Artists of reproductions, including “imaginary SOFIA HERNANDEZ: “Rendering Since 1955 (Ringier, 2010) and Artists Who museums,” a current project aims to ’04 PhD received NATASHA COLEMAN EVELYN M. COHEN Multimedia Architecture: Francesco HAENA CHU, CC ’20 to research the Make Books (Phaidon, 2017). catalogue Rembrandt’s oeuvre for the a Renaissance Society of America–Kress ALEXANDRA GERMER Panini’s Colored Prints of the Farnese works of sculpture and installation artist first time in work-by-work order. Bodleian Library Fellowship and gave Gallery in Rome” (Eleonora Pistis) Lee Bul in Seoul. SOFIA HERNANDEZ C. EDSON ARMI ’73 PhD published invited lectures on illuminated Hebrew EMERSON JONES: “Myth and ROSIE HAUSMANN, GS ’20 to Cluny and the Origins of Burgundian ANNETTE BLAUGRUND ’87 PhD manuscripts at several institutions AARON SMITHSON Modernity: The Royal Liver Building and research sixteenth-century architecture Romanesque Sculpture: The Architecture, published the article “From Tenth Street internationally. Her article “Joel ben the Making of Edwardian Liverpool” in Paris. Sculpture and Narrative of the Avenas to the Tropics: Martin Johnson Heade’s Simeon’s ‘Missing Leaves’” appeared in Senior Thesis Prize (Barry Bergdoll) Master (L’Erma di Bretschneider, 2019). Landscapes Beyond” in the July/August Mehevah le-Menahem: Studies in Honor JUNG KIM, CC ’20 to research works of AARON SMITHSON 2019 issue of Fine Art Connoisseur; her of Menahem Hayyim Schmelzer (The NICOLE-ANN LOBO: “The ‘Oriental’ Anselm Kiefer in Scotland and Germany. ’s ’00 PhD article “Text article on William Merritt Chase and Schocken Institute/JTS, 2019). Christ: Religion and Alterity in the Art of JULIA ASSANTE TRINITY LESTER, CC ’20 to research and Iconography: A Comparative Study Harriet Hubbard Ayer is forthcoming in Meyer Schapiro Book Prize for F. N. Souza (1949–1967)” (Vidya Dehejia) Excellence in Art History the archives of Hilma af Klint, Louise of Object Agency” is forthcoming in The the November issue. She continues to CARLA D’ARISTA ’17 PhD published NATASHA COLEMAN: “Between the AARON SMITHSON: “‘Art on the Bourgeois, and Agnes Martin in New Handbook of Mesopotamia. work as a consultant to the Thomas The Pucci of Florence: Patronage and Living and the Dead: Wooden Coffins and Urban Green’: Sculpture Parks and York, Amsterdam, and Taos, New Mexico. Cole National Historic Site in Catskill, Politics in Renaissance Italy (Brepols/ Redevelopment in the Age of Neo- Physical, Ritual, and Pictorial Boundaries OWEN MONROE, CC ’20 to research LAURA AURICCHIO ’00 PhD joined New York. Harvey Miller, 2019). Liberalism” (Rosalyn Deutsche) in Han Chamber Tombs” (Jue Guo) the photographs and archives of Francis Fordham University as dean of Fordham College at Lincoln Center and professor HERBERT R. BRODERICK’s ’78 PhD FERESHTEH DAFTARI ’88 PhD ALEXANDRA GERMER: “(German) MYLES ZHANG: “The Church of St. Frith in London and Dorset. of art history. book Moses the Egyptian in the Illustrated published Persia Reframed: Iranian Visions Expressionism: Emil Nolde’s Paintings Denis and Gothic Architecture: A Case MIA NICENKO, CC ’20 to research the Old English Hexateuch (University of of Modern and Contemporary Art (I.B. and the Revision of German Identity” Study” (Stephen Murray) paintings of