Number 53 – Fall 2018

NEWSLETTERAlumni

Published by the Alumni Association of 1 Contents

From the Director ...... 3 Art and Business ...... 10 Faculty Updates ...... 20

The Early Years of the Museum In Memoriam Alumni Updates ...... 25 Training Program at the Institute of Linda Nochlin ...... 13 Fine Arts: Tears and Connoisseurship 4 Doctors of Philosophy Conferred Egbert Haverkamp-Begemann ..14 in 2017-2018 ...... 38 Navigating my Student Years at the Institute in Preparation for an Marjorie Susan Venit ...... 16 Masters Degrees Conferred Academic Career ...... 6 in 2017-2018 ...... 38 The Year in Pictures ...... 18 Back to the Homeland ...... 8 Institute Donors ...... 40

Institute of Fine Arts Alumni Association

Officers: Alumni Board Members: Committees:

President William Ambler Walter S. Cook Lecture Jennifer Eskin [email protected] Susan Galassi, Co-Chair [email protected] Susan Galassi [email protected] and [email protected] Katherine A. Schwab, Co-Chair Vice President Kathryn Calley Galitz [email protected] Jennifer Perry [email protected] Yvonne Elet [email protected] Matthew Israel Kathryn Calley Galitz [email protected] Debra Pincus Treasurer Lynda Klich Gertje Utley Anne Hrychuk Kontokosta [email protected] [email protected] Debra Pincus Student-Alumni [email protected] Lynda Klich, Chair Secretary Katherine A. Schwab [email protected] Johanna Levy [email protected] Matthew Israel [email protected] Newsletter Martha Dunkelman [email protected] Emily Rose Shoyer, student assistant

History of the Institute Rebecca Rushfield, Chair [email protected]

Alumni Reunion Alicia Lubowski-Jahn, Chair [email protected] William Ambler [email protected] 2 From the Director Christine Poggi, Judy and Michael Steinhardt Director

Institute and a specialist in Roman art and The Institute has been seeking to create a more architecture, will join us for three years as inclusive student body who remain at the center Assistant Professor/Faculty Fellow. Two new of all of our work. Our current students, soon hires in the Department of Art History, NYU, to become alumni, will be the next generation are also appointed to the Institute as Associate of leading scholars, curators, conservators, Faculty. We join the DAH in welcoming museum directors, and other arts professionals. Associate Professor Prita Meier, a specialist This past year we created the Institute of Fine in African art and urbanism, and Assistant Arts Fellowship, which provides partial tuition Professor John Hopkins, who works on fellowships for a small number of Masters Roman art and archeology. And we are students who qualify by virtue of financial need extremely pleased that Professor Lowery Stokes or because they are from underrepresented Sims, last year’s Kirk Varnedoe Professor, will groups in the History of Art and Archaeology. return to teach one seminar per year for the It is a modest beginning, but we hope to build a next three years. more robust fellowship fund for these students Welcome from the Director in the years to come. Last winter, we held our first book launch and The past year seems to have gone by in a flash, happy hour to celebrate recent publications Last year we mourned the loss of Professor but looking back, it was also full of wonderful by Professor Edward J. Sullivan and Professor Egbert Haverkamp-Begemann and Professor moments, new friendships, and exciting Dianne Modestini, featuring Latin American Linda Nochlin, both luminaries in their fields initiatives. It has been especially rewarding to and Italian food in honor of their books’ who taught generations of students at the meet so many of you, at events and lectures in subjects. Both authors read short excerpts from Institute. A tribute was held for Professor the Duke House, at the CAA Alumni Reunion their books, and told us what had motivated Haverkamp-Begemann in October 2017, and at LACMA last February, or at our alumni them to choose their topics. It was wonderful another for Professor Nochlin in April 2018. gatherings and parties. to see so many people there—alumni, trustees, Both well-attended events provided occasions faculty, students, staff, and other friends and for shared memories and stories that brought We are delighted to announce the appointment colleagues—and to share excellent food, wine, the enduring significance of their work, of Kathryn Howley, Lila Acheson Assistant and conversation. We plan to hold several more mentorship, and many friendships to life. Professor of Ancient Egyptian Art, who will of these events over the coming year and hope This summer we were saddened to learn of the join us this fall. Professor Howley works you will attend if you can. death of Professor James B. McCredie, who on Ancient Egypt and Sudan, focusing on was director of the Institute for twenty years, the role of material culture in negotiating We have also now begun the process of beginning in 1983. We will hold a celebration intercultural contact. Her recent co-edited issuing an online, peer-reviewed journal titled of his work and legacy at the Institute on volume, Egyptology and Anthropology, brings Lapis: The Journal of the Institute of Fine Arts. Sunday afternoon, December 9, 2018. together papers from a 2017 symposium on It will be edited by Institute students with the the future of the engagement between the two help of Managing Editor Conley Lowrance, I look forward to seeing you at the Duke House fields. Professor Howley’s research is supported and with the supervision of Professor Alexander this year, and hope you will introduce yourself by her current fieldwork project at the mid- Nagel. The team of five student editors has been if I have not yet met you! We are so fortunate first millennium BC Amun Temple of Taharqa, working this summer, and we eagerly await to have you as strong supporters and advocates a Nubian king who also ruled over Egypt, at their first number in May 2019. for our students and programs. And to our Sanam in Sudan. We are thrilled to add this new alumni, whose achievements we proudly excavation site to the four already sponsored This past year also saw the launch of the new celebrated at graduation, please stay in touch! by the Institute (Aphrodisias, a Roman site Conservation MA in Time-Based Media, with We would love to hear from you, and to have in Turkey; Selinunte, a Greek city in Sicily; an international, interdisciplinary symposium you join us at the Duke House in the future! Samothrace in Greece; and Abydos in Egpyt). held in May. Titled “It’s About Time!,” this Professor Howley’s first book,The Royal Tombs two-day conference brought experts in the of Nuri: Interaction and Material Culture field to NYU for animated discussion and Exchange between Kush and Egypt c. 650-580 exchange of ideas, establishing a vital network BC, will appear in 2019 in Brill’s Harvard that will generate discussion for years to come. Egyptology Series. It is exciting to see Institute conservators Christine Poggi and scientists lead this extremely important Judy and Michael Steinhardt Director It is also a pleasure to announce that Professor initiative under the guidance of Professors Anne Hrychuk Kontokosta, an alumna of the Hannelore Roemich and Christine Frohnert.

3 The Early Years of the Museum Training Program at the Institute of Fine Arts: Tears and Connoisseurship

Debra Pincus, PhD ’74

For many Institute of Fine Arts graduates – including many who never entered the museum or gallery world – one of the formative experiences of their Institute career was participation in the Institute’s Museum Training Program. The program was initiated in 1958 under the director of the Institute, Craig Hugh Smyth, and the director of The Metropolitan Museum of Art, James Rorimer, as a collaborative effort between the two formidable institutions within hailing distance of each other on Fifth Avenue. Colin Eisler, who was teaching at Yale and was curator of the Yale Art Gallery, was lured by Smyth to the faculty of the Institute with the understanding that part of his role would be the development of this new course.

Under the label “Museum Training and Connoisseurship,” the program was set up over three semesters of work. The first semester’s course functioned as an introduction, open to all Institute students. It was a prerequisite for the courses that followed. Lectures were Painted Jar, Shipobo, Peru, c. 1968. Metropolitan Museum of Art, Rogers Fund, 1971 given by Eisler and members of the Met staff on connoisseurship and the history of the museum. Site visits were included to museums in New York and others nearby. course, we fledging connoisseurs were given was a daunting experience. I settled on a The pace quickened in the second semester, the task of finding an object on the art market majolica albarello (or apothecary jar) labeled which functioned as a colloquium with a for a modest sum. As I recall, in my year Basilicum—a container for herbs—purchased limited number of students, generally under it was to be no higher than $50, but later in a Third Avenue antique store for, as I recall, twenty. When I took the course in 1960, the would go up considerably. The piece was to around $40 (remember this was 1960), which set-up consisted of weekly meetings, each in a have value as an art object, and ideally, even I then madly researched, settling on a narrative different department of the Met and led by a to be of museum quality. Challenging and that placed the object in 19th-century Italy as curator of that Department. frightening? You bet. The last meeting of the the re-creation of a 16th-century Netherlandish course consisted of presentation of the objects type. The winner of the exercise that year I remember those meetings with pleasure with an accompanying “pitch” to an assembled was J. Carter Brown, the same Carter Brown and fondness. This was the first time I heard group of judges consisting of Institute faculty that we know as the Director of the National the words Meissen and Sèvres and was and Met curatorial staff. Gallery of Art in Washington. With great introduced to the difference between hard bravura, Brown presented a drawing to the and soft paste porcelain. I began to be able When I took the course New York was group, displaying it and explicating it with a to identify collectors’ marks on drawings and a different city with a different art market. confidence and style that was his alone. prints and started using Frits Lugt’s amazing Modest antique shops were still to be found in reference tool on the subject. I held a small Greenwich Village and on Third Avenue, and The Met had the option to buy the bronze sculpture in my own—gloved—hands high quality graphics could still be purchased winning object. Anita Fiderer Moskowitz, and began to be smitten by the medium at quite affordable prices. Nevertheless, who took the course in 1971, has told me of sculpture. As the final assignment of the scouring the city for a respectable purchase of her own search, which, she confesses,

4 Alumni Voices began with tears. She ended up presenting a Over the years there have, of course, been large ceramic vessel from eastern Peru dating a number of changes, and more are planned. from the late 1960s, made in the region of In the 1990s, the third component of the the upper Amazon by a tribe known as the course, the internship, was changed so as to Shipibo Indians. The vessel, handsomely be restricted to Ph.D. students, the rationale decorated on the exterior with a geometric being that students could more easily take pattern, was used to store an alcoholic time out from researching the dissertation beverage known as masato. As Moskowitz than interrupting the sequence of learning argued in her presentation, the vessel was not represented by courses. The program has only a beautiful object with an interesting come under the supervision of a succession of social history behind it, but also a type of different individuals from both the Institute which the Met had no example. She was and the Met. The intern year has also had judged the winner of the group that year, Caption to come? a changing character, with the entire group and the purchase of the piece by the Met was tending to focus on the preparation of one of announced in an article by Moskowitz in the the museum’s major exhibitions. Metropolitan Museum of Art Bulletin of 1971 semester for reasons along those lines, but entitled “Beer Barrel of the Amazon.” if I were to do it over again, I would change Yet the magic has quite clearly remained. my decision. Those who did the internship Posts by recent participants on the Met’s web The program was capped with a third component recount unforgettable learning site [metmuseum.org/about-the-met/curatorial- component that brought the Institute experiences. There was the seemingly studies] echo the eye-opening experience that student into The Metropolitan Museum mundane but crucially important training course was for me so many years ago. Anita of Art for nine months working in a single in handling objects and writing wall texts Moskowitz has summed it up perfectly: “The department of the museum on a full-time and labels. But there were also the complex experience … taught me that one could start basis. It was not easy to decide to take a break experiences of participating in the team with absolutely no knowledge of a subject from Institute classes in order to participate effort of the mounting of a major exhibition, and if one put one’s mind to it and worked in the internship component of the course. engaging with donors, and, in a few cases, hard at the research, it is amazing what could I decided not to continue with the final mounting a small exhibit of one’s own. be learned.”

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5 Navigating my Student Years at the Institute in Preparation for an Academic Career

Wayne Franits, PhD ’87

I officially entered the Institute for the Fall 1981 semester, after having received an M.A. degree in art history from Queens College (CUNY) the prior February. I say “officially” because I had actually begun taking classes there in 1979. My advisor at Queens College, Leonard Slatkes, spent the 1979-80 academic year in the Netherlands and had suggested that I contact Egbert Haverkamp-Begemann in order to inquire whether I could study with him during Slatkes’s absence. I was terrified at the prospect of having to telephone Haverkamp-Begemann yet I did what I was instructed to do. He was kind on the phone and amenable to my attending his lectures but he insisted on first interviewing me in person. So this twenty-two year old kid from Long Island with big hair and an ill-fitting suit somehow managed to make a positive impression upon this world-famous professor and thus entered into his tutelage for what Wayne Franits Studying for Institute Orals, 1983 would eventually extend to eight full years.

I have many fond memories of my time us for our future careers. I remember several of Eastern Europe and the former Soviet at the Institute and, if I am to be honest, some dinner parties at his Park Avenue apartment. Union in August of 1982. During this trip, less than fond ones as well. Most of the latter These typically involved beef bourguignon we saw some truly spectacular collections occurred during my initial months there. made in a crockpot and lots of wine as we sat that few westerners have had the privilege of Hitherto, in my art history programs on the in his crowded living room (whose walls were viewing. Nevertheless, traveling in Soviet-bloc undergraduate and M.A. level, I had been a graced with seventeenth-century Dutch and countries was an education in and of itself proverbial big fish in a small pond. Now I Flemish drawings) while he held court with on so many other levels. For example, the suddenly discovered that I was a medium- whatever eminent scholar in our field from exceptionally long lines of people at stores in size fish in a very large lake, surrounded by around the world happened to be visiting him Moscow trying to buy even the most basic lots of very brilliant people, some of whom at that moment. Many of these same eminent household goods is forever seared into my were needlessly and unpleasantly competitive. scholars gathered in impressive numbers at brain. Obviously, adjustments had to be made to the Institute one Saturday in early March varying degrees on my part. Sooner or later, of 1983 to celebrate the official publication I learned so much from Haverkamp- we all find our niche and I am happy to of a festschrift in honor of Haverkamp- Begemann during those formative years. He report that I found mine as well though this Begemann, marking his sixtieth birthday. instilled in me not only a sound knowledge obviously took some time. All of his students were invited and needless of my field of seventeenth-century Dutch to say, the proceedings made a tremendous and Flemish art but also the importance of Naturally, academic matters lay at the and lasting impression upon everyone who mastering foreign languages–he was always heart of my many wonderful experiences attended. In addition, there were outings dazzling in this regard–of visiting major (and during those years. Haverkamp-Begemann with our mentor to exhibitions at museums even minor) collections throughout the world, had attracted a sizeable cohort of students– and related institutions–especially The of connecting with colleagues, and even the some twelve to fifteen if I recall correctly. We Metropolitan Museum of Art–as well as to need of assembling a good research library, all participated in the same lecture courses auction houses to view important art works something that would become critical for me and seminars and so much more because coming up for sale. Perhaps the ultimate as I would wind up teaching at a university in Haverkamp-Begemann was actually grooming excursion of this sort was our “art tour” a provincial location.

6 Alumni Voices

Beyond academics, there were many and all-around general mirth. Haverkamp- post. Thirty-one years later, I am still a faculty social occasions that I distinctly recall Begemann would invariably dress as one of member at Syracuse University, something with great fondness. A group of us would the Dutch “masters” from the iconic cigar box, that I would not have predicted back in 1987. sometimes periodically meet to have breakfast itself a clever appropriation of Rembrandt’s The educational quality of the university itself, at the Nectar Diner on Madison Ave. Back Syndics of the Draper’s Guild. One year, my the sheer novelty of affordable housing, the then there were two of them: one on the fellow student, Cindy Mack, dressed as one surrounding countryside–the Finger Lakes corner of 78th St. and the other, on the corner of the court attendants from Velazquez’s region–and, of course, the relative proximity of 79th St. (only the latter remains today). famous Las Meninas. She wore a mask and to New York have succeeded in keeping us Dinners were sometimes taken or fetched at voluminous gown in the seventeenth-century here. Even as I have remained tethered to the the same locales, along with Three Guys, still style. But what was exceptionally clever about same academic institution for so long, over standing and situated a few blocks further her costume was the large doll (presumably the decades the nature of my scholarship south on Madison Ave. In those years, the the Spanish infanta), wearing the very same has changed. My earliest publications were main hall of the Institute was filled with long outfit, that moved about with her via remote devoted to what I might call iconological tables and chairs and served as a place for control! studies of seventeenth-century Dutch art. students to congregate and have coffee or Such work was quite fashionable in the late lunch. (The current room serving this purpose Alas, all good times must come to end 1970s and early 1980s, in the years before at the Institute used to house the Academic and for me, that happened with my successful postmodernism fully exerted its impact upon Office, before it was relocated to the building’s dissertation defense in May of 1987. As I told the field of art history. Gradually, my attention basement.) Unbeknownst to many students, Donald Posner a few months after I received turned to the production of monographic a group of us also played touch football on my PhD degree, my years at the Institute were studies of Dutch artists, that is, to the Saturday mornings in Central Park; one time a time of my life that seemed in many ways to preparation of traditional catalogues raisonnés. we even had an “away” game at Columbia be larger than life itself. In early June of 1987, I was able to make this transition a smooth University. There were also more “official” my wife and I departed the metropolitan New one thanks to the training I had received at social occasions, such as the annual Halloween York area for Syracuse, NY, where I had been the Institute where we were taught that the Party. Over the years, students (and even offered a tenure-track position as an assistant object was just as important as contextual faculty) donned some incredibly creative professor of art history at Syracuse University. considerations. costumes for this fantastic event, which was Among others, Haverkamp-Begemann played also filled with dancing, eating, imbibing, a pivotal role in helping me to procure this

Wayne Franits with Students at the Herbert F. Johnson Museum of Art, Cornell University, 2017

7 Back to the Homeland

Sarah Montross, PhD ’12

I didn’t intend to move back to Massachusetts, my native state, three years ago. Like many emerging curators, I just felt very fortunate to secure a good, albeit somewhat unusual, job in the field I loved. As Curator at deCordova Sculpture Park and Museum, I work outdoors on the 30-acre grounds, commissioning contemporary artists to create new installations amid glacial rock formations and massive oak trees, natural features that rival some of the best large-scale sculptures in the Park. I also organize indoor exhibitions of modern and contemporary art within a building that was once the home of wealthy Boston area patrons, Julian and Elizabeth de Cordova. I’m constantly moving inside and outside, and my day-to-day activities correspond with the rhythms of the seasons. As I write this, summer is approaching, and yesterday we installed a painted sculpture of a massive tree trunk by artist Josephine Halvorson among a grove of towering pine trees. Halvorson has so attentively captured the play of light and textures of tree bark, moss, and burls, that the 24-foot tall flat monolith nearly blends into its surroundings, while also making the surrounding trees now seem like uncannily flat stage sets. Fascinated by these metaphysical interchanges of art and nature, I’ve become ever more compelled to absorb the surrounding landscape, its layered histories, and its ecology in order to inform my decisions for exhibitions and outdoor commissions.