Catharina von Hemessen in ELIZABETH BARTMAN ’84 PhD is Notre Dame Press, 2017) was awarded Tauris, 2019). (Noam M. Elcott) England and Belgium. finishing a project on the Red Faun in the the Best First Monograph Award by the Capitoline Museums as part of a study on International Society of Anglo-Saxonists. LILLIAN DAVIES ’02 BA is director of sculptural restoration. artistic programming for the Paris-based MARTHA SCOTT BURTON ’15 BA international artist’s residency L’AiR Arts DEVRIM BAYAR ’06 MA curated a entered an MA program at the University as well as communications director for large retrospective exhibition of Dutch of Texas at Austin. She received support the curatorial platform Badguir, a non- artist René Daniëls, held at Wiels from the Marsh Family Foundation for profit organization facilitating exchange Contemporary Art Centre in Brussels a summer curatorial internship at the between contemporary artists from the and later at the MAMCO in Geneva, and Georgia O’Keeffe Museum. Middle East and Europe. edited the accompanying monograph (Fonds Mercator/Koenig Books, 2018). CAROLINE BUSTA ’08 MA launched DAVID DERISH ’09 BA received the media outlet https://newmodels.io, a 2019–2020 award from The CAITLIN BEACH ’18 PhD was awarded a human-led aggregator and podcast for Cooper Union Grant Program for the the Phillips Collection–University of the critical analysis of art, tech, politics, development of a multimedia resource Maryland Book Prize for her manuscript- and pop culture. to assist students in establishing an in-progress on sculpture and transatlantic environmentally-responsible studio discourses of abolition. ALLISON CAPLAN ’11 BA received a art practice. PhD in Art History and Latin American EYVANA BENGOCHEA ’16 BA Studies from Tulane University in May IVANA DIZDAR ’19 MA was awarded graduated from Columbia Law School in 2019. She was appointed assistant pro- first place for her presentation of “He May 2019. fessor in the History of Art and Archi- Loves Me Not: Tanja Ostojic´ and Daniela tecture Department at the University of Ortiz, from EU Migration to Anti-Celebra- GRETA BERMAN ’75 PhD continues to California, Santa Barbara. Prior to starting tion” in Columbia’s Master’s SynThesis teach art history at the Juilliard School. at UCSB, she will complete a one-year Competition, in which finalists from Myles Zhang’s model of the Parisian church of Saint-Denis indicating She published two articles in the journal term at Johns Hopkins University as their across disciplines present their theses chronological development. Persimmon Tree and became a board inaugural Austen-Stokes Postdoctoral in less than five minutes. member of the American Synesthesia Fellow in the Ancient Americas. Association. MARY D. EDWARDS ’86 PhD ’02 PhD gave continues to teach Native American Detail from a painting by Emil Nolde that Alexandra Germer studied at LYNN F. CATTERSON the Statens Museum for Kunst, Copenhagen. SARAH BIGLER ’18 MA was promoted talks at the Henry Moore Institute and art and architecture and Italian medieval to assistant photoarchivist at the Frick Art the Getty as well as in Florence and Bern. art at Pratt Institute. Reference Library. She published an article in Nineteenth- Century Art Worldwide on the acquisition of the Morgan Library bronze doors.