The last three years here have been a steep learning curve, to say the least. Sometimes it Josephine Halvorson, Measure (Tree), 2016, deCordova Sculpture Park and Museum, feels there was little in my formal art history originally commissioned by Storm King Art Center training in New York City that prepared me for the logistics of cranes and concrete pads. Western movements of the twentieth century. Institute of Fine Arts, I often consider my most I spent much of my time at the Institute of My dissertation focused in part on the Chilean meaningful exhibitions and research projects as Fine Arts studying modern and contemporary artist Juan Downey (1940-1993), who among spun from this web of interdisciplinary topics. Latin American Art with Professor Edward J. other far-reaching projects, lived among the Sullivan. Through his mentorship and Yanomami communities of the Venezuelan After finishing my dissertation, I moved scholarship, I developed a syncretic approach Amazon in the 1970s. Exploring thresholds to Brunswick, Maine, where I worked at the to the study of art and have since developed between art and anthropology, Downey’s work Bowdoin College Museum of Art for a three- projects that involve expansive time periods, still fascinates and troubles me, particularly year post-doctoral fellowship. While some geographies, religions, or that merge art history regarding the ethics of re-staging so-called emerging scholars might have felt utterly with other cultural phenomena, particularly “native” encounters. Yet I can’t seem to escape isolated from New York’s art world, I found the history of popular science. I learned his influence, particularly the ways in which, tremendous freedom there as my job involved about developments of geometric abstraction through his art, he densely wove together collaborating on exhibitions and co-teaching in Argentina or conceptual art in Chile, aspects of ecology, technology, religion, mass in the galleries with dozens of faculty from while also taking courses on more canonical media, and politics. Since my time at the other disciplines—from geology to philosophy. 8 Alumni Voices

Feeling released from my own insular studies, William James, father of American psychology, this experience expanded my porous and visited séances and later wrote his famous collaborative approach to art history and, most collection of lectures published in 1902 as The surprisingly, reinvigorated my own research. Varieties of Religious Experience. The American My time at the Bowdoin College Museum Society of Psychical Research, founded in the of Art culminated with an exhibition and 1880s by prominent doctors and academics publication titled Past Futures: Space Travel, including James, pioneered research into Science Fiction, and Post-war Art of the Americas. telepathy, hypnosis, and other forms of extra- The show explored avant-garde art across sensory communication. In the visual realm, the Americas amid the explosive growth of spiritualist photography emerged in the the science fiction genre and the rise of the United States with figures such as Boston- Space Race. I explored how artists outside of based William H. Mumler at this time. By areas of dominant technological development William James (1842-1910) sitting with Mrs. Walden the late 1940s and 1950s, the first psychiatric responded to catalytic events during the Cold in Séance, before 1910. Credit: MS Am 1092 (1185), studies using LSD and other opiates to treat War, such as the lunar landing, while also Houghton Library, Harvard University mental ailments and expand one’s creative responding to their local realities. Traveling capacities emerged. Harvard Professor Dr. through Mexico City, Buenos Aires, and other Max Rinkel initiated the first United States- countries for research, I befriended one of the in order to impart new worldviews to a based studies of LSD in the late 1940s, which foremost scholars of Latin American science younger generation. led to the now infamous Harvard Project, co- fiction literature, and visited the studio of Some of the communities were connected led by Timothy Leary. visionary artist and poet Gyula Kosice, among to the religious and cultural philosophies of many other stops. Transcendentalism, which was expanding When we start to link together these outward from Boston in the 1820s and 1830s. historic episodes of alternative belief systems, When I moved to the Boston area in 2015 These agrarian communities were meant to be world-building, and visionary thinking in for my current position at the deCordova, I self-sustaining, deriving all necessary resources New England, artists of twentieth and twenty- felt enthusiastic and also resistant to return directly from the land. Members were first centuries such as Hyman Bloom or Paul to my home state. I anticipated mingling strongly influenced by beliefs that the natural Laffoley make much more sense. Rather than with clichéd New Englanders, who might be world provided direct access to the divine. cast them as simply outliers, they and many described as a flinty, uptight, overly intellectual Artists, writers, and other creative individuals others can be connected to a long, evolving or out-of-touch liberal elite. I recognize these observed these developments, incorporating line of fellow cultural figures. I also suspect traits in myself but try to push against them. Transcendentalist ideals into their art. that some of the artists I’m interested in have I suspect this tension has, in part, led me to a been avoided by more canonical histories of new research and exhibition project I’m now The utopian communities were short- modern art due to the spiritual or religious developing called Visionary New England that lived and flawed in that their ideals were nature of their work. I feel that this history examines the legacy of utopian and spiritualist rarely sustainable. Nor did they achieve actual of seekers and reformers strongly informs practices in the region since the 1840s and equity across gender or race. Yet the practices aspects of contemporary art in the region their impact on contemporary artists. This is of self-sufficiency, social reform, progressive today. I hope I can develop the project one of many projects I’m now planning, but education, and a spiritual communion with enough to chart this eclectic history while also is the most involved in terms of historical nature have continued to evolve. Green Acre planning a major exhibition of contemporary research and my own personal investment. in Eliot, Maine, for example, was founded artists whose work aligns with these aspects I started making day trips to local historic sites in 1894 by late-Transcendentalist Sarah J. of ecology, faith, and pedagogy. Some of and found that a number of utopian agrarian Farmer. Each summer, progressive intellectuals, their projects will be shown outdoors and in communities flourished here, briefly, in the artists, and writers met there to discuss connection to the local terrain. 1840s. Among the most prominent were Eastern religions, theosophy, the arts, science, the Brook Farm Institute of Agriculture and and philosophy. American painter Marsden Working as a contemporary art curator Education and Fruitlands. These intentional Hartley worked at Green Acre in the summer today can involve deep archival research societies resulted from urgent needs for of 1907, encountering mysticism for the first matched by a thorough engagement with radical social reform and developed forms of time (which affected his work thereafter) and contemporary art and relevant present day communal living that emphasized an equal finding support for his first solo exhibition topics. Informed by the cultivated naturalism distribution of labor, in which all members, from one of the retreat attendees. that surrounds me at deCordova, I do not feel including women, shared profits gained from beholden to certain boundaries or standards agriculture or other pursuits. Some of the Through the late-nineteenth to mid- of traditional museum settings. I am just communities formed schools on their twentieth century, within New England’s beginning to understand what this could grounds or devised experimental and urban intellectual centers, mysticism mingled mean in terms of working outdoors with experiential methods for childhood education, with experimental psychology. For example, contemporary art. 9 Art and Business

Chip Holman, MA ’81

Working in the art world is always a challenge. The commercial art world is the greatest challenge I have undertaken over a long professional career that included three decades on Wall Street, hundreds of successful transactions, bankruptcies, and takeovers after I left the Institute of Fine Arts. I believe the Institute provided me with a valuable M.A. Studying the connoisseurship of works of art is a rewarding undertaking but also difficult. I was taught not only to “look” at works of art and architecture, but, also how to “see” by my professors and mentors at the Institute. My three supervisors, Sir John Pope-Hennessy, Henry Russell-Hitchcock, and Jonathan Brown, all taught these values and were also keen mentors to students about the world outside academe and museums.

My original strategy in going to graduate school was to train for the museum field, beginning as a curator and thence aspiring William Holman Gallery, East Village, New York to a directorship. I was guided by some very knowledgeable people: the “Pope,” Evan Turner, Joe Rishel, Director and Chairman of Paul Strand, Ray Metzger, Edward Steichen After Philadelphia I moved to New York the Paintings Department at the Philadelphia and Robert Mapplethorpe. At the to study at the Institute. The 400 block of Museum of Art, and also by a family friend, J. Pennsylvania Academy of the Arts, I East 66th St. was my home: a fourth floor Carter Brown, (Institute, 1960), who went on collaborated with Vincent Scully of Yale railroad flat of two 9x9 foot bedrooms, with to become head of the National Gallery. For University, cataloguing a traveling exhibition a bathtub in the kitchen, at a bargain rent of administrative skills I went on to Columbia of the drawings of architect Louis I. Kahn. $275 a month — I was very lucky. I began in Business School and graduated in 1982 to a I still recall sitting for hours in Mrs. Kahn’s art commerce as a young dealer in New York market with no arts jobs or funding and 18% townhouse, cataloguing more than 2,000 during the four years of my MA and MBA, interest rates. Being penniless and pragmatic, drawings of everything her husband had ever paying for a good bit of the overhead. While I abandoned the art world to spend three drawn that was not architectural. My third pursuing my courses at the Institute, I co- decades on Wall Street. In 2011 I returned to Philadelphia “gig,” which engaged nights and founded a small bookshop at 619 Madison the art world and opened a gallery on Ludlow weekends, involved cataloguing hundreds of Avenue called Barra Books. My partner was Street on the Lower East Side. maps, books and prints for Graham Arader, Chris Jussel, owner of the famous Vernay & the Americana dealer. Jussel English antiques dealership. Thanks Let me return to the beginning. I to Chris’ expertise in English furniture, earned a Diploma in History of Art from My work with Vincent Scully and clocks, and country houses, we published Magdalen College, Oxford and then spent Graham Arader cataloguing hundreds of comprehensive catalogues of collections for a year in Philadelphia. In the City of objects from American history between sale of decorative arts, trade catalogues, fabric Brotherly Love, I cobbled together three 1610 to 1910 were both significant learning samplers, silver, wood salesmen’s books, famous part-time positions, each paying under experiences; I had to work quickly to establish books on arms and armor, French furniture $5,000, creating a gig economy sampler by the importance, provenance and, often, makers like Boulle, England’s great furniture working for two museums and a dealer. In the price of the works I was cataloguing. books by Sheraton and Chippendale. As our the PMA’s Drawings, Prints and Photographs To be sold, the work had to be correct business grew, we added books on old master department, I worked on the vast Stieglitz in provenance, right in appearance, and drawings, prints, forgeries, some beautiful holdings of all his contemporaries, and the defensible to a buyer who was often a much and significant maps of the 17th and 18th historic photo collection including works by better expert on the drawing or book at hand. centuries, and a famous Jasper Johns illustrated

10 Alumni Voices book of Samuel Beckett’s Foirades, bought Bond, architects of the World Trade Center into it? …some…maybe none?...These are very from a demolition crew with a huge dump Memorial and Museum, where I was the useful skills. truck parked on Madison for $500 in cash. business partner working on the momentous and emotional project for many years. My Together we did some 25 exhibitions. As with all my early jobs, this was a own firm at the time, Thomson (Reuters) Katie wrote an important catalogue on Bill chance to “look” at thousands of objects, Financial, lost 11 people on 9/11. I was in Brandt and Photojournalism in 2013 and co- and to make decisions and eventually the building the whole day before, and on authored with Adwoa Adusei (Institute, 2013) judgments that would allow one to “see” the site all day on Tuesday 9/11. The entire site is an exhibition catalogue of the WWII drawings object or painting at hand. The essence of now open and I hope all of you will visit both of Rhinebeck soldier-artist Olin Dows. They connoisseurship for me was not to know what Memorial and Museum. They are not to be led the work independently and earned their an object actually was, but to have a feeling in missed. authorship of the publications. my throat that it was worth some effort to find out. For any of you frustrated by job-seeking, In 2011 I rented a storefront and The William Holman Gallery was run take as many part time appointments as you transformed it into a gallery at 65 Ludlow by people from the Institute. Katie White can manage, go and look at everything, and Street on the Lower East Side. We had our began with us on day one and did everything. use your judgement to form a critical opinion: first exhibition in October of that year. Adwoa Adusei joined later that year and read good/bad, boring/interesting, don’t know/ Our first Institute employee was Kathleen documents and letters from WW II. People like move on, don’t know/more research, hate it/ White (Institute, 2011), a scholar with Louis Soulard (Institute, 2016) came for a few and know why. attitude, nicknamed Philip II, ever in ruthless weeks in the summer. For the last two years the pursuit of Empire and gold. Katie looked at Gallery was blessed with a sales and research For 30 years after the Institute I worked everything that passed through the gallery director from Turin, Virginia Ciccone (Institute, in financial markets managing merger with a critical eye, but was always well read 2017). Not only an Institute graduate but also a and acquisitions transactions, trading and and prepared with comparable artists and Fulbright Fellow, she worked on the last fifteen risk, and thousands of people for Lehman works to discuss. Her strategy was: look at this, exhibitions, painted, installed, and marketed Brothers, Baring Brothers Bank, Thomson look at that, who is best? Better than our artist? with all of us. While Virginia was around we Reuters, and more recently for Davis Brody What are they making? What thought went had our best new artist’s shows, including exhibitions of women artists from Brazil, Iran, China, Spain, and Korea, local artists from Purchase, NY and Hartford, installations, talks, and sculpture. Now back in Turin, she is looking for the next opportunity in Italy. After four years, 40 exhibitions and several art fairs, we closed the space. The reasons appear at the end of the article.

My career has been a changeup of interests and opportunities. Who could have known that my experience as a dealer broadly defined as: “Selling Expensive Things to Difficult People,” would help me become an expert in financial services, mergers and acquisitions, and Wall Street information companies, or help me manage traders and salespeople with the same emotional skills one uses to advise artists about their work or a failed exhibition. Now I am a private dealer with two small private venues and no fixed six day a week schedule. This is a blessing, though sometimes lonely. I have always loved the art market and dealing in works of art, but at the moment there are a lot of sales William Holman Gallery, Upper West Side, New York avenues to pursue.

11 Art and Business CONTINUED

As I began in 1977 as a dealer in books MR. MCELHINNEY: So it becomes a kind MR. THAW: But it just didn’t become fun and prints and as I closed a small public of a nouveau riche status acquisition, black anymore. And I did this thing out of love gallery program in 2016, I can only reference tulips, 17th-century Holland and that kind of and out of interest. And so I continue to the words of a friend, Eugene Thaw, a great thing. collect in the areas that I’ve told you about, expert and dealer, friend to the Institute and and that satisfies my need to acquire and the Morgan Library, who in 2007 concluded MR. THAW: That’s right. When somebody my need to study and my need to be up on the following after 50 years as a true scholar refuses to buy the last tulip, the whole some aspect of the arts. But I can’t play in dealer at the beginning of the great recession. shooting match collapses. the market anymore in the big way that I All still true today. was doing, you know. Anyway, the joy went MR. MCELHINNEY: Well, people are saying out of it. And I made enough money I could MR. MCELHINNEY: A number of the that that realm of the art world is sort of retire and live on what I had and could be a people I’ve interviewed have said that they on the precipice at the moment. That the philanthropist. I created the foundation that think that the economy of the art world has galleries in Chelsea are sort of teetering on we have now, and I’m enjoying what I do. become more important than anything else. the brink of oblivion, or a number of them. And I don’t have to have the satisfaction 1 It’s sort of going after the dollar trend. A number of them aren’t real anyway. As we now of another deal. know, they’re– MR. THAW: It’s why I retired. I mean, I’m still I don’t need that satisfaction either. capable of running E.V. Thaw & Company as MR. THAW: Well, they’re all supported by a business if I wanted to. But quite a number family money or investors or whatever. of years ago I retired, because I just couldn’t - everything had turned into money. MR. MCELHINNEY: Right, right. And people were buying trophies rather than collecting art. 1 https://www.aaa.si.edu/collections/interviews/oral- history-interview-eugene-v-thaw-13687#transcript

Institute of Fine Arts Alumni Association Mission Statement The mission of the Alumni Association of the Institute of Fine Arts is to foster a strong sense of community among the alumni through social and scholarly events, and through the publication of the Newsletter; to support student research through travel grants with funds raised by the Association; and to preserve the history of the Institute through recording oral histories and the collecting of archival documents.