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TRACY EHRLICH ’95 PhD published the Lauder Research Center for Modern Art DIANA LUBER ’18 BA is an MA exhibitions at the New Museum with GEORGE NELSON PRESTON’s ’73 du Maghreb et du Moyen-Orient” book chapter “Drawing as a Performative at the Metropolitan Museum of Art. candidate in the Department of Art artists Genesis Belanger, Diedrick PhD work was featured in the exhibition (ARVIMM) and received the Clark/Oakley Act: Carlo Marchionni at the Villa Albani, and Art History at the University of Brackens, Sarah Lucas, and Mika African Art and Origins: The Creative Humanities Fellowship at the Clark Art Rome” in The Grand Theatre of the World: EILEEN HSIANG-LING HSU ’99 PhD Texas at Austin. She presented the Rottenberg; the Georgian Pavilion at the and Spiritual World of George Nelson Institute for 2019–2020. Music, Spectacle, and the Performance of teaches East Asian art as an adjunct paper “Adorning space: Architecture 58th Venice Biennale with artist Anna Preston, held at the Burger Gallery at Identity in Early Modern Rome (Routledge, professor at NYU and tutors graduate as Embodied Ornament in the Great K.E.; and co-curated the off-site exhibition Kean University. He was elected to the AIKO SETOGUCHI ’12 BA completed 2019). students in classical Chinese at the IFA. Mosque of Córdoba” at the 2019 Eleanor The Same River Twice: Contemporary Art in Pierre Verger Chair at Academia Brasileira an MA in international relations from Greenhill Symposium. Athens at the Benaki Museum in Athens. de Arte in Rio de Janeiro and received Salve Regina University and published a PATRICIA EMISON’s ’85 PhD article EUN-MI HUR ’12 MA earned an MBA a creative engagement grant from the short story in the New York Times column “On Quality, Art Historically Considered” in 2018 and works in the Korean real CATHERINE LUCIA ’14 BA is director LUCY A. OAKLEY ’95 PhD is head Lower Manhattan Cultural Council. “Metropolitan Diary.” appeared in the Spring 2019 issue of estate industry. of scholarships and programs for the of education and programs at NYU’s the American Society for Aesthetics Norwalk Community College Foundation. Grey Art Gallery. In June 2019, she co- GAIL HARRISON ROMAN ’81 PhD SIDDHARTHA V. SHAH ’19 PhD is newsletter. JACQUELINE JUNG ’02 PhD gave led a walking tour of LGBTQ sites in was honored for her commitment to arts curator of Indian and South Asian art at lectures in Munich, Vienna, Kalamazoo, NANCY FALKIN LYNN ’96 BA is senior Greenwich Village in connection with education and community engagement the Peabody Essex Museum, where he REBECCA L. FINE ’89 BA is the general New York, Philadelphia, and Pittsburgh. vice president at BrightFocus Foundation, the fiftieth anniversary of the Stonewall with the installation in Rye Town Park of manages, among other things, the largest counsel of Athena Art Finance. She a nonprofit funder of global scientific uprising. Damien Vieira’s stainless-steel sculpture and most important collection of modern speaks frequently on the intersections of RACHEL KATZ ’10 BA is development research on Alzheimer’s disease, macular Cope. Indian art outside the subcontinent. This art, law, finance, and regulation. manager at the High Museum of Art in degeneration, and glaucoma. KIRSTEN OLDS ’09 PhD was appointed year he was invited to join the advisory Atlanta, Georgia. associate dean of the Henry Kendall LUCILLE A. ROUSSIN ’85 PhD board of the Anne Frank Center for ALEX GARTENFELD ’08 BA was JESSICA MARATSOS ’14 PhD began a College of Arts and Sciences at the continues to practice law, specializing Mutual Respect. named artistic director at the Institute of TRUDY S. KAWAMI ’83 PhD published five-year Keith Sykes Fellowship in Italian University of Tulsa, Oklahoma. in Holocaust-era looted art and cultural