12 In Memoriam: Women Art and Power: In Loving Memory of Linda Nochlin (1931 – 2017)

Linda Nochlin speaking at the Institute of Fine Arts

Robert Lubar Messeri, PhD ’88 to the study of French art in particular Linda was my friend, my colleague, would still be remarkable. From Courbet to my mentor, and my inspiration. It is still More than twenty years ago I asked my dear Post-Impressionism, Linda largely rewrote inconceivable to me that she is no longer friend and colleague Linda Nochlin why the long Nineteenth Century. But she was among us, as her life force was the force of life she became an art historian. Her answer was foremost a “first wave” feminist who helped itself. In its place there is a vacuum. Historical as characteristically pithy as it was elegant: to define the discourse at its inception, just memory lives on, and Linda will continue “Because I believe in social justice,” she as she enriched and expanded its scope over to inspire future generations of students and responded. At the time Linda’s comment the course of six decades. The relationship scholars. But affective memory has a short seemed at once odd and entirely apposite to among women, art and power, deftly shelf life. For those of us who knew Linda me. Odd because art history is still one of the configured in an eponymous collection as a person and not just as the brilliant art most reified disciplines within the academy— of her essays, was at the center of Linda’s historian, writer, and critic she was, we can inseparable from the marketplace for luxury thinking, with implications that extend only say thank you. Thank you, dear Linda, goods and the constellations of power and to the fields of Art History, Comparative for your vision, for your intellect, for your wealth it services. Apposite because power Literature, Post-Colonial studies, Sociology, humanity, for your compassion, and for was at the very heart of Linda’s scholarly Women’s Studies, Gender Studies, and your unfailing friendship. We are all forever enterprise—its assumptions, its ideological Queer Studies, to cite the most obvious changed by your example. work, and its transformative potential. Today, applications of her work. Few scholars ever as the foundational principles of liberal achieve that kind of reach, but then again, democracy and social emancipation are Linda was exceptional in all senses. under siege, Linda’s intellectual example is especially urgent. Linda was a cultural warrior who effortlessly combined theory with social To say that Linda transformed the praxis. She defended her beliefs with dominant narratives of art history is a gross exceptional clarity, precision, and force, understatement because her teaching and but her approach enfranchised rather than scholarly work influenced the thinking of alienated people. An enormously powerful three generations of students far beyond the woman, she wielded that power for the purview of her academic discipline. Had greater good, and always with consummate her work remained within the traditional grace and kindness. Linda was power-full and boundaries of art history her contributions power-sharing. Linda Nochlin

13 In Memoriam: Egbert Haverkamp-Begemann (1923 – 2017)

Mariët Westermann, PhD ’97 distinction, was one of the first studies to call attention to the interaction between word and Egbert Haverkamp-Begemann lived a long, image in this art, and the ways the texts might remarkable, and fruitful life. Well before we give us purchase on their meaning beyond lost him in the summer of 2017, I thought their long-praised ‘realism.’ Nevertheless, of it as a quintessentially 20th-century set of the wave of iconographic study of seemingly displacements. He adjusted to them with secular Dutch themes that inundated the field remarkable equanimity and with sustained from the late 1950s well into the 1980s had attachment to places and people in the limited interest for Egbert, who always felt this receding past. As his student at the Institute art was too nuanced and rich to be decoded of Fine Arts and later his faculty colleague with emblematic precision. He preferred I valued his innovative contributions as a careful, sustained looking at paintings, scholar and teacher of Dutch and Flemish drawings, and prints as objects made by art, as a bibliophile of the discipline, and as a particular artists with specific techniques, and phenomenal connoisseur of drawings, perhaps favored a broader horizon of interpretation the art form he loved best. But what stays that would allow for multiple ‘associations’ most present is the way in which he embedded viewers might derive from works of art. this expertise in a broader commitment to knowing the world, to participating in shared Indeed, Egbert’s scholarly contributions human endeavors, and to mentoring his were rigorously focused on the study of students. the works of individual artists in particular media. In 1950, soon after completing his Egbert was born in the small Dutch city master’s studies, he had become curator of of Naarden, but spent little time there as his prints and drawings, and later also paintings, parents joined an intrepid cohort of Dutch Egbert Haverkamp-Begemann at the Museum Boijmans Van Beuningen idealists drawn to the new Soviet Union. For in Rotterdam. His exhibition catalogue of about a decade they raised their young family oil sketches of Peter Paul Rubens (1953) in Kemerovo (Siberia) and Moscow while his Netherlands. Published in 1947, Egbert’s is an authoritative and highly sensitive father served the communist experiment as a opinion piece offered a new view of account of the forms and functions of these civil engineer. As the deleterious excesses of Rembrandt’s Nightwatch, later the subject innovative works. Egbert thought Julius Stalin’s social engineering became manifest, of his eloquent and perhaps best-known Held’s magisterial catalogue raisonné of the family returned to the Netherlands in the monograph (1982). Rubens sketches of 1980 had surpassed his mid-1930s, to live near Haarlem and then in publication, but his insights of 1953 remain Dordrecht. When you traveled to Haarlem Egbert obtained his master’s degree of critical value. A growing reputation built on with Egbert, he would delight in pointing out (doctorandus) at the University of Amsterdam excellent catalogues of Rembrandt drawings that his father had helped renovate the elegant under the mentorship of Professor I.Q. and the prints of Hercules Segers brought him art nouveau train station. van Regteren Altena (1899-1980), a well- to the United States in 1959, for a year split regarded scholar who was also director of the between the Institute for Advanced Study Profoundly affected by his family’s work Rijksmuseum print room and an outstanding in Princeton, where he worked closely with for social justice, Egbert pursued law at the collector of old master drawings. Van Regteren Erwin Panofsky, and Harvard University, University of Utrecht in the mid-1940s, but Altena fostered Egbert’s career-long affinity for where Svetlana Alpers briefly studied with insistent memories of early museum visits in drawing and encouraged his work towards a him. Egbert eventually encouraged her to Haarlem and Amsterdam led him to change doctoral dissertation on the prints of Willem contribute the volume on the Torre de la his field to art history. When I asked him Buytewech, a topic that in the end led him to Parada to the Corpus Rubenianum Ludwig about his family’s reaction to his choice of J.G. van Gelder (1903-1980) at the University Burchard. His own Corpus volume dedicated career in a traditionally elite discipline, he of Utrecht. Van Gelder shared his curiosity to Rubens’s Achilles Series came out in 1975. said they had supported it as it was clear he about the draftsmen and printmakers who could teach others about humanistic values created and disseminated the new imagery of The year in the US was pivotal. In 1960 through the medium of art. It was a point of the early Dutch Republic, focused on local he went to Yale University, first as curator of pride for him, however, that his first article landscape and middle class and rustic figures. drawings and prints at the Yale University was published in De Groene Amsterdammer, The dissertation on Buytewech (1958), Art Gallery. He soon became a professor in one of the oldest progressive journals in the awarded with the rare Dutch cum laude the department of art history and eventually

14 its chair. At Yale he collaborated closely art. His primary means for doing so was month-slash-arabic numeral for the year. with scholars of vastly differing academic his Wunderkammer of a library, kept in Always put such a date on the front page of persuasion, from George Kubler, with whom perpetual motion by a three-layered shelving any publication you acquire. he co-taught methods, to John Michael system that revealed treasure behind treasure. Montias, the scholar of eastern European Its organization had the twin virtues of How not to breathe over an old master economies who was to become a great archival Dewey-like rationality and Warburgian drawing. historian of Vermeer. In 1978 the Institute serendipity. To the left of the window was of Fine Arts, recruited him to become John the History of Art History. Down the wall How Rembrandt drew a face. Langeloth Loeb Professor. In New York he were the compendia on Dutch art and their served for several years as curator of 17th- equivalents for Flemish art. Catalogues Why Meder’s Handzeichnung is still the thing century Dutch and Flemish paintings at were organized by cities, and within each to read if you want to get into drawings. The Metropolitan Museum of Art, where he town museum catalogues were followed by launched the ambitious project of cataloguing exhibition publications, the rarest ephemera How to pronounce vichyssoise. the Dutch collection, a project that would be among them. Artists lined up alphabetically, completed by Walter Liedtke. but Rembrandt and Rubens were just too Why you should never assume you cannot big and got their own wall-length shelves read an exhibition catalogue in Ukrainian. The genre of the catalogue was of great of honor. You’d open almost any book historical and professional interest to Egbert, and a yellowed review or two—the source Why taking trains gives you a better view of and he developed a well-honed perspective meticulously recorded—would drift out. My the Netherlands than taking cars. on what made for a thorough, precise, and favorite section held the archival boxes of engaging collection or exhibition catalogue offprints by art historians whom one could Why you should never ask a busy professor or that might outlive the next few art historical only dream to have known personally, and curator a question to which you can easily find fads. His catalogues raisonnés of Buytewech along with them a storehouse of biographies the answer. and Hercules Segers (1973) as well as his many and obituaries of art historians. The library’s exhibition catalogues have certainly met that emphasis on the discipline’s past was And so on. test. His inspired Creative Copies: Interpretative rigorously balanced by Egbert’s incessant Drawings from Michelangelo to Picasso (1988), acquisitions of the most recent monographs Egbert had an intuitive, usually plausible co-authored with Carolyn Logan, showed his and catalogues in the history of European understanding of what motivated the artists keen alertness to what artists see in the work art and culture, dozens of which would be he studied or just admired. Of all of them, of others, often across dozens or hundreds piled precariously on coffee tables, library Rembrandt intrigued him most. While he was of years. He was a diplomatic, incisive, and carts, and even on the fine Chinese carpet not blind to the man’s personal and business effective editor of one of the finest collection underneath the giant wooden desk. failings, he was beguiled by Rembrandt’s catalogue projects of the past fifty years, the ability to condense complex narratives into scholarly catalogue of the Robert Lehman Egbert maintained a full schedule of deceptively simple human interactions. He Collection at the Metropolitan Museum teaching, but it is fair to say that his greatest wrote and thought deeply about Rembrandt’s of Art, an initiative spanning fourteen achievements as a teacher were not in seminars pedagogy, and what he said about Rembrandt meticulously produced volumes by multiple or lectures but in the informal classroom: as a teacher would apply equally to him: he expert authors. Many Institute students were the museum, the exhibition, or his library, was a great teacher because he allowed his fortunate to serve as research assistants to the the private collection, the dealer’s gallery, students to develop after their own interests, project, brought to completion in 2012. the conservation lab. Egbert insisted that and after they left his entourage they all did we attend to the works of art turned up and their own thing, and very successfully. Egbert’s At Yale and at the Institute, Egbert was circulated in the trade, and the expertise that many students hold significant positions a beloved, legendary advisor to dozens of lived there, and that we talk to conservators all over the institutions he valued for what PhD students both in and outside his field. and conservation scientists, whose they contributed to knowledge: universities, He stood out for his generous mentorship, contributions to art history he valued before colleges, research institutes, museums, genuine interest in the scholarly training many of his colleagues could see the point. He galleries, journals, and auction houses. Twice of new generations of students, and active traveled frequently with his classes, both in they honored their teacher by gathering creation of opportunities for his students the US and abroad. All of these visits and trips the enormous range of their research in to contribute to publications, exhibitions, were sources of unending life lessons: publications—a festschrift in 1983, edited by and conferences. He imbued in his students Anne-Marie Logan, and a special issue of the a sweeping sense of the history of the How to date a letter: arabic numeral for Journal of Historians of Netherlandish Art discipline and the study of Netherlandish the day-slash-small roman numeral for the continued on page 17 15 Remembering Marjorie Susan Venit (1941 – 2017)

Linda Roccos, PhD ’86 Mary B. Moore: These are the courses Marjorie took with me: 1973: UG Greek Art; Marjorie Susan Venit received her PhD from 1974: Grad. Roman Art and Grad. Archaic the Institute of Fine Arts in 1982 and went Seminar. Then she went on to the Institute. on to teach at the University of Maryland I kept in touch with her over the years. We until she retired in 2014. would have lunch or dinner when she visited NYC, and the last time was the previous Here are memories from some of her May at the Met. We kept in touch via email, Institute Friends: though not regularly. She was one of the best students I had at Hunter, though her Robert Cohon: I remember first seeing true interest was Archaeology and she took Marjorie—big hat and thus named a lot of courses with Claireve Grandjouan. “Kapelou” at the local Greek diner. She was I supported Marjorie’s application to the passionate about art. Her hand tensed, she Institute, and she did very well there. would point to—no, jab at—the cloth of a Greek sculpture: “You see the folds, you see Linda Jones Roccos: I met Marjorie in 1974 the way they hang, the curve here, the edge when we both took Prof. Moore’s Hunter there.” “I’ve got to get a date for this stele...I College seminar on Archaic Greek Art. At mean within a decade. I HAVE to connect the same time we audited Prof. Grandjouan’s this to Praxiteles. He was making these, YES!! archaeology courses. We were fortunate to for sure he was.” Marjorie brought New York learn two sides of the coin as it were, art and energy and joy—yes, joy—to art. And her archaeology. When I came to the Institute passion for art was matched only by her keen two years after her, we soon became fast understanding of line and form, the songs the Marjorie Susan Venit friends, taking courses with the “Two Hs,” sculptures sang to her. When she spoke, you Prof. Harrison and Prof. Hansen. We often had to get on board, you wanted to get there traveled to museums and sites in Greece with her. Heaven knows, I miss her. and Italy for my research needs and her site visit Marjorie as well. I am so grateful for the photography pursuits. What a great travel Laura Gadbery: Marjorie was among the time we had these last few years. It has been companion she was, always upbeat and very first people I met at the IFA and what a special privilege to be a part of the Friends imperturbable! an impression she made: sitting at the end of Marjorie group and to celebrate her love of table in the Ancient Reading Room, wearing scholarship and her inimitable joie de vivre. Katherine A. Schwab: Marjorie had a robust one of her signature hats, surrounded by sense of humor, finding the absurd as well as books, intensively studying, and barely Andrew K. Y. Leung: Marjorie was not only the downright hilarious in many instances. acknowledging fresh-faced newbies like a good friend, but also an important mentor Her laughter was legend. Even when she me. Despite this quirky beginning, we and mother figure in my life. We met in learned of her cancer, she exclaimed, “it is soon became friends. The times we traveled her art history survey course when I was an not my fault.” A small group of us, including together still make me laugh, and I remain undergraduate student at the University of Marjorie, organized a symposium in memory very grateful for her guidance at the Mendes Maryland. I was so taken by her teaching of Evelyn Harrison. Exchanges via email excavations in Egypt. Oh, how I miss her! and the subject that I switched my major quickly led to choice words and good humor. from engineering to art history before that As she remarked, “well, you welcomed Minna M. Lee: I met Marjorie in Athens semester was over. She insisted that I apply feedback!” Of course, her discerning eye at the American School of Classical Studies. to the Institute to continue my graduate made a big (and welcome) difference. Together, after a harrowing taxi ride, we work. For more than three decades, she attended the presentation of an honorary had taken me under her wing and we were Alan Shapiro: Two moments come to mind degree to Professor Evelyn Harrison at the like family. When possible, we would go when I think of Marjorie. First is the day University of Athens, and afterwards much of visiting Classical sites, museums, and carpet in September, 1975, when we met in the our conversations centered around our shared shopping together, and it was always so much seminar of Dietrich von Bothmer at the Met. history of being “Miss Harrison students.” fun. Knowing her has added a lot of joy and I was the outsider in a group of Institute After Marjorie retired, we spent more time color in my life. She was my Auntie Mame, students, coming up from Princeton, and together in the City, and when I visited my and I love her for it. Thank you, Marjorie! I Marjorie welcomed us with curiosity and family in the Washington DC area, I would miss you a lot. warmth. She was not intimidated like the rest

16 of us, and even brought a touch of humor archaeological site where Marjorie worked in She was so pleased to see the photo of to the seminar. The second occasion was in 1978, 1979 and 1980. I came to know her, her “Spa Mendes” plaque which she had 1977, when we tagged along to hear Eve a meticulous field archaeologist, excellent almost forgotten. It felt like our friendship Harrison take the American School Summer draftswoman, brilliant photographer. She beginning and ending at Mendes had come Session through the old Acropolis Museum. had a fun, lighter side too. Once she had full circle. After four hours, all the students were on the everyone laughing over a limestone flake floor, Eve was still going strong, and Marjorie upon which she had painted a coat of arms More information about Marjorie’s and I just looked at each other, knowing we for “Spa Mendes 1979” with a swag of TP, fly accomplishments is available at: had just shared an experience we would never swatters, alarm clock set to 3:30 am, a prized https://arthistory.umd.edu/marjorie-venit- forget. 7-Up bottle, a heap of sherds and Marjorie’s professor-emerita-1941-2017 own motto: IN SHAQF VERITAS. When Vicki Solia: She was “Miss Marga” to I last visited Marjorie in May 2017 we the Egyptians at Mendes, the NYU spent an afternoon looking through albums.

Help Save the Institute’s History In 2032, the Institute of Fine Arts will celebrate its centennial. In preparation for this anniversary, the Alumni Association’s Committee on the History of the Institute of Fine Arts is working to locate materials on both the teaching of art history and student life at the Institute. It is also conducting an oral history interview project. Let us know if you would like to be interviewed about your years at the Institute and/or you have in your possession or know the location of photos, syllabi, class notes, slide lists, audiotapes of lectures, and other materials. Please send this information to Rebecca Rushfield ’80 [email protected]

Egbert Haverkamp-Begemann CONTINUED

in 2013, edited by Institute alumnae topic he knew would interest me. In 2016, he Jacquelyn Coutré, Stephanie Dickey, and changed the routine, and gave me his well- Nadine Orenstein. read copy of De Tocqueville’s Democracy in America, inscribed with an elegant reference Among the many things Egbert and I to our shared Dutch and American histories. shared was our birthday, a fact he let drop The primary season was well under way, and casually when he phoned me to say the he wanted to talk about the future of our Institute would admit me. Over the years democratic institutions and his enduring belief we celebrated March 6th over lunch—sole that they could weather the divisiveness that meunière with buttery new potatoes if we alarmed him. Of all the many lessons I heard could get it. He would usually give me a him convey with passion and precision, it may book from his library on an art historical be the one I will savor most.

17 The Year in Pictures

NYU Alumni Lecture by Matthew Israel, October 12, 2017 Photo credits: Louisa Raitt

Enrique Foster Gittes, alumna Lois Severini, Institute Director Christine Matthew Israel delivering his lecture Poggi, and Susana Montanes-Lieras

Alison Tufano, Emily Shoyer, Hongzheng Han Matthew Israel at reception Lecture Hall

Alumni Careers Panel, April 26, 2018 Photo credits: Haley Pierce

Students listening to panel Moderator Sanya Mirpuri with Panelist Panelists Marc Hajjar, MA ’15 and Moderator Sanya Mirpuri Louisa Wood Ruby, PhD ’97 talking to Kathryn Falato and Sarah Higby, Institute Development and Public Affairs Office 18 New Alumni Toast, May 14, 2018 Photo credits: Nita Lee Roberts

Institute Deputy Director Edward J. Sullivan speaking to New Alumni Alumni Association Board President Jennifer Eskin toasting New Alumni

Professor Thomas Crow speaking with Jeffrey Alumnae Megan DiNoia and Louisa Raitt with Alumna Naomi Miller and Professor Robert Maxwell Fraiman and alumna Lindsay Ganter Louisa’s mother, Michelle Raitt (center)

Moderator Sanya Mirpuri with Panelists Jessica Pace, MA/Conservation Panelists Jessica Pace, MA/Conservation Certificate ’12, Certificate ’12, Louisa Wood Ruby, PhD ’97, Adam Glick, MA ’09, and Adam Glick, MA ’09, and Marc Hajjar, MA ’15 Marc Hajjar, MA ’15 19 Faculty Updates