Contemporary Art, Miami. He organized the book chapter “Some observations Studies in Pembroke College, University heritage law. DAVID SHAPIRO ’01 BA published survey exhibitions and publications for on fringe in Elamite dress” in Fashioned of Cambridge. JUDITH OLIVER ’76 PhD published “The Dynamics of Valuing Emerging Art Larry Bell, Judy Chicago, Sterling Ruby, Selves: Dress and Identity in Antiquity the article “Between Flanders and TINA RIVERS RYAN ’16 PhD curated and Artists” in the Spring 2019 issue of and Ettore Sottsass, and curated major (Oxbow Books, 2019) and the essay “A SARA K. McBRIDE ’11 MA works Paris: Originality and Quotation in four solo exhibitions at the Albright-Knox the Digital Journal of Advanced Appraisal projects for Robert Grosvenor, Paulo Steppe Warrior in Achaemenid Employ? in partnership development and the Montebourg Psalter” in the Getty Art Gallery with artists Aria Dean, Htein Practice. He lectured on the art market Nazareth, and Wong Ping. Grave 4.28 at Choga Mish, Khuzistan, communications for CultureTech, a Research Journal. She contributed two Lin, Kawita Vatanajyankur, and Oriol and art appraisal at the New Art Dealers Iran” in How objects tell stories: Essays in start-up facilitating digital image rights essays and seven catalogue entries to Vilanova. She reviewed the retrospectives Alliance, Sotheby’s Institute of Art, LESLIE GEDDES ’01 BA is assistant honor of Emma C. Bunker (Brepols, 2018). management for the art world. Splendour of the Burgundian Netherlands: of Trevor Paglen and Rafael Lozano- and St. John’s University. He is an art professor of art history at Tulane Univer- Southern Netherlandish Illuminated Hemmer for Artforum. advisor and appraiser with Victor Wiener sity. For her new project, “Weapons of JOHN KLEIN ’90 PhD published Matisse JOAN MIRVISS ’76 MA published Vessel Manuscripts in Dutch Collections (Zwolle, Associates. Atlas: The Art and Science of Renaissance and Decoration (Yale University Press, Explored, Vessel Transformed: Tomimoto 2018) as well as one catalogue entry JOEL SANDER ’87 BA continued to Mapping,” she participated in the NEH 2018). Kenkichi and his Enduring Heritage, which for The Book of Beasts: The Bestiary in develop the gender-neutral restroom YAYOI SHIONOIRI ’10 MA is executive summer seminar “Material Maps in the accompanied a 2019 gallery exhibition in the Medieval World (Getty Publications, project Stalled!, which received the Yale director at the Chris Burden Estate and Digital Age” at the Newberry Library. JULIET KOSS ’90 BA was appointed the New York. 2019). WGSS FLAGS Award for March 2019 and Nancy Rubins Studio, where she stewards Gabrielle Jungels-Winkler Professor of the the support of the 2019 New York State Burden’s legacy and promotes Rubins’s CAROLINE GOODSON ’04 PhD was History of Architecture and Art at Scripps LAWRENCE W. NICHOLS ’90 PhD. IRENE C. PAPANESTOR’s ’99 MA Council of the Arts (NYSCA) Independent practice. She also serves as vice-chair appointed Senior Lecturer in the Faculty College/The Claremont Colleges. William Hutton Senior Curator at the art advisory firm provides modern and Projects Grant. He has been recognized to Recess, a New York-based non-profit of History, University of Cambridge, Toledo Museum of Art, co-organized contemporary fine art advisory and as an AIA Fellow. organization that aims to effect social and a Fellow of King’s College in 2017. JONATHAN KUHN ’83 MA curated Frans Hals Portraits: A Family Reunion, appraisal services to clients in New York, change through art. After receiving a 2017–2018 Leverhulme 1978: The NYC Parks/New York Times which was on display at the Toledo Los Angeles, and the San Francisco Bay LUCY FREEMAN SANDLER’s ’57 research fellowship, she began teaching Photo Project at the Arsenal Gallery in Museum of Art, the Royal