Jonathan Brown (2016); “Amérique/Europe: Le transfert à l’œuvre,” “Les envois de Rome et l’invention de l’urbanisme Carroll and Milton Petrie Professor of Fine Arts in Hubert Damisch:L’art au travail (2016); “W en France au début du XXe siècle,” Paris, 2016; Publications: “ The anyM Facets of El comme Wunderkind,” in Kagan Architectures 1986- “Krise als Strategie – Ängste in der Architektur seit Greco,” in El Greco Comes to America (2017); 2016 (2016); “Afterwords, or the Encyclopedic 1950,” keynote, Vienna, 2016; “Opus 2: Robert “Francisco de Zurbaran, Master Painter of Seville,” Temptation,” in Lexicon n. 1. On the Role of Venturi’s Metamorphosis of Horace Trumbauer’s in Zurbaran. Jacob and His Twelve Sons (2018). the Architect (2016); “Ginsburger, Roger” and Duke House,” New York, 2016; “1966: Trois News: Retired August 31, 2017. Co-curator, “Le Corbusier,” in Akteure des Neuen Frankfurt: livres qui ébranlèrent la culture architecturale,” with Clara Bargellini and Ronda Kasl, “Cristobal Biografien aus Architektur, Politik und Kultur Moscow, 2016; “L’École des Beaux-Arts, de Paris Villalpando, Mexican Painter of the Baroque,” New (2016);“Un internationalisme toujours critique,” à Marseille et à la Prusse orientale,” Paris, 2016; York, 2017. in Les Universalistes: 50 ans d’architecture portugaise “At the Crossroads: Perspectives and Impasses of (2016); “Auschwitz, miejsce wielopzemysłowe,” Architectural History,” keynote, Dublin, 2016; Jean-Louis Cohen Autoportret (2017); “Retour d’Amérique: Pages Conclusive keynote address, Du potentiel des Sheldon H. Solow Professor in the History of d’écriture russes,” Europe (2017); “Il progetto di grandes structures urbaines abandonnées, Montréal, Architecture architettura e la scuola,” Architettura civile (2016); 2016; “Pereira and UCI: The Global Perspective,” Publications: L’Architecture entre pratique et “Anatomia del libro di architettura,” Domus (2016); Irvine, 2016; “Villes imaginaires entre le papier connaissance scientifique, ed. (2018); “La maison atelier de Jean Lurçat,” La Lettre de et l’espace,” Paris, 2016; “Autour de la notion de Zevi’s Architects: History and Counter-History of l’Académie des Beaux-Arts (2016); “Architecture ‘mémoire collective’ de Maurice Halbwachs, et son Italian Architecture 1944-2000. ed. with Pippo without capital letters,” Álvaro Siza 1995-2016, AV appropriation par les urbanistes et architectes,” Ciorra (2018); Architecture de l’avant-garde russe: Monografías (2016); “Nouveaux réacs, vieux réacs et Paris, 2016; “Architektur in Uniform. Planen und Dessins de la collection Serguéï Tchoban (2017); ignorants de toujours,” d’Architectures (2016). Bauen für den Zweiten Weltkrieg,” Frankfurt/ “Zevi sotto Zevi; Zevi under Zevi,” in Gli Special Lectures: “Cities’ Futures: Seven Main, 2016; “La Seconde Guerre mondiale, ou architetti di Zevi (2018); “Berber Brutalism and Questions” and conclusive address, Habiter le grand recyclage,” Lille, 2017; “Frank Gehry, the Grammar of Reconstruction: Conversation l’Afrique: Le futur des possibles, Ben Guerir, 2018; dai schizzi all’oleografia,” Turin, 2017; “Memory with Yto Barrada,” in Yto Barrada (2018); “Le “La ‘révolution urbaine’ et le précédent soviétique,” Erased/Regained: Marseille at War,” Rome, 2017; Corbusier’s Architectural Oeuvre, or Surprise as Paris, 2018; “Le futur des villes,” Moscow, “L’invenzione di Frank Gehry,” Rome, 2017; “Les a Strategy,” in Le Corbusier, the Paths of Creation 2017; “Paris to New York: A Tale of (Planning) lectures de Frank Lloyd Wright, de l’Atlantique à (2017); “A Lost Vanguard Discovered,” in Papers Two Cities,” New York, 2017; Introduction l’Oural,” Paris, 2017; “Le Grand Paris en projet, and Concrete: Modern Architecture in Korea 1987- and moderation, Secret Zones: Communicating 2007-2016,” Astana, 2016; “La ville du futur: 1997 (2017); “Verso una storia transurbana Knowledge through Invisible Terrain, Zurich, 2017; un brève historique,” Astana and Almaty, 2016; delle città,” in Historia Rerum: Scritti in onore di “Wright on the European Scene: Observation “Le Corbusier et le paysage,” Almaty, 2016; “Le Benedetto Gravagnuolo (2017); Conversation with and Instrumentalization,” New York, 2017; “The patrimoine moderne: aperçus Est-Ouest,” Almaty, Elisabeth Essaïan, in Lina Bo Bardi: Enseignements Cold War City: Functionality or Community?” 2016; “Le Corbusier: Aventures à Moscou,” partagés (2017); “L’encyclopédie et le palimpseste,” Berlin, 2017; “Figures of the Architext,” Canberra, Chymkent, 2016; “Architetti e politici: alleanze in Laboratoire d’Europe: Strasbourg 1880-1930 2017; Introductory statement, Architecture and e malintesi,” Mantua, 2016; “Architecture in (2017); “‘Mise au Point’: The Political Affects of Le Wars: Forms of Destructions and Constructions in Uniform: War as a Creative Force,” Daejeon, 2016; Corbusier,” in La Recherche patiente: Le Corbusier, War Zones, Zurich, 2017; “Subverting the Façade: “Architectural Imagination, from the Primitive Hut cinquenta años después - Fifty Years Later (2017); Paris Architecture between Haussmann and to Modern Housing,” Seoul, 2016; “The Art of “Ornement et vertu,” in Ravage, illustre inconnu Radical Modernism,” Princeton, 2018; “Modern Zigzag: Le Corbusier’s Politics,” Cambridge, MA, (2017); “L’habitat temporaire, une recherche Architecture and Automobile Culture,” Moscow, 2016; “Architecture entre France et Italie: Trente permanente,” in Habiter le temporaire: La nouvelle 2018; “Becoming Frank Gehry,” Zurich, 2017; ans après,” Nancy, 2016. maison des jours meilleurs (2017); “Lissitzky’s “The Complete Works ofLe Corbusier and Pierre Recent Honors and Awards: Officer in the Order ‘Amerikanizm’,” in Imagine Moscow: Architecture, Jeanneret,” Cologne, 2017; “L’architecture des of the Arts & Letters, Paris, 2016. Propaganda, Revolution (2017); “Le Corbusier après avant-gardes russes, de Moscou à Paris,” Paris, Borromini Chair, Accademia di Architettura, Le Corbusier: De l’inachevé à l’inconstructible,” in 2017; “Les aventures de Le Corbusier en Union Università della Svizzera italiana, 2016-17. Le Corbusier: L’œuvre à l’épreuve de sa restauration Soviétique,” Saint Petersburg, 2017; “Building News: exhibition, Architecture de l’avant-garde (2017); “Frank Gehry: Studio e residenza Danziger. a New New World: Americanizm in Russian russe, dessins de la collection Serguéi Tchoban, École Los Angeles, 1964-1965,” Domus (2018); “Hubert Architecture and Urban Design,” Chicago and nationale supérieure des Beaux-Arts, Paris, October Damisch: Noah’s Ark: Essays on Architecture,” Austin, 2017; “Frank Gehry et la réinvention 2017-February 2018; exhibition, Zevi’s Architects: Journal of the Society of Architectural Historians de l’architecture depuis 1970,” Rouen, 2017; History and Counter-History of Italian Architecture (2017); “Micro e macrostoria di un recupero,” “Planning and Designing Greater Paris in the 1944-2000, Rome, MAXXI, May-September 2018, L’Indice (2017); “Frank Gehry in Malibu: The 21st Century,” Melbourne and Sydney, 2017; with Pippo Ciorra. Ron Davis Studio and Residence,” Cahiers d’Art “Le Corbusier’s Politics, between Cynicism and (2016-17); Architecture, Modernité, Modernisation Naiveté,” Auckland, 2017, Conversation with Thomas rowC (2017); Paris-Londres, ed. with Dana Arnold Frank Gehry, Paris, 2017; “Frank Gehry et la Rosalie Solow Professor of Modern Art (2016); “Lissitzky’s ‘Amerikanizm’,” in Imagine France,” Fontainebleau, 2017; “La métropole Publications: Restoration: The Fall of Napoleon in Moscow: Architecture, Propaganda, Revolution new-yorkaise, ou la région introuvable,” Geneva, the Course of European Art (2018); “The Picture (2017); “Ordre et destin de la villa urbaine,” in 2017. “A Reactionary Modernization? Architecture of Allen Ruppersberg as a Young Man,” in Allen Atelier Kempe Thill: Villa urbaine(2017);“ Le ‘Grand in Vichy France (1940-44),” Irvine, 2017; Paper, Ruppersberg: Intellectual Property 1968-2018 Paris’ et l’urbanisme des métropoles modernes,” Autorités de l’histoire de l’art, Paris, 2016; “Le (2018); “Art by the Many: London Style Cults of in Aux origines du Grand Paris: 130 ans d’histoire Front Populaire de Le Corbusier,” Paris, 2016; the1960s,” British Art Studies (2017); “The Roots 20 of Mike Kelley’s Realism: Subterranean Homesick Scammers,” New York, 2017; “Applying Measures keynote, Empires of Faith: Shaping Art in Religions Blues,” in Art as Worldmaking: Essays in Honour of of Texture Similarity to Wove Paper,” San Francisco, of Late Antiquity c. AD 200-800, Oxford, Alexander Potts (2018). 2016; “Dubuffet Drawings Study Day,” New 2018; “Globalism Before Europe? Arabia, India Special Lectures: “Modern Time, Classical Time York, 2016; “Paper Is Part of the Picture,” New and the Architecture of Medieval Ethiopia,” and Cosmic Time in the Progress of Théodore York, 2016; “The Bionic Drawings Connoisseur or Cambridge, MA, 2017;“Turning Turk? Elite Dress Géricault,” Houston and Claremont, 2017; “From How Scientific Tools Can Enhance Looking,” Los and Islamic Textiles in Medieval Georgia,” Bern, Iggy Pop to Sun Ra; The Musical Poles of Mike Angeles, 2015; “The Use of Automated Chain Line 2017, “Islamic Textiles from Medieval Svaneti,” Kelley’s Later Career,” Los Angeles, 2017. Pattern Matching to Identify Moldmates among Svaneti, Republic of Georgia, 2017; “In Search of Recent Honors and Awards: “Thomas Crow: No Rembrandt’s Prints,” Amsterdam, 2015; “Paper Is Ephemera: Prophetic Sandals, Popular Prints, and Idols,” Hammer Museum UCLA, Los Angeles, Part of the Picture,” Düren, 2015. Transtemporal Flows,” keynote, Popular Cultures conversation with Steven Nelson about my 2017 Recent Honors & Awards: Getty Conservation of the Middle East and North Africa, Tbilisi, 2017; book No Idols: The Missing Theology of Art,2017. Institute Guest Scholar Residency, Los Angeles, “The Relic as Image: Prophet Aura in an Age of 2015. Technological Reproducibility,” London, 2017; Colin Eisler Current Research: Computational Analysis of “Islam’s ‘Image Problem’: A European History,” Robert Lehman Professor of Fine Arts Paper Structure. Milan, 2017; “Not at Home? Object Lessons Publications: “Where’s Willibald? A Bittersweet News: As the current President of the American from Anomaly,” keynote, San Francisco, 2017; NYU Institute of Fine Arts interlude 1963-1965,” Institute for Conservation of Historic and Artistic “Amplifying Aura? The Prophetic Sandal in Journal of Art Historiography (2017). Works, I advocate for the conservation of cultural the Ages of Its Technological Reproducibility,” Current Research: Presently I am preparing heritage and the qualifications of our 3300+ Portland, OR, 2017; “From the Champs-Élysées to a memoir of Charles Seymour Jr. for the Yale members. Cairo: Jacquemart’s Lions and Iconoclasm as Anti- University Art Bulletin and another on “Scully at Colonialism,” Paris, 2017; “Architecture as Archive: Yale” for the Yale Alumni Magazine, along with Finbarr Barry Flood Indian and Islamic Connections in Medieval essays on the joint role played by Henry Geldzahler William R. Kenan Jr. Professor of the Humanities, Ethiopian Architecture,” London, 2017; “Does and David Hockney during the AIDS crisis and on Institute of Fine Arts and College of Arts and Islam Have an ‘Image Problem’?” Mumbai, 2017; the early years of Aby Warburg. Sciences “Turning Turk? Islamic Textiles and Islamicate Publications: A Companion to Islamic Art Dress in Medieval Georgia and Ladakh,” with Margaret Holben Ellis and Architecture, ed. (2017); “Frameworks of Irina Koshoridze, Mumbai, 2017; “A Forgotten Chair, Eugene Thaw Islamic Art and Architectural History: Concepts, Cosmopolis: Art and Identity in ‘Arab’ Sind (800- Professor of Paper Approaches, and Historiographies,” with Gülru 1000),” Karachi, 2017; “European Moments in the Conservation Necipoğlu, in A Companion to Islamic Art and Making of Islam’s ‘Image Problem,’” New York, Publications: “Environment Architecture (2017);“Picasso the Muslim or How 2016; “Images Incomplete: Prescriptive Piety as and the Care of Prints the Bilderverbot became Modern (Part 1),” Res: Material Practice in Islamic Art,” keynote, London, and Drawings” (2017); Anthropology and Aesthetics (2017); “A Turk in 2016; “European Moments in the Making of “Drawing for Printing: the Dukhang? Comparative Perspectives on Elite Islam’s ‘Image Problem,” Berkeley and Berlin, 2016; An Expanded Fabrication Dress in Medieval Ladakh and the Caucasus,” “Islam and Image: Beyond the Bilderverbot,” Basel, Narrative for Dürer’s Adam in Interaction in the Himalayas and Central Asia: 2016; “Wrapping the Cross in Arabic: The Social and Eve of 1504,” Master Processes of Transfer, Translation and Transformation Function of Islamic Textiles in Medieval Georgia,” Drawings (2017); “The Application of Automated in Art, Archaeology, Religion and Polity (2017); “Idol with Irina Koshoridze, Tbilisi, 2016; “Islam, Images Chain Line Pattern (CLiP) Matching to Identify Breaking as Image Making in the ‘Islamic State’,” and Iconoclasm,” Budapest, 2016; “Globalism Paper Mouldmate Candidates in Rembrandt’s Religion and Society: Advances in Research (2016); Before Europe? Arabia and India in the Architecture Prints,” co-author, in New Directions in the Study of “Eclecticism and Regionalism: The Gwalior Qur’an of Medieval Ethiopia,” Cambridge, 2016; Rembrandt and his Circle (2017); The Care of Prints and the Ghurid Legacy to Post-Mongol Art,” in “Circulating Baraka: Relics as Images across Eras and Drawings (Revised Edition) (2017); “Myth and Le coran de Gwalior: Polysémie d’un manuscript of Mechanical Reproduction,” Abu Dhabi, 2016; Manipulation: Deconstructing and Reconstructing à peintures (2016); “‘God’s Wonder’: Marble as “Staging Multiculturalism? Norman Sicily and the Dubuffet’s Imprints and their Assemblages,” with Medium and the Natural Image in Mosques and Arts of the Medieval Mediterranean,” Mumbai, Lindsey Tyne, in Drawings of Dubuffet (2016); Modernism,” West 86th: A Journal of Decorative 2016; “Seeing Time: Alteration, Cumulation and “Perilous Message, Precarious Medium – The Pastel Arts, Design History, and Material Culture (2016); the Palimpsest Artwork,” keynote, Istanbul, 2015; Drawings of Lucas Samaras,” with Lindsey Tyne, in “The Flaw in the Carpet: Disjunctive Continuities “‘God’s Own Wonder’: Marble and the Natural Dreams in Dust: the Pastels of Lucas Samaras (2016); and Riegl’s Arabesque,” in Histories of Ornament: Image in Mosques and Modernism,” Basel, 2015; “Searching for Paper Moldmates among Rembrandt From Global to Local (2016); foreword, India in Art “Stories of Stone: Self-Made Images in Mosques Prints,” co-author, in IEEE Signal Processing in Ireland (2016); “Animal, Vegetal and Mineral: and Modernism,” Bergen, 2015; “Faces in Flower: Magazine: Art Investigation (2015). Ambiguity and Efficacy in the Nishapur Wall- Redrawing the Figure in Early Modern Islamic Special Lectures: “The Computational Analysis of Paintings,” Representations (2016); “Staging Traces Art,” Dar al-Athar al-Islamiyyah, 2015; “Staging Watermarks - Setting the Stage,” New York, 2018; of Histories Not Easily Disavowed,” in Walid Raad the World? India and Arabia in the Architecture “Now You See It, Now You Don’t – Documenting (2015); foreword, Mosque Manifesto: Propositions of Twelfth Century Ethiopia,” Philadelphia, 2015; Day-Glo,” Los Angeles, 2018; “Studies in Technical for Spaces of Coexistence (2015); “Idea and Idiom: “Sanctified Sandals: Polemics and Relics in an Era and Computational Connoisseurship: Dürer and Knowledge as Praxis in South Asian and Islamic of Technological Reproducibility,” Cambridge, MA, Rembrandt,” Wilmington, 2017; “Computational Architecture,” Ars Orientalis (2015). 2015; “Deccani Art Across the Ocean: Hoysalas, Connoisseurship of Rembrandt’s Papers,” Ithaca, Special Lectures: Keynote, Medieval Academy of Kadambas, and Medieval Ethiopia,” Mumbai and 2017; “Real Fake: The Rise and Fall of Art America Annual Meeting, Atlanta, 2018; Bangalore, 2015; “Horizons: A Thematic History 21 Faculty Updates CONTINUED of Islamic Art,” and “The Trouble with Images: Robert Lubar “The ‘South Building’ in the Main Urban Aniconism and Iconoclasm in Theory and Practice,” Associate Professor of Fine Arts; Director, NYU Sanctuary of Selinunte: A Theatral Structure?” Mumbai, 2015. Madrid with David Scahill, in The Architecture of the Recent Honors and Awards: Founder-director Publications: “Joan Miró: El Espacio de la Ancient Greek Theater(2015); articles, The Oxford of the research center Silsila: Center for Material Pintura,” in Miró: Una Colección (2018); “Ethics Handbook of Greek and Roman Art and Architecture Histories, New York University, 2017; Slade and Aesthetics: Miró/Artigas,” in Ethics and (2015); “Pausanias and the Figural Decoration of Professor of Fine Art, University of Oxford, 2018- Aesthetics: Miró/Artigas, exh. cat.(2018); “The Greek Sacred Architecture,” RES: Anthropology and 2019; Stephen E. Ostrow Distinguished Visitor in Materiality of the Sign, 1968 – 1974,” in Miró Aesthetics (2015). the Visual Arts, Reed College, Portland, Oregon, Round Trip, exh. cat., Palma de Mallorca (2017); Special Lectures: Discussant, “Colloquium Musical 2017; Instructor for a one-week seminar in the Joan Miró and Twentieth Century Sculpture, ed. and Instruments as Votive Gifts in the Ancient Greek program, From the Miraculous to the Mundane, introduction (2016); “Joan Miró: Materiality and World,” Boston, 2018; Organizer, “Workshop Ashkal Alwan, Beirut, 2016; Co-taught the module Metamorphosis,” in Joan Miró: Materiality and Debating the Boston Throne: Authenticity, “Interrogating the Antique Visual Tradition and Metamorphosis, exh. cat. (2016). Dating, Function & Interpretation,” Boston, 2018; its Legacy,” with Jaś Elsner of Oxford University in Recent Honors and Awards: Patronato (Board “Continent or Island? Modern Ways of Looking the summer school Globalized Classics, Humboldt of Trustees), Fundació Joan Miró, Barcelona at Sicily,” New York, 2017; “The Decoration of University, Berlin, 2015. (2013-present); Fundació Joan Miró/Universitat the Throne of Apollo at Amyklai: A Comparative Current Research: Islam and Image: Polemics, Oberta de Catalunya, Director Científic (Research Perspective,” Sparta, 2017; “Gli scavi dell’Institute Theology and Modernity:A transhistorical Director), Càtedra Joan Miró; Director, Grup of Fine Arts NYU sull’Acropoli di Selinunte,” exploration of the ‘prohibition of images’ d’Investigació International Joan Miró (2014- Milan, Catania, and Rome, 2016; “Committenze (Bilderverbot) as a perceived characteristic of Islamic 2019). pubbliche e private in Magna Grecia: problemi di cultures. Based on both empirical and theoretical metodo,” Taranto, 2015; “Gli scavi dell’Institute of approaches, the book analyses the interrelationships Clemente Marconi Fine Arts NYU sull’Acropoli di Selinunte,” Rome, between proscription, prescription, and artistic James R. McCredie Professor of Greek Art and 2015; “The Institute of Fine Arts NYU Excavations praxis from the time of the Prophet Muhammad Archaeology and University Professor on the Akropolis of Selinunte, 2010-2014,” New to the present day. The book will be published by Publications: “Contextualizing an Animal Sacrifice Orleans, 2015. Reaktion Books, London. in the Foundations of Temple R: A Preliminary Recent Honors & Awards: Appointment as Staging the World? Arabia and India in the Report of the Institute of Fine Arts NYU Full Professor of Classical Archaeology at the Architecture of Twelfth-Century Ethiopia: A Excavations on the Acropolis of Selinunte (2013– Università degli Studi di Milano (one of the monograph presenting new evidence for previously 2015 Campaigns)” co-author, in Mare Internum prime chairs in Classical Archaeology in Italy), unsuspected cultural, diplomatic, and trade (2017); “Un busto in terracotta dalla fronte del 2017; Corresponding Member, Deutsches contacts between medieval Ethiopia, India and Tempio R di Selinunte,” Sicilia Antiqua (2017); Archaeologisches Institut, 2015. Arabia. Based on extensive fieldwork in Ethiopia “Sicile Ancienne:” Hittorff and the Architecture of Current Research: Excavations on the Acropolis of and south India, the book suggests the existence Classical Sicily (2017); “Mycenaeans and Others Selinunte; Volume on the imagery of Archaic Greek of a far-reaching twelfth-century world system, along Western Sicily: A View from Selinunte,” Temples; Volume on the Art and Archaeology of within which Ethiopia was a nexus between the with Massimo Cultraro, in Hesperos: the Aegean Greek Sicily. Indian Ocean and Mediterranean. It will endeavor Seen from the West (2017); “An Attic White- to reconfigure our notions of early or emergent Ground Lekythos from Temple R at Selinunte,” Michelle Marincola globalisms and their cultural impacts in regions that Fragmenta Mediterranea: Contatti, tradizioni, e Sherman Fairchild Distinguished Professor of are usually seen as marginal or peripheral. innovazioni in Grecia, Magna Grecia, Etruria e Conservation Object Histories - Flotsam as Early Globalism: A Roma: Studi in onore di Christoph Reusser (2017); Special Lectures: “Riemenschneider’s Marienaltar monograph co-authored with Professor Beate “Picasso and the Minotaur: A Chapter in Modern in Herrgottskirche, Creglingen: A Review of its Fricke of the University of Bern. Mythmaking,” in Picasso: Minotaurs and Matadors Restoration History and the Application of a (2017); “The Frames of Greek Painted Pottery,” New Examination Method,” Rothenburg, 2017; Guenter Kopcke in The Frame in Classical Art(2017); “I vasi del “Spanish Medieval Polychrome Sculpture in Avalon Foundation Professor Emeritus in the simposio tra rito e mito” and “Il gioco del kottabos American Collections: History and Conservation,” Humanities nella Sicilia greca,” Engramma (2017); “Anastilosi Santiago da Compostela, 2016; “What Does News: As of September 1, 2017 I am a Selinunte: i primi 200 anni (1779-1977),” in the Support Tell Us about a Work of Art? The Professor Emeritus and, for a period of two more Selinunte: Restauri dell’Antico (2016); “The Goddess Construction Method of a Group of Reliquary years, Adjunct Professor of Fine Arts. I continue from Morgantina,” Antike Plastik (2016); “The Busts,” New York, 2016. work mainly on Pre Classical or Bronze Age Greek West: Temples and their Decoration,” in A Current Research: Two articles on medieval problems, my main field of expertise. As Chris Companion to Greek Architecture (2016); Musicians sculpture and my book, co-authored with Institute Poggi generously has secured use of my office for in Ancient Coroplastic Art: Iconography, Ritual alumna Lucretia Kargère, are in the final stages of the next academic year, basics are in place for a Contexts, and Functions (2016); Francesco Vezzoli’s preparation. hopeful transition. Teatro Romano (2016); L’alba della colonizzazione: indagini sull’acropoli di Selinunte (Trapani),” Robert A. Maxwell with Massimo Cultraro, in scavare documentare Sherman Fairchild Associate Professor of Fine Arts conservare (2016); “The Archaic Pottery from the Publications: “Le livre-objet entre oralité et Institute of Fine Arts Excavations in the Main ‘literacy’: la memoria du medium dans le monde Urban Sanctuary on the Akropolis of Selinunte,” juridique à l’époque romane,” in Le livre à l’époque with Valeria Tardo and Caterina Trombi, in romane: production, usages et représentations Sanctuaries and the Power of Consumption (2015); (2017); “The Romanesque Style Capital of 22 the Holma Collection,” in Kauneus, Arvo ja Zurbarans at Auckland Castle,” New York, 2018; Patricia Rubin Kadonnut Menneisyys. Näkökulmia Klaus Holman “The Frick and the History of Collecting,” New Professor of Fine Arts muistokokoelmaan (2017). York, 2018; “A Conversation with Philippe de Publications: Seen from Behind: Perspective on the Awards and Honors: Visiting Professor, Université Montebello and Miguel Falomir,” Madrid, 2017; Male Body and Renaissance Art (2018) de Montpellier (November, 2017) “Museums, Whence and Whither,” New York, Special Lectures: “‘Knowing as Much about Art as News: Member comité scientifique, Musée national 2018. the Cat’: Nineteenth-century Women Writers on du Moyen Age (Paris), exhibition La première Art,” London, 2017. sculpture gothique en Ile-de-France, 2017-18. Alexander Nagel Recent Honors and Awards: Member of the Professor of Fine Arts Scientific Advisory Board of the Kunsthistorisches Mia Mochizuki Publications: “On Demand: On Reclaiming Art/ Institut/Max Planck Gesellschaft, Florence Associate Professor of Reshaping Democracy,” Artforum (2017); Art History, Arts and “Passages: Xavier Douroux,” Artforum.com Robert Slifkin Humanities (2017);“Mum,” in exh. cat. Gary Hume: Mum Associate Professor of Fine Arts Publications: Inspired: Essays (2017); “Conversations on the Page,” Times Literary Publications: “Exquisite Corpse,” in Wyatt Kahn: in Honor of Susan Donahue, Supplement (2018). Object Paintings (2017); “The Wire: On Frank co-ed. Kuretsky, co-ed. Special Lectures: “Where is our God? Orientation Heath,” Artforum (2017); “Ladytron,” Art Journal (2018); “Hercules Segers in Renaissance Art,” Princeton, 2017; (2017); “The Empty Room and the End of Man,” and the Image to Come,” “‘Through the Slant of Night:’ The Dark Side of the in Experience (2017); “Exceptional Failure,” in Inspired: Essays in Honor Earth in the Sixteenth Century,” London, 2018; American Art (2017); “Christian Marclay’s Real of Susan Donahue Kuretsky “The Centering of Europe,” London and Florence, Time Fiction,” in Comparativism in Art History (2018); The Nomadic Object: The Challenge of World 2018; “Objects of Amerasian Anthropology in (2016); “Methodological Position for a Second for Early Modern Religious Art, Co-ed. (2018); Early Modern Europe,” Washington DC, 2018; Degree Art History,” in Photography and Doubt “Connected Worlds—The World, the Worldly, “The Amerasian Extension in the European (2016); “Joan Miró and Detrital Monumentalism and the Otherworldly: An Introduction,” in The Imaginary, 1492-ca. 1700,” Florence, 2018; in Postwar Sculpture,” in Miro and Twentieth Nomadic Object: The Challenge of World for Early “Where are the Anciennes Indes?” Rome, 2018. Century Sculpture (2016); “James Welling at David Modern Religious Art (2018). Recent Honors and Awards: Membership: Zwirner,” Artforum (2016); “Alan Sonfist: Natural Princeton Institute for Advanced Study, Fall, 2017; History,” in Alan Sonfist: Natural History (2016); Dianne Dwyer Modestini Visiting Professorship, Villa I Tatti Harvard Center “The Mobile Line,” in Calder and Picasso (2016); Conservator of the Kress Program in Paintings for Renaissance Studies, Spring, 2018; National “A Complex Social Life,” in Ari Marcopoulos Not Conservation Endowment for the Humanities Collaborative Yet (2016); “Reality Testing: Photography and/as Publications: Masterpieces. Based on a manuscript Fellowship (with Elizabeth Horodowich) for Mass Media,” in Photography at MoMA: 1960 until by Modestini (2018); Capolavori. Basato su Amerasia: A Renaissance Discovery, 2016-19. Now (2015); “Philip Guston’s Modernist Follies,” un manoscritto di Mario Modestini, (2018); News: “Fugitive Mirror,” video, 36 min., with in New Perspectives on Philip Guston (2015); “Truly, “The Salvator Mundi by Leonardo da Vinci in the Amelia Saul, commissioned by Dutch Art Institute, Skeptical,” Art Journal (2015). Context of Recent Research”, in Leonardo da Vinci: Arnhem and Akademie der Künste der Welt, Co- Special Lectures: “On Dennis Oppenheim’s Salvator Mundi (2017). logne, in STEALING FROM THE WEST - Cultur- Marionette Theater,” London, 2018; “Equivalents: Special Lectures: “Conserving the Kress al Appropriation As Postcolonial Retaliation (https:// On Aspirational and Paradigmatic Photography,” Collection,” Allentown, 2015; “The Kress dutchartinstitute.eu/page/10331/sunday-october- New York, 2018; “On Dennis Oppenheim’s Collection,” New York, 2015; “The Kress 22-roaming-assembly-16-mad-tea-party-gonzo- Marionette Theater,” Giverny, 2017; “The New Collection at Bucknell, the Cook Collection and curating-and-beyo) Sense of Fate: Detrital Monumentalism in Postwar Leonardo’s Salvator Mundi,” Lewisburg, 2017; “The American Sculpture,” Williamstown, 2016; History of the Conservation of the Kress Collection Hannelore Roemich “Methodological Position for a Second Degree Art and New Research on Leonardo da Vinci’s Salvator Professor of Conservation Science History,” Paris, 2015; “Peter Grippe’s Open Cities: Mundi,” Buffalo, 2018. Special Lectures: “Outdoor Weathering and Detrital Classicism and the Influence of Rome on Honors and Awards: Honorary Doctor of Laboratory Experiments: Conclusions for Postwar American Art,” Rome, 2015. Humanities, Fairfield University, Fairfield, CT, Preventive Conservation,” Paris, 2017; “TBM Art Recent Honors & Awards: Beinecke Fellow, Clark 2016. Conservation as a New Specialization within The Art Institute, 2016. Current Research: Early alterations to Leonardo’s MA/MS Degree at the Conservation Center,” New Current Research: My current book project, The Salvator Mundi in France and England prior to York, 2018; “Time-based Media Art Conservation New Monuments and the End of Man: American 1762, and the relationship of the painting to its Education Program at NYU: Concept and Sculpture Between War and Peace, 1945-1975, will copies; Materials, technique and dating of Virgin Perspectives,” Houston, 2018. address the history of postwar sculpture in the and Child with Saint John by an associate of Awards and Honors: Andrew W. Mellon United States, and in particular the increasing Michelangelo. Foundation, $1.5 million grant for “Time-based importance given to its spatial modes of address, media art conservation education and training.” in terms of the historical context in which such Philippe de Montebello News: Organizer, “It’s About Time! Building a New practices emerged, examining how these artistic Fiske Kimball Professor in the History and Culture Discipline: Time-Based Media Art Conservation,” practices and their accompanying discourses of Museums International Symposium, New York, 2018. operated within broader cultural ideals and Special Lectures: “Celebrating a Great Collector anxieties, particularly those related to the threat and his Domaine: The Duke d’Aumale and the Art of nuclear war and the annihilation of the human Collections at Chantilly,” New York, 2018; “The race. A third book project will consider the nexus 23 Faculty Updates CONTINUED of Hollywood cinema, street photography, and Center’s Drawing Papers (2015);“Noah Purifoy: A Gallery (2018); “Close Encounters with Edouard conceptual art through the prism of American Place To Go,” in Noah Purifoy: Junk Dada (2015); Duval-Carrié: A Quarter Century of Friendship liberalism in the 1970s. “In Conversation—Stanley Whitney and Lowery & Collaboration,” in De-Colonizing Refinement: Stokes Sims,” The Studio Museum in Harlem Contemporary Pursuits in the Art of Edouard Lowery Stokes Sims Magazine (2015); McArthur: Re:Mine, co-author Duval-Carrié (2018); “Esteban Lisa: from Margin Kirk Varnedoe Visiting Professor, Spring Semester, (2015). to Mainstream,” in Esteban Lisa: The Abstract 2018 Special Lectures: “From the US Side: The US/ Cabinet (2017); “Portuguese Art History: A View Publications: “Something to Say: Black Artists in Mexico Border: Place, Imagination and Possibility,” from North America and Observations on the Texas Collections” and “The Harmon and Harriet Albuquerque, 2018; “Restoring the Status of Portuguese Baroque,” Journal of Art Historiography Kelley Collection in Context,” in Something to Drawing in Painting: Drawings in the work of (2017); “Francisco Toledo: the 1970s – Creativity Say: The McNay Presents 100 Years of African Wifredo Lam,” Bethlehem, 2017; “Joyce J. Scott: and Consolidation” in Francisco Toledo (2017). American Art (2018); “Figuring It Out: History Chronicle of an Installation,” Hamilton, 2017; Special Lectures: “Landscapes and Cityscapes of Art and Many Other Things in the Art of Robert “Modern Heroics in Context: Art by African the Americas,” Abu Dhabi, 2018; “An Inevitable Colescott, Kerry James Marshall, and Mickalene Americans in America’s Museums,” Newark, Partnership: Art Museums, Libraries and Archives,” Thomas,” in Figuring History: Robert Colescott, 2017; “Image-Banking: A Life with Art and Phoenix, 2018; “Landscapes and Cityscapes Kerry James Marshall, and Mickalene Thomas Artists,” Lewiston, 2016; “Place, Materials and of the Americas, 1910-1960.” Houston, 2018; (2018); Mildred Thompson: Radiation Explorations Process: Design, Craft and Art in Latin America,” “Francisco de Zurbarán: The Colonial Context, and Magnetic Fields, co-author (2018); “Synthesis Albuquerque, 2016; “Commonwealth: Art by New York, 2018; “Mariano Fortuny en América,” and Integration in the Work of Howardena African Americans in the Collection of the MFA, Madrid, 2018; “Landscapes of Desire: The Pindell, 1972-1992: A (re)Consideration,” in Boston,” Boston, 2015; “Making It in America: Caribbean – Sugar, Enslavement and Colonialism,” Howardena Pindell: What Remains to be Seen African Americans and Craft,” Boston, 2015; Ithaca, NY, 2018; “Francisco Oller and Maestro (2018); “Chronicle of an Installation,” “Harriet’s “Lois Mailou Jones: From Designer to Artist,” Rafael Cordero: Revising Questions of Black Closet” and “Interview with Joyce Jane Scott,” in Washington DC, 2015. Identity and Transference in Late colonial Puerto Joyce J. Scott: Harriet Tubman and Other Truths Recent Honors & Awards: Honoree, “Trailblazers: Rico,” Cambridge, MA, 2018; “Pasión por el (2018); “Jaune Quick to See Smith: Remapping Women in the Arts,” Brooklyn Museum, 2016; coleccionismo: Mecenazgo norteamericano del arte the American Narrative,” in Jaune Quick to See Distinguished Service to the Visual Arts Award, laitno-americano, siglos XX, XXI,” Montevideo, Smith: In the Footsteps of my Ancestors (2017); ArtTable, 2017; Distinguished Feminist Award, 2017; “On Luis Buñuel’s ‘Exterminating Angel’ “Introduction,” and edited interviews in The US/ College Art Association, 2018. in a Mexican Context,” New York, 2017; “Samba Mexico Border: Place, Imagination and Possibility, Current Research: The career of the American as Metaphor: Performativity in Brazilian Art, (2017); “Black, Woman, Abstract Artist,” in painter Robert Colescott. 1960s-1990s,” keynote, Talahassee, 2017; “Between Magnetic Fields: Expanding American Abstraction, Toledo and Buenos Aires: Radical Modernity 1965 to Today (2017); “Wendell Castle: Here Edward J. Sullivan and the Mystic Cosmovision of Esteban Lisa and There, Then and Now,” in Wendell Castle Deputy Director; Helen Gould Sheppard Professor (1895-1983),” New York, 2017; “Esteban Lisa: Remastered (2015); “Epitaph For a Darling Lady: in the History of Art El Gabinete Abstracto,” Cuenca, 2017; “Lygia A Meditation by Stacy Lynn Waddell” in Stacy Publications: Processing: Paintings and Prints Pape: Past & Present,” New York, 2017; “Making Lynn Waddell: Epitaph for a Darking Lady (2015); by Roberto Juarez, exh. cat. (2018); Making the Americas Modern: Images of Nationhood “La modernism postmoderne de Wifredo Lam” in the Americas Modern: Hemispheric Art 1910- in the Caribbean and Central America, 1920- Wifredo Lam (2015); Commonwealth: Art by African 1960 (2018); The Americas Revealed: Collecting 1950,” Boston, 2017; “Philippine Modern Art: A Americans in the Museum of Fine Arts, Boston, Colonial and Modern Latin American Art in the Historical Perspective,” New York, 2017; “Frida (2015); “Richard Pousette-Dart’s Drawings in the United States, ed. and introductory essay (2018); Kahlo as Subject and Object in Contemporary 1930s: Context and Content,” in the Drawing Tangible Ambiguities: Paintings by Julio Larraz, Yohe Art,” Tucson, 2017.