Museums of Area. MA article “Pictorial Typology and RACHEL SILVERI ’17 PhD gave talks at in her field of early medieval history and Central Park. He directs the Citywide Fine Arts of Belgium, and the Fondation the Miniatures of the Peterborough the Sixth Feminist Art History Conference archaeology. Monuments Conservation Program. Custodia/Collection Frits Lugt in Paris. RICHARD A. PEGG ’01 PhD is director Psalter in Brussels” appeared in Studies and Surrealisms: The Inaugural Conference and curator at the MacLean Collection in Iconography (2019). She gave the of the International Society for the Study BARBARA GUGGENHEIM ’76 PhD JEN LEE ’14 BA completed an MBA at GRACE NKEM ’19 BA is programming Asian Art Museum and the Map inaugural Pamela Tudor-Craig Lecture of Surrealism. She chaired and organized published Art World: New Rules of the Harvard Business School in May 2019. and press manager at Jason Jacques Library at the University of Chicago. He at the Harlaxton Medieval Symposium the session “Rethinking Ethnographic Game (Marmont Lane, 2016) and gave Gallery. presented research at various institutions in July 2019, titled “It’s an Open Book: Surrealism” at CAA’s 107th Annual several lectures to museums and private LEAH (ROSENBLATT) LEHMBECK internationally and published articles on Archbishop Thomas Arundel’s Copy of Conference. She authored the gallery organizations. She wrote a chapter on art ’97 BA was appointed head of the AMBER NOE ’18 BA is a film assistant Jesuit maps of China and Korea; maritime the Gospel Commentary of William of texts for Leonor Fini: Theatre of Desire, advisory services for a book on American Department of European Painting and at the Japan Society in New York. She route maps of the red seal system in Nottingham.” 1930–1990, held at The Museum of Sex. art, forthcoming from Merrell in 2020. Sculpture and American Art at the Los translates English–Japanese for film Japan; Chinese maps of the Philippines; She is a partner in the art advisory firm Angeles County Museum of Art. She productions and has interpreted for and Korean star chart screens. KIRSTEN SCHEID ’92 BA co-curated JEFFREY CHIPPS SMITH ’79 PhD was Guggenheim, Asher Associates, Inc. edited the three-volume publication directors including Koji Fukada, Ryusuke Jerusalem Actual and Possible, the ninth honored with a Festschrift: Imagery and Gifts of European Art from The Ahmanson Hamaguchi, and Kazuo Hara. STEPHEN POLCARI ’70 MA curates the edition of the Jerusalem biennale, at Ingenuity in Early Modern Europe: Essays CHARLES HAXTHAUSEN ’76 PhD was Foundation (LACMA, 2019). website http://www.stephenpolcari.com, Al-Ma’mal Contemporary Art Foundation. in Honor of Jeffrey Chipps Smith (Brepols, named 2019–2020 Leonard A. Lauder MARGOT NORTON ’07 MA was which features books, articles, and talks She lectured as Chaire sécable with 2018). Distinguished Scholar at the Leonard A. appointed co-curator of the 2021 on artists and art history. the research group “les Arts Visuels New Museum Triennial. She curated

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FRANCESCO SPAMPINATO ’06 Beheshti University in Tehran and led MARJORIE WELISH ’68 BA published MA is senior assistant professor of an Italian-Iranian team to survey the an essay in the catalogue for the Pace contemporary art history at Università Mausoleum of Oljaitü in Soltaniyeh, Gallery exhibition James Siena: Painting. With Thanks di Bologna. Iran. Its double-shell brick dome, built The Philadelphia Museum of Art without centering in 1302–12, will acquired one of her paintings from the The strength of the Department of Art History and Archaeology derives not only from its faculty SUSAN BROWN STODDARD be closely analyzed to determine its American Academy of Arts and Letters and students, but also from alumni, parents, and