24 Alumni Updates

1960s ...... 25 to ‘New Young Art Critic from the South,’” in and Nudes (2018); “May Sun: Site Metaphor and The History and Legacy of Samuel M. Kootz and the Excavated Histories,” Woman’s Art Journal (2016). 1970s ...... 25 Kootz Gallery (2017). Recent Honors & Awards: Innovative Pioneer Lectures: “An Ideal Job: My Five Years at the Kootz Award, ArtTable, 2016. 1980s ...... 27 Gallery, 1958-1963,” Charlottesville, 2017. Upcoming Projects: The Queen and I, An American Upcoming Projects: Continuing to work on book Curator in Tehran (Working title). 1990s ...... 29 about the art dealer Samuel M. Kootz. Jack Wasserman 2000s ...... 32 Merribell Parsons MA 1953 and PhD 1961 MA 1967 Primary Advisor: Richard Krautheimer 2010s ...... 35 Primary Advisor: Olga Raggio Mailing Address: 409 Pine St., Mailing Address: 486 E. Olmos Dr., Philadelphia, PA 19106 San Antonio, TX 78212 Email Address: [email protected] Email Address: [email protected] Latest Position: Professor Emeritus of Art History, 1960s Latest Position: Curator of European Art, San Temple University Antonio Museum of Art Publications: “Jacopo Pontormo’s Virgin and Ruth Butler Publications: Articles in San Antonio Museum of Child with Saint Anne in the Louvre,” Artibus et PhD 1966 Art Newsletter. Historiae (2017); “Mons sancti Laurentii: Problems Primary Advisor: H.W. Janson Upcoming Projects: Organization of traveling in the Construction of the Church of San Lorenzo Mailing Address: 975 Memorial Dr., exhibition The Evolution of Italian Bronze Sculptures. in Florence,” in San Lorenzo: A Florentine Church Cambridge, MA 02138 Additional News: I officially resigned from (2017). Email Address: [email protected] Museum post in October 2017. Upcoming Projects: The architecture of San Latest Position: Professor, University of Lorenzo in Florence, with focus on the Old Sacristy Massachusetts Boston Lucy Freeman Sandler and the Chapel of Cosmas and Damiano. Publications: Boston’s Bronze Men: Politics and PhD 1964 Public Sculpture, forthcoming. Primary Advisor: Harry Bober Mailing Address: 60 East 8th St. #19E, 1970s Victor Koshkin-Youritzin New York, NY 10003 MA 1967; Certificate in Museum Training 1969 Email Address: [email protected] William Barcham Primary Advisors: José López-Rey and Robert Latest Position: Helen Gould Sheppard Professor PhD 1974 Rosenblum of Art History, Emerita, New York University Primary Advisor: Donald Posner Mailing Address: 1721 Oakwood Dr., Publications: “The Howard Psalter in the British Email Address: [email protected] Norman, OK 73069 Library and the Hours of the Passion in Fourteenth Latest Position: Professor, Fashion Institute of Email Address: [email protected] Century English Manuscripts,” in Manuscripts, Technology, SUNY, retired 2010 Latest Position: David Ross Boyd Professor, Iconography, and the Late Medieval Viewer: Essays in Publications: Art and Faith in the Venetian History of Art, University of Oklahoma Honor of Adelaide Bennett Hagens (2017); “Seeing World: Venerating Christ as the Man of Sorrows (in Publications: CIA Calendar Art Offers A Glimpse Red: The Use of ‘Gules’ in the Pictorial Imagery contract); Jacopo da Montagnana’s Niche Fresco in S. into the World of Spies, exh.(2018); “A Tribute to of Fourteenth-Century English Manuscripts,” in Antonio, Padua: A Man of Sorrows Hidden in Plain America’s Combat Artists and Fighting Forces: Art Manuscripts in the Making: Art and Science (2017); Sight (forthcoming); Tiepolo’s Pictorial Imagination, From the U.S. Navy, Marines and Coast Guard at The Peterborough Psalter (2016); “The Peterborough Drawings for Palazzo Clerici (2017). the Mabee-Gerrer Museum of Art,” NPR (2016). Psalter in Brussels,” Friends of Peterborough Lectures: “Giambattista Tiepolo as Draftsman,” Recent Honors & Awards: Endowed scholarship Cathedral Journal (2016). Bloomington, 2016; “Tiepolo’s Chariot of the established in my honor: “The Victor Koshkin- Lectures: “Medieval Pictorial Typology: The Sun in the Palazzo Clerici, Milan: Drawings and Youritzin Scholarship in Art History,” School of Contribution of England,” New York and London, Pictorial Invention,” New York, 2016; “In volo nei Visual Arts, University of Oklahoma, 2016-present. 2017; “Religious Instruction and Devotional Study: cieli di Giambattista Tiepolo con dei, putti e satiri,” Additional News: Vice-President, Koussevitzky The Pictorial and the Textual in Gothic Diagrams,” Venice, 2016. Recordings Society, Inc., 1990-present; Jerusalem, 2016; “Seeing Red: The Use of ‘Gules’ Upcoming Projects: Study of drawings by Member, Advisory Board of Trustees and Member, in the Pictorial Imagery of Fourteenth-Century Giambattista Piazzetta and Alvise IV Mocenigo, Collections Committee, Mabee-Gerrer Museum of English Manuscripts,” Cambridge, 2016. future Doge of Venice. Art, Shawnee, Oklahoma, 2002-present. Donna Stein Robert Steven Bianchi Barbara Michaels MA 1965 PhD 1976 MA 1962 Primary Advisor: Robert Goldwater Primary Advisor: Bernard von Bothmer Primary Advisor: Robert Goldwater Email Address: [email protected] Mailing Address: 2032 Barracuda Ct., Email Address: [email protected] Latest Position: Deputy Director of The Wende Holiday, FL 34691 Latest Position: Independent writer on history of Museum of the Cold War Email Address: [email protected] art and photography Publications: “How a Former Museum of Modern Latest Position: Current Chief Curator and Publications: “Bringing Fiction to Life: Clarence Art Curator Assembled an International History Curator of Antiquities, Fondation Gandur pour H. White’s Photographic Illustrations,” in Clarence of Photography Collection for Iran in the 1970s,” l’Art, Geneva H. White and His World: The Art and Craft of in The Indigenous Lens: Early Photography in the Publications: “Portrait Sculpture in Ptolemaic Photography 1895-1925 (2017); “Introducing Sam Near and Middle East (2018); “Looking Back,” in Egypt,” in Beyond the Nile: Egypt and the Classical Kootz: From University of Virginia Law Student Only Human: Judy Dater 1964 to 2016 Portraits World (2018); “Divinités, sépultures et pratiques 25 Alumni Updates CONTINUED 1970s funéraires de l’Égypte Ancienne,” in Voyages en Patricia Karetzky Reform: Art in the Twelfth Century,” Knoxville, Égypte. Des Normands au pays des pharaons au xixe PhD 1979 2016; “Nineteenth-Century Revisionings of the siècle (2017); “Eine Büste Ramses II,” in Ramses. Primary Advisor: Roman Church Basilica,” Boston, 2016; “Rejection, Göttlicher Herrscher am Nil (2016); “Two Amulets Alexander Soper Distortion and Destruction at Santa Maria in in the Shape of Grasshoppers,” Journal of the Mailing Address: Trastevere,” Princeton, 2016; Society for the Study of Egyptian Antiquities (2016- 150 East 69th St. Upcoming Projects: Entry on Santa Maria in 2017); “Portret van een Egyptische dame,” Allard #10N, New York, Trastevere for the Corpus Cosmatorum. Pierson Mededelingen (2017); “A Group of Bronze NY 10021 Additional News: In 2016-2017 I was the Samuel Egyptianizing Ba-birds,” Chronique d’Égypte (2016). Email Address: H. Kress Professor at the Center for Advanced Lectures: “Pharaonic-Themed Sealings from the [email protected] Study in the Visual Arts, Washington. “Edfu Hoard,” Amsterdam, 2018; “How to look Latest Position: O. at Egyptian Art,” Los Angeles, 2018; “The Role Munsterberg Chair of Asian Art, Bard College Marilyn Aronberg Lavin of Curators in Museums and Research,” Chicago, Publications: “The Formation of a Daoist Pictorial PhD 1973 2017; “The Egyptian Collection of the Fondation Iconography in the Tang,” Journal of Daoist Studies Primary Advisor: H. W. Janson Grandur pour Art, Genève, Suisse and its (2017); “Amazing Grace: Contemporary Chinese Email Address: [email protected] Exhibition history,” Chicago, 2017; “Sculpture in Christian Art,” Yishu (2017); “Contemporary Art Latest Position: Retired. Native Egyptian Stones in Roman Contexts,” Pisa, by Chinese Diaspora in a Global Age,” East Asian Publications: “‘Avant-Garde’ in the Late Medieval 2017; “A Female Statuette in Bronze: A Hellenistic Journal of Popular Culture (2016); “‘Cui Xiuwen,’” Apse of Santa Maria in Trastevere,” Artibus et Sculptor’s Clever Understanding of the Nature of Yishu (2016); “Material Culture and Asian Historiae (2016) . Pharaonic Art,” Mannheim, 2017. Religions: Text, Image, and Object” (2016). Lectures: “The Surprising Duality of Sigismondo Lectures: “Foreign Influences in The Creation of Malatesta: Word and Image,” Los Angeles, 2018; William Hood Hāritī, The Buddhist Protector of Children,” in “Piero della Francesca, Painter/Mathematician: a PhD 1976 absentia, New Delhi, 2017; “Mara and the Faces of Gift,” Princeton, 2018; “Bernini’s Bust of Prospero Primary Advisor: Donald Posner Fear Along the Silk Road,” New Delhi, 2016; “The Farinacci,” Princeton, 2018; “‘Avant-Garde’ in the Mailing Address: 141 East 55th St. #6H, Formation of a Daoist Pictorial Iconography in the Late Medieval Apse of Santa Maria in Trastevere,” New York, NY 10022 Tang,” Taiwan, 2016; “The Impact of the Curriculum New Orleans, 2016. Email Address: [email protected] of Chinese Art Schools: Western Influences in Upcoming Projects: In press: “A Faun in Love: the Latest Position: Visiting Professor, Institute of Fine Chinese Contemporary Art,” Beijing, 2016. Bernini Statue in the Metropolitan Museum of Art, Arts Artibus et Historiae. Publications: “Fra Angelico’s Tears: Empathy and Dale Kinney the Rhetoric of Painting,” in Fra Angelico: Heaven MA 1967, PhD 1975 Vivian B. Mann on Earth (2018). Primary Advisor: Richard Krautheimer PhD 1977 Mailing Address: 427 Conshohocken State Rd., Primary Advisor: Harry Bober Eugene J. Johnson Bala Cynwyd, PA 19004 Mailing Address: 144 East 84th St. #5B, New MA 1963, PhD 1970 Email Address: [email protected] York, NY 10028 Primary Advisors: Latest Position: Eugenia Chase Guild Professor in Email Address: [email protected] Richard Krautheimer and the Humanities Emeritus, Bryn Mawr Latest Position: Director, MA Program in Jewish Wolfgang Lotz Publications: “Images of a Building: Santa Maria in Art & Visual Culture, the Jewish Theological Mailing Address: Art Trastevere,” California Italian Studies Journal (2016); Seminary Dept., Williams College, “Managed Memory in Santa Maria in Trastevere,” Publications: “The New in Medieval Jewish Art 15 Lawrence Hall Dr., in Monuments & Memory: Christian Cult Buildings & Architecture,” in The State of Jewish Studies: Williamstown, MA 01267 and Constructions of the Past (2016); “Patronage of Perspectives On Premodern Periods (forthcoming); Email Address: Art and Architecture,” in Pope Innocent II (1130- “A Set of Circumcision Implements,” in Objects [email protected] 43): The World vs the City (2016); “Trophies and in the Form of a Book. From Reliquary to Laptop Latest Position: Amos Orphans: The Use of Spolia Columns in Ancient Bag (forthcoming); “Textiles Travel: The Role of Lawrence Professor of Art, Williams College Churches,” Sacred Architecture (2016); “The Type of Sephardim in the Transmission of Textile Forms Publications: Williams College: The Campus the Triconch Basilica” and “Architectural Sculpture,” and Designs,” in From Catalonia to the Caribbean: Guide, with Michael Lewis (2018); Inventing the in The Red Monastery Church: Beauty and Asceticism The Sephardic Orbit from Medieval to Modern Opera House: Theater Architecture in Renaissance in Upper Egypt (2016); “Expanding the Christian Times: Essays in Honor of Jane S. Gerber (2018); and Baroque Italy (2018); “Mikveh Israel and Footprint: Church Building in the City and the “The First English Collectors of Judaica and Louis Kahn: New Information,” The Pennsylvania Suburbium,” in The Fifth Century in Rome: Art, their Dealers,” Images: A Journal of Jewish Art & Magazine of History and Biography (2016). Liturgy, Patronage (2017). Visual Culture (forthcoming); “Myer Myers and Additional News: Retired June 30, 2017, after 52 Lectures: “Liturgy and Community in Medieval the Spanish-Portuguese Synagogue Ledger,” in years of teaching at Williams. Trastevere,” Rome, 2017; “Twelfth-Century Apses Religious Materiality in the Early Modern World in Rome: Essays in Visual Communication,” Rome, (forthcoming); “De cultuur van de joden onder 2017; “Site, Space and Audience in the Visual het Huis van Oranje-Nassau. De zeventiende en Communication of Pope Innocent II (1130-43),” achttiende euw,” in Juden in het Huis van Oranje Aalborg, 2016; “Santa Maria in Trastevere: Historic (2018); “Decorating Synagogues in the Sephardi and Anachronistic,” Washington DC, 2016; Diaspora: The Role of Tradition,” in Synagogues “Interpretatio christiana? Gods in the Nave of of the Islamic World (2017); “Medieval Jewish Santa Maria in Trastevere (1139-1143),” Bochum, Marriage Rings and their Symbolism” (2016); 2016; “Art and Papal Politics in Twelfth-Century Lectures: “The First English Collectors of Judaica Rome,” Los Angeles, 2016; “Beyond Renewal is the and their Dealers,” (forthcoming); “Myer Myers 26 and the Spanish-Portuguese Synagogue Ledger,” Joyce Hill Stoner Amsterdam, forthcoming; “Textiles Travel: The MA 1970, Certificate in Conservation 1973 1980s Role of Sephardim in the Transmission of Textile Primary Advisor: Larry Majewski Lynne Ambrosini Forms and Designs,” Leiden, forthcoming; “A Mailing Address: c/o Winterthur Museum, PhD 1989 Set of Circumcision Implements,” Munich, Winterthur, DE 19735 Primary Advisor: Robert Rosenblum forthcoming; “The New in Medieval Jewish Art & Email Address: [email protected] Mailing Address: Taft Museum of Art, 316 Pike Architecture,” Berlin, forthcoming; “De cultuur Latest Position: Rosenberg Professor of Material St., Cincinnati, OH 45202 van de joden onder het Huis van Oranje-Nassau. Culture, University of Delaware Email Address: [email protected] De zeventiende en achttiende euw,” Amsterdam, Publications: “Powerful Personalities and Pioneers Latest Position: Deputy Director and the Sallie 2018; “Decorating Synagogues in the Sephardi of Painting Conservation: from the FAIC Oral Robinson Wadsworth Chief Curator at the Taft Diaspora: The Role of Tradition,” Edinburgh, History Project,” in The Picture So Far (2017); Museum, Cincinnati 2017; “Medieval Jewish Marriage Rings and their “Art History, Science and Practice: the Training of Publications: “Foreword,” in Old Paris and Symbolism,” New York and New Haven, 2016. Painting Conservators in the Twentieth Century,” Changing New York: Photographs by Eugène Atget Upcoming Projects: Lecture: “Myer Myers and The Burlington Magazine(2017); “Embedded and Berenice Abbott (2018); “Preface: Daubigny the Ledger of the Spanish-Portuguese Synagogue of Meanings: The Last Tempera,” in Andrew Wyeth: In at 200 Years,” in Charles François Daubigny: Aux New York,” AJS Annual Conference, Boston, 2018; Retropsect (2017). Sources de l’Impressionnisme (2017); Daubigny, Article: “A Suite of 17th-Century Venetian Textiles Additional News: I have been asked to present the Monet, Van Gogh: Impressions of Landscape (2016). for a Synagogue.” keynote address on the History of the Conservation Lectures: “Beholding the American Nude: Painting of Rembrandt Paintings in November 2018 at the versus Sculpture,” Bentonville, 2018. Doralynn Pines Rijksmuseum. The Editors of Routledge books have Recent Honors & Awards: Getty Leadership MA 1972, Certificate in Museum Training 1973 asked me and co-editor Rebecca Rushfield to look Institute (GLI), Executive Education for Museum Email Address: [email protected] into revising and updating Conservation of Easel Leaders, Getty Foundation and Peter Drucker and Latest Position: Associate Director for Paintings, our 79-author, 889-page book originally Masatoshi Ito Graduate School of Management, Administration, The Metropolitan Museum of Art published in 2012; it has apparently sold well. Claremont Graduate University, Claremont, CA, Publications: Entries in Gothic Sculpture in June, 2017; Museum Professional of the Year, Ohio America (2016). Phyllis Tuchman Museums Association, 2016; Distinguished Career Additional News: Doralynn Pines has joined The MA 1973 Award, Association of Midwest Museums, 2016; Development Consulting Group in its executive Primary Advisors: Robert Goldwater, William S. Best Exhibition Catalogue, Daubigny, Monet, Van search division: https://thedevconsultgroup.com/ Rubin, and Gert Schiff Gogh, Ohio Museums Assoc., 2016. doralynn-pines. Mailing Address: 340 East 80th St. #14K, New Additional News: Exhibitions: Paris to New York: York, NY 10075 Photographs by Eugène Atget and Berenice Abbott, Ellen C. Schwartz Email Address: [email protected] Taft Museum of Art, with guest curator Kevin MA 1973, PhD 1978 Publications: Articles and reviews in the New Moore, opening this fall, October 6, 2018–January Primary Advisor: Hugo Buchthal York Times, Artforum, and artnews.com; exhibition 20, 2019; Daubigny, Monet, Van Gogh: Impressions Mailing Address: 1805 Ivywood Dr., Ann Arbor, catalogue essays, among others, on Mary of Landscape, Taft Museum of Art, with National MI 48103 Weatherford (David Kordansky Gallery, LA); John Galleries of Scotland, Edinburgh, and Van Gogh Email Address: [email protected] McLaughlin (Van Doren Waxter Gallery, NYC). Museum, Amsterdam; February 19–May 29, 2016. Latest Position: Professor of Art History, School of Lectures: “Herbert Ferber,” Hartford, 2018; “John Total attendance: 348,000. Art & Design, Eastern Michigan University McLaughlin,” New York, 2018. Lectures: “Art of Constantinople,” New York, 2016. Andrea Chevalier Upcoming Projects: Oxford Handbook of Byzantine Carolyn C. Wilson MA Art History, Certificate Art and Architecture, ed. MA 1970, PhD 1977 in Conservation 1988 Additional News: I am involved with a whole- Primary Advisor: Colin Eisler Primary Advisor: whole project entitled, “Dear Womanhouse, what Mailing Address: 2222 Goldsmith St., Houston, Lawrence Majewski now?” This was inspired by my seminar on feminist TX 77030 Mailing Address: 10301 art of the 70s and 80s. This was my last term; I Email Address: [email protected] Lake Ave. #717, Cleveland, have just retired after 41 years of teaching. Latest Position: University of Houston, faculty OH 44102 affiliate, 2010 Email Address: Eric Silver Publications: “Giovanni Bellini’s Lamentation achevalier@ica- MA 1972 Altarpiece for Santa Maria dei Servi in Venice: artconservation.org Primary Advisor: Colin Eisler Observations and Two Proposals,” in Padua and Latest Position: Director Mailing Address: 124 East 85th St. #1A, Venice: Transcultural Exchange in the Early Modern of Conservation, ICA-Art Conservation, Cleveland New York, NY 10028 Age (2017); “The Image of Saint Joseph in a Selection Additional News: A colleague and I have worked Email Address: [email protected] of Colonial Paintings in Bolivian Collections,” in at the State Capitol of Missouri in Jefferson City Latest Position: Director, Lillian Nassau LLC The Art of Painting in Colonial Bolivia/El arte de la to assess and treat murals from the 1920’s and Additional News: I have been an appraiser on the pintura en Bolivia colonial (2017). 1930’s. In the fall, I worked on the Thomas Hart PBS program Antiques Roadshow for the past 22 Lectures: “Moving Forward: Bellini’s Pesaro Benton mural cycle, The Social History of Missouri. years as a specialist in sculpture. Altarpiece in View of New Advances,” Venice, 2016. The tempera paintings are in excellent condition and needed only minor work. We will continue conservation work on additional murals in the coming years.

27 Alumni Updates CONTINUED 1980s

Alan Darr Lectures: “László Moholy-Nagy,” Los Angeles, 2017; Publications: Robyn O’Neil: 20 Years of Drawing MA 1975, Certificate in Museum Training 1976, “Moholy-Nagy: Present Future,” New York, 2016. (2017); “Asia through Contemporary Eyes: Ph.D. 1980 Recent Honors & Awards: Honorable Mention, Highlights from the Collections of the Museum of Primary Advisors: Kathleen Weil-Garris Brandt, Association of Art Museum Curators (AAMC) Fine Arts, Houston,” Arts of Asia (2016); John Pope-Hennessy, and Colin Eisler Publication Award for Excellence, for “Moholy- Lectures: “Pipilotti Rist: Pixel Forest and Worry Mailing Address: Detroit Institute of Arts, 5200 Nagy: Future Present,” 2017. Will Vanish,” Houston, 2017; “Ron Mueck,” Woodward Ave., Detroit, MI 48202 Upcoming Projects: Betye Saar: Call and Response, Houston, 2017; “Statements: African American Email Address: [email protected] forthcoming exhibition and publication, Los Art from the Museum’s Collection,” Houston, Latest Position: Senior Curator of European Angeles County Museum of Art (2019); Light, 2016; “Yayoi Kusama: At the End of the Universe,” Art and Walter B. Ford II Curator of European Space, Surface: Southern California Art from Houston, 2016. Sculpture and Decorative Arts at the Detroit LACMA’s Collection, forthcoming exhibition and Upcoming Projects: Over the next two years I Institute of Arts publication, traveling to three venues in the U.S. will be working with director Gary Tinterow, the Publications: “Reconsidering Pietro Torrigiani’s (2021-22). MFAH Senior management team, and fellow Three Polychromed Terracotta Portrait Busts,” Additional News: In addition to co-organizing curators to oversee the planning and installation of in Encountering the Renaissance: Celebrating Gary (with the Guggenheim and the Art Institute of our modern and contemporary collections in our M. Radke and 50 Years of the Syracuse University Chicago) the retrospective Moholy-Nagy: Future new 164,000 sq. foot gallery building, designed by Graduate Program in Renaissance Art (2016); Present (2016-17), I organized An Irruption of Steven Holl Architects, and opening in 2020. “Recent Acquisitions (2007-15) of European the Rainbow: Color in Twentieth-Century Art for Sculpture and Decorative Arts at the Detroit LACMA (2016-17). Julia P. Herzberg Institute of Arts,” The Burlington Magazine(2016). PhD 1987 Lectures: “The Legacy of William Valentiner in Wayne Franits Primary Advisors: Gert Schiff and Shaping the Display of European Sculpture in PhD 1987 Jonathan Brown American Museums, 1900-Present: Case Studies,” Primary Advisor: Egbert Mailing Address: 1150 Park Ave. #5A, New York, New York, 2017; “The Role of Sculpture in Haverkamp-Begemann NY 10128 French Decorative Arts: Case Studies of Notable Mailing Address: Email Address: [email protected] Acquisitions at the Detroit Institute of Arts,” Dept. of Art & Music Latest Position: Adjunct curator at the Patricia and Paris, 2016; “A Decade of Notable Acquisitions Histories, Syracuse Philip Frost Art Museum of European Sculpture and Decorative Arts at the University, Suite 308 Bowne Publications: “Past – Present: Conversations with Detroit Institute of Arts,” Detroit, 2016. Hall, Syracuse, NY 13244 María Lau and Katarina Wong,” in Circles and Recent Honors & Awards: Recent exhibitions and Email Address: Circuits: Chinese Caribbean Art (2017). installations curated at the DIA: Lead Curator of [email protected] Additional News: Contributing and consulting the Detroit venue for The Edible Monument: The Latest Position: editor for Arte al Día International, Miami, Florida Art of Food for Festivals, with the Getty Research Distinguished Professor of Art History (since (2005 to present); editor of Special Section on Institute, Los Angeles; Lead Curator of the Detroit February 2017), Syracuse University “Pacific Standard Time: LA/LA” for www.artealdia. venue for Make a Joyful Noise: Renaissance Art and Publications: Godefridus Schalcken; A Dutch com (2017-2018). Music from Florence Cathedral. Painter in Late Seventeenth-Century London (2018); Upcoming Projects: Various publications on The Ashgate Research Companion to Dutch Art of the Lynn Jacobs the Legacy of William Valentiner in America, Seventeenth-Century, ed. (2016). PhD 1986 and publications on recent DIA acquisitions of Lectures: “Schalcken in Eighteen-Century Britain: Primary Advisor: European Sculptures and Decorative Arts. His Reputation and its Vicissitudes,” Glasgow, Colin Eisler 2017; “Dutch Genre Painting, 1976 - 2016 and Mailing Address: Carol Eliel Beyond,” The Hague, 2016; School of Art 116 FNAR, MA 1979, “Hendrick ter Brugghen’s Paintings of the University of Arkansas, PhD 1985 Crucifixion in New York and Turin and the Fayetteville, AR 72701 Primary Problem of his Early Chronology,” London, 2016; Email Address: Advisor: “Schalcken in London: Self-Portraiture as Self [email protected] Robert Promotion,” Cologne, 2016. Latest Position: Distinguished Professor, Rosenblum Recent Honors & Awards: Book publication University of Arkansas Email subvention, Paul Mellon Centre for Studies Publications: Thresholds and Boundaries: Liminality Address: in British Art, London, 2017; appointed in Netherlandish Art (1385-1530) (2017); [email protected] Distinguished Professor of Art History at Syracuse “Strategies of Intimacy: Memling’s Triptych of Latest Position: Curator of Modern Art, Los University, 2017. Adriaan Reins,” in The Primacy of the Image in Angeles County Museum of Art Northern European Art, 1400-1700: Essays in Honor Publications: “The Spirit of Experimentation: Alison de Lima Greene of Larry Silver (2017); “Inside/Outside: Bosch’s Barbara Kasten and László Moholy-Nagy,” Leonardo MA 1981 Triptych of the Crucified Martyr (Wilgefortis (2017); “Artists on Art” www.lacma.org/artistsonart Primary Advisors: Kirk Varnedoe and Gert Schiff Triptych),” in Jheronimus Bosch: His Life and Work (2016-17); Moholy-Nagy: Future Present, ed., with Mailing Address: Museum of Fine Arts, Houston, (2016); “The Thresholds of the Winged Altarpiece: Matthew S. Witkovsky (2016); “John Altoon, P.O. Box 6826, Houston, TX 77265 Altarpiece Exteriors as Liminal Spaces,” in Untitled (Sunset series),” in 75 in 25: Important Email Address: [email protected] Klappeffekte: Faltbare Bildträger in der Vormoderne Acquisitions at the Santa Barbara Museum of Art, Latest Position: Isabel Brown Wilson Curator of (2016). 1990-2015 (2016). Modern and Contemporary Art, Museum of Fine Upcoming Projects: Currently writing a book on Arts, Houston German Painted Triptychs of the Fifteenth Century. 28 Barbara Matilsky Anthony, to be located in Central Park in 2020 to Innovator: Escaping the Fury,” in Women Artists in ENDANGERED SPECIES MA 1977, PhD 1983 ARTISTS ON THE FRONT LINE OF BIODIVERSITY mark the 100th anniversary of the passing of the Paris (2017); twelve entries on modern sculpture in Primary Advisor: Robert 19th Amendment. Unfinished: Thoughts Left Visible (2016). Rosenblum Lectures: “Rodin, Steichen, and the Pursuit of Email Address: Suzanne Stratton-Pruitt Creative Genius,” New York, 2017; “Auguste [email protected] PhD 1983 Rodin, Camille Claudel, and Influence Undone,” Latest Position: Curator Mailing Address: 451 West Broadway, Brooklyn, 2018; “Rivalry and Resolve: Marie of Art, Whatcom Museum New York, NY 10012 Bashkirtseff and Louise Breslau in Late Nineteenth- Upcoming Projects: Email Address: [email protected] Century Paris,” Williamstown, 2018. Exhibition and Publications: The Art of Painting in Colonial Bolivia/ accompanying catalog, El arte de la pintura en la Bolivia colonial (2017). Jennifer Blessing Endangered Species: Artists on the Front Line of MA 1990 Biodiversity, September 8, 2018- January 6, 2019. Primary Advisors: Kirk Varnedoe and Linda Additional News: Received a major grant from the 1990s Nochlin National Endowment for the Arts for “Endangered Email Address: [email protected] Species: Artists on the Front Line of Biodiversity.” Michaël Amy Latest Position: Senior Curator, Photography, MA 1989, PhD 1997 Guggenheim Museum; Visiting Critic, Yale Harriet F. Senie Primary Advisor: Kathleen Weil-Garris Brandt University PhD 1981 Mailing Address: College of Art and Design, Publications: “Mother, Muse, Mirror,” The New Primary Advisor: Kathleen Rochester Institute of Technology, 73 Lomb Yorker (2016); “Empathic Mirroring: Tra0nsition Weil-Garris Brandt Memorial Dr., Rochester, NY 14623 and Transformation in Rineke Dijkstra’s Portraits Mailing Address: 64 East Email Address: [email protected] of Girls and Young Women,” in Rineke Dijkstra: 94th St. #3E, New York Latest Position: Professor of Art History, RIT Women (2017); “Rrose is a Rrose Revisited,” NY 10128 Publications: “Double-Takes: A Conversation with Aperture (2017). Email Address: hfsenie@ Alisa Baremboym,” Sculpture (2018); “The Missing Lectures: “Rrose Reconsidered,” New York, gmail.com Are Presumed Dead,” in Olivier Masmonteil (2018); 2016; “‘Io mescolo tutto’: Gina Pane’s Feminist Latest Position: Director, “Gravity’s Pull: A Conversation with Mathilde performances in Italy, 1973-78,” New York, 2017; MA, Art History/Museum Roussel,” Sculpture (2017); “The Dance of Beauty “Photo-Poetics,” Chicago, 2018. Studies, City College and Failure: A Conversation with Michelle Segre,” Upcoming Projects: Gillian Wearing survey Publications: Museums and Public Art?, ed., with Sculpture (2017); “The Ones Who Are Left Behind: exhibition and catalogue (2020). Cher Krause Knight (2018); A Companion to Public A Short History of Lamentation in Western Art,” Art, ed., with Cher Krause Knight (2016). in Icons in Ash (2016); “An Empire of Signs,” in Andrew Clark Lectures: “Teachable Monuments: Using Public Pintomeira: Painting, Photography (2016); “Robert MA 1973, PhD 1992 Art to Spark Dialogue and Address Controversies,” Gober: Ordinary Ambiguity,” Sculpture (2016); Primary Advisor: Dietrich von Bothmer Los Angeles, 2018. “From Brussels to New York: The Journey of an Email Address: [email protected] Upcoming Projects: Through Teachable International Art Historian” in VUB Today (2016); Publications: Translator, The François Vase: Rex Monuments, an initiative I started after the last “Esther Naor: The Raft of Memory” in Esther Naor: Vasorum, The King of Vases by M. Iozzo (2018). election, developing educational programs and Aftermath (2016). materials for the Memorial to Elizabeth Cady Lectures: “Paintings About Power,” Gettysburg, Aruna D’Souza Stanton and Susan B. Anthony. My current book 2018; “The Introduction of Modern Design into MA 1994, PhD 1999 project, Memorials in a Post-Heroic Age, will 20th and 21st Century European and American Primary Advisor: Linda Nochlin have chapters tentatively titled: “Eradicating the Art,” Ferrara, 2017; “Alberto Burri: Reinventing Email Address: [email protected] Past: A Presentist Approach” that will consider Painting,” Rochester, 2017; “Paintings Within Latest Position: Writer current controversies centering on Confederate Italian Baroque Paintings,” Rochester, 2016; Additional News: My new book, Whitewalling: memorials, Christopher Columbus, Theodore “Cubism: Making History,” Rochester, 2016. Art, Race, and Protest in 3 Acts will be published by Roosevelt, and Dr. Sims; “The Drive to Re- Recent Honors & Awards: Contributing Editor, Badlands Unlimited/Artbook DAP in May 2018. enactment: Commemorating Terrorist Attacks” “Sculpture” since August 2017. that will explore the strategy and significance of Upcoming Projects: Essays on Lee Bul, Michael Loretta Howard re-enactment seen in memorials and museums Taylor, Johan Tahon, Pavel Romaniko, Cathy dedicated to the Oklahoma City bombings Wilkes, Florentine paintings in Munich, Sarah and the 9/11 attack on New York, as well as Lucas, and Bruce Nauman. others; “Expanding the Canon” that considers representations of women and individuals of Jane R. Becker ethnicities other than those that have been valorized MA 1992, PhD 1998 thus far; and “Artist Overlays” that analyzes Primary Advisor: Linda Nochlin various projects in which artists reanimate existing Mailing Address: 21 Round Hill Rd., Scarsdale, memorials, such as Krzysztof Wodiczko’s Bunker NY 10583 Hill and Abraham Lincoln projections. Email Address: [email protected] Additional News: Recently I served on the Mayor’s Latest Position: Collections Management Advisory Commission on City Art, Monuments, Associate, European Paintings, The Metropolitan MA 1997 and Markers, as well as the selection panel for the Museum of Art Primary Advisor: Jean-Louis Cohen Memorial to Elizabeth Cady Stanton and Susan B. Publications: “Marie Bracquemond, Impressionist Mailing Address: Loretta Howard Gallery 29 Alumni Updates CONTINUED 1990s

521 West 26th St., New York, NY 10001 Boston, 2018; “Texts and Material Culture in Roxana Marcoci Email Address: [email protected] Bronze Age Greece,” Tampa, 2017; “Minoan Haute PhD 1998 Latest Position: Loretta Howard Gallery Couture: Replicas of Minoan Textiles and Clothes Additional News: Curated multiple exhibits, and their Impact on Material Culture,” Berlin, including: Roberto Caracciolo: Something Quiet, 2017. 2018; Kikuo Saito: Resonant Tension, 2018; Friedel Recent Honors & Awards: The Institute for Dzubas: Gestural Abstraction, 2018; Richard Aegean Prehistory Grant for participation in Anuszkiewicz: Translumina Series, 2018; Expanding conference and exhibition, The Influence of Minoan Space: Ronald Bladen, Al Hed, Yvonne Rainer, Culture on Modern Garment and Ornament, at George Sugarman, 2017; Nicolas Carone: Imaginary the Herakleion Museum, 2018; The Institute Portraits, 2017; Shirley Goldfarb: Painting Paris, for Aegean Prehistory Grant for participation in 2017; Cleve Gray: Abstracted Calligraphie, 2017; exhibition Countless Aspects of Beauty in Ancient Edward Dugmore: The 1960s, 2017; Jean Dubuffet Art at the Athens National Archaeological Museum, & Larry Poons: Material Topographies, 2017; Where 2018-2019. Primary Advisor: Kirk Varnedoe Sculpture & Dance Meet: Minimalism 1961-1979, Upcoming Projects: Book: Crowns of Distinction: Mailing Address: 11 West 53 St., 2016; Washington Color Painters Reconsidered, 2016. Headdresses of the Aegean Bronze Age. New York, NY 10019 Recent Honors & Awards: Board Member, Mead Email Address: [email protected] Art Museum at Amherst College. Ethan Matt Kavaler Latest Position: Senior Curator, Department of PhD 1992 Photography, MoMA Bernice Jones Primary Advisor: Publications: “Photography from the Studio Egbert to the Moon,” in Bruce Nauman: Disappearing Haverkamp-Begemann Acts (2018); “Dominique Gonzalez-Foerster and Mailing Address: Roxana Marcoci in Conversation,” Mousse (2018); Dept. of Art History, “Gillian Wearing Performs the Doppelgänger,” in 100 St. George St., Document Journal (2018); Louise Lawler: WHY Toronto, ON PICTURES NOW (2017); “Burton on Brancusi,” M5S 3G3 Mousse (2017); Interview with Stan Douglas, in Email Address: matt. Stan Douglas (2017); “Artist Francesco Vezzoli [email protected] Uncovers the Radical Images of Lisetta Carmi with Latest Position: Director of the Centre for MoMA’s Roxana Marcoci,” in Document Journal Reformation and Renaissance Studies and Professor (2017); Photography at MoMA: 1840-1920 (2017); of Art History, University of Toronto “Modern Women: Talking with Curators Marta MA 1979, PhD 1998 Publications: Netherlandish Culture of the Sixteenth Gili, Julie Jones & Roxana Marcoci,” in Aperture Primary Advisors: Guenter Kopcke and Evelyn Century, ed. with A.-Van Bruaene (2017); (2016); “Sara VanDerBeek in Conversation with Harrison “Mapping Time: The Carved Netherlandish Roxana Marcoci,” in Sara VanDerBeek (2016); Mailing Address: 6730 West Country Club Lane, Altarpiece in the Sixteenth Century,” “Power and Photography at MoMA: 1920 to 1960 (2016). Sarasota, FL 34243 Performance: The Bruges Mantelpiece to Charles Lectures: “The Re-Presentation of Louise Lawler’s Email Address: [email protected] V,” and“Netherlandish Sculpture of the Sixteenth Work,” Cincinnati, 2017; “A Revolutionary Latest Position: Ringling College of Art and Century: A Recovery,” in Netherlandish Sculpture Impulse: The Rise of the Russian Avant-Garde,” Design, Department of Liberal Arts, Adjunct of the Sixteenth Century (2017) “Pieter Bruegel, New York, 2017; “August Sander: the Painters,” Faculty in Art History, Fall 2008 – Spring 2010. Bernard van Orley, Realism and Class,” Simiolus New York, 2016. Publications: “Costumes of Beauty,” in The (2017); “Prayer Nuts and Early Modern Sculpture Recent Honors & Awards: Photography at MoMA: Countless Aspects of Beauty in Ancient Art (2018); in the Netherlands,” in Prayer Nuts, Private 1920 to 1960 (2016) received an award from the “The Costume of Ayia Irini Statue 1-1” and Devotion and Early Modern Art Collecting (2017). American Association of University Presses. “Terracotta Statues from Ayia Irini, Kea: An Lectures: “Sacred Theatre: Netherlandish Upcoming Projects: Art and Theory of Post-1989 Experimental Replication,” in Cycladic Archaeology Sculpture in Time and Space,” Louvain-le-Neuve, Central and Eastern Europe: A Critical Anthology and Research: New Approaches and Discoveries 2017; “Rulers on Display: Netherlandish Tombs (forthcoming June 2018); co-curating the new (2018); “The Three Minoan ‘Snake Goddesses’,” for Central European Rulers.” Ghent, 2017; contemporary galleries at MoMA (2019). in Studies in Aegean Art and Culture: A New York “Performance and Political Agency: the Bruges Additional News: Directing the Central and Aegean Bronze Age Colloquium in Memory of Ellen Mantelpiece to Charles V,” Munich, 2017. Eastern Europe section of C-MAP (Contemporary N. Davis (2016); “A New Reading of the Fresco Recent Honors & Awards: Doctor Honoris Causa, and Modern Art Perspectives) in a Global Age at Program and the Ritual in Xeste 3, Thera,” in University of Liège, 2018. MoMA; directing the Forums on Contemporary METAPHYSIS: Ritual, Myth and Symbolism in the Upcoming Projects: Plastic, Present: Netherlandish Photography at MoMA, which I co-founded in Aegean Bronze Age (2016). Sculpture of the Sixteenth Century; The Spencer 2010 as an experimental platform for discussions Lectures: “