friends who carry forward the department’s ’90 MPhil teaches art history at the relationship with Brunelleschi’s Santa Invitational 2018. intellectual mission and provide financial support to enhance its core offerings. University of Maine. Maria del Fiore in Florence. BARBARA EHRLICH WHITE ’65 LEIGH TANNER ’14 MA is deputy WILLIAM VOELKLE’s ’65 MA PhD was interviewed at the 92nd Street PATRONS director of the Yuz Foundation in collection of illuminated manuscript Y about her book Renoir: An Intimate Morton C. Abromson and Joan L. Nissman • Ariel Aisiks • Anonymous (2) • Arete Foundation • Shanghai. She continues her work with fakes and forgeries was featured in Biography (Thames & Hudson, 2017). Museum 2050, a platform she co- the exhibition Holy Hoaxes: A Beautiful Joan D. Baekeland • Lori Bowman and John D. Coleman • Angelos Chaniotis • Dr. Lee MacCormick founded in 2017 for exploring the future Deception. Celebrating William Voelkle’s ARIELLA WOLENS ’14 MA was Edwards Charitable Foundation • Carol T. and John G. Finley • The J. Paul Getty Trust • Institute for of institutions through the lens of China. Collecting, held at Les Enluminures in appointed assistant curator at the SCAD Studies on Latin American Art (ISLAA) • Michael Jacoff and Jeanne Vanecko • Melinda L. Parry • New York. Museum of Art. Ellen Rosand • The Rubin-Ladd Foundation • The Morris and Alma Schapiro Fund • Lauren and ’18 PhD is archivist MATTHEW TETI Steven Schwartz • Tom Shapiro and Madeleine M. Grynsztejn • David W. Sussman • Caroline A. at Chris Burden Estate and chief LINDSEY WARD ’13 BA is a medical SUSAN WOOD ’79 PhD published the cataloger on the Chris Burden catalogue student at the University of California, article “Women’s Work and Women’s Wamsler and DeWayne N. Phillips • John C. Weber • Mark S. Weil raisonné project. He presented the San Francisco. She spent the past year Myths: Mothers and Children on Ivory paper “‘I Became a Secret Hippy’: Chris on a Fulbright fellowship studying Looms” in the July 2019 issue of the BENEFACTORS Burden’s Militant Self-Fashioning” at dyslexic and non-dyslexic children’s American Journal of Archaeology. the 2018 meeting of the Universities Art eye movements as they viewed works of Lucy A. Adams • Cynthia Bronson Altman • Annette and Stanley M. Blaugrund • Steven E. and Association of Canada (UAAC-AAUC). art at the Louvre. MICHAEL YOUNG ’90 PhD Catherine Carlson • Heather D. Colburn Clydesdale • Hester Diamond • Sharon Flescher • Ellen presented the paper “Die Spätösterre- Berland Gibbs • Dean H. Goossen • Jeffrey Hoffeld • Rachel Jacoff • Sandrine Larrive-Bass • Carol APRIL KIM TONIN ’99 MA was DAVE WEINSTEIN ’73 BA helped ichische Kunstgeschichte-Industrie: The F. Lewine • Edward Matthew Lewine and Megan Liberman • Carol Ann Lorenz • Mary Ann Lublin • appointed deputy director of education secure a deal to preserve the Art Case of Oskar Pollak” at the conference at the Museum of Arts and Design in Deco-style Cerrito Theater in El Cerrito, Influence of the Vienna School of Art Doralynn Pines • Jonathan M. Rosand and Judy L. Polacheck • Maria Catherine Ruvoldt • Kathryn New York. California. History before and after 1918, held at the Lee Seidel • Allen Staley • Lee Stewart and Christopher Sherry • Jonathan Weiss and Abigail Wolf Czech Academy of Sciences in Prague. • Gertrude Wilmers • Michael T. Yochum and Priscilla H.V. Otani LORENZO VIGOTTI ’19 PhD has been ILA WEISS ’68 PhD is finishing a promoting a partnership between the critical biography of designer, author, and SPONSORS schools of architecture of the Università feminist Candace Wheeler (1827–1923). degli Studi di Firenze and Shahid Eloise M. Angiola • Matthew Begun • Richard J. and Thea Fuchs Benenson • Merrill C. Berman • Babette Bohn • Cristina Brusco and Kirk Sperber • Eliza A. Butler • Jacquelyn Clinton • Elizabeth Currier • John H. Davis • Constancio and Elizabeth Del Alamo • Mary Douglas Edwards • Barbara Advisory Council S. and Henry Fields • Raymond Andrew Foery • William Geo Foulks • Suzanne S. and Richard J. Frank • Gerald S. Garfinkel and Doris A. Hamburg • Ruth E. and David C. Green • Maeve C. and Philip E. Aarons, Esq. Michael and Louise Riggio Andrew Gyenes • Piri Halasz • Andrea Herbst and Jacques M. A. Paul • Alison L. Hilton • James Armand Bartos, Jr. Georgia de Havenon Jonathan Rosand A. Hoekema • Joyce Anne Houston • Frederick Ilchman • Lewis C. Kachur • Caroline Anne King • Frances Beatty Frederick David Hill Terez Rowley Hannah Kligman • Michael J. Knight • Jeff K. and Mary Kowalski • Jack Henry Kunin • James Joseph Annette Blaugrund Jefferey M. Hoffeld Steven and Lauren Schwartz Loeffler, Jr. • Carla G. Lord • Nina A. Mallory • Sharon C. Matthews • Courtenay C. McGowen • Sara Nelson Blitz, Jr. and Frederick Ilchman Bernard T. and Lisa Selz N. Menegus • David J. and Elfriede Menke • Katherine Jánszky Michaelsen • Christopher Ward Catherine Woodard Steve Kossak Robert B. Simon Mount • Voichita Munteanu • Michael and Carolyn W. Newmark • Lucy A. Oakley • Judith H. Oliver Jean Magnano Bollinger Carol F. Lewine Leopold and Jane Swergold • Gary G. and Mary Ann M. Otsuji • Pamela J. Parry • Uradit Pavao • Richard Anderson Pegg • Fiona Donovan Glenn D. Lowry Dale C. Turza Barbara A. Porter • Helen A. Raye • Theodore F. Reff • Terry H. Robinson • Lisa M. Romita • Anna Theodore Feder Mary A. Lublin Caroline A. Wamsler C. Roosevelt • Donald A. Rosenthal • Alexander D. Ross • James M. Saslow • Charles Chauncey Carol T. Finley Philippa Feigen Malkin Mark S. Weil Savage • Marie L. Schmitz • Ann Seibert • Shelley Elizabeth Smith • Shaalini Stone • Lee Z. and Heidi Sharon Flescher Philippe de Montebello Adam Weinberg Ullmann • Bor-Hua Wang • Virginia-Lee Webb • Anne B. Weinshenker • Barbara E. and Leon S. White Frank Gallipoli Amy D. Newman H. Barbara Weinberg Kate Ganz Doralynn Pines Gertrude Wilmer Contributions fund professorships and fellowships; student travel and research; conferences and Marian Goodman Amy Greenberg Poster editor: Michael J. Waters lectures; Media Center projects; and various other initiatives. This list reflects gifts received between copy editor: Emily Benjamin July 1, 2018 and June 30, 2019. We regret any errors or omissions. photo editor: Gabriel Rodriguez design: Florio Design

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Posing Modernity: of African-diaspora models at the heart The Black Model from Manet of nineteenth-century avant-garde Paris. and Matisse to Today Often filled to capacity, with lines in its October 24, 2018–February 10, 2019 closing days, the exhibit broke previous gallery attendance records and received Le Modèle noir, laudatory reviews, including from the de Géricault à Matisse Wall Street Journal, New Yorker, and New March 28–July 14, 2019 York Times. Tripled in size and scope, the exhibit then moved to the Musée d’Orsay, where attendance reached over 500,000. Denise Murrell’s exhibition Posing Hailed as a museum game-changer by Modernity, based on her Columbia PhD major French and European news outlets, Detail from Édouard Manet, Olympia, dissertation and accompanied by a related it is now at Mémorial ACTe in Pointe-à- 1863. Oil on canvas, 130.5 x 190 cm. Musée catalogue published by Yale University Pitre, Guadeloupe, where yet another con- d'Orsay, Paris. The exhibition drew attention Press, ran at the Wallach Art Gallery last figuration of objects draws attention to the to the identity of this figure, Laure, and her fall. The exhibition revealed the presence history of French slavery in the Caribbean. presence in the Parisian art scene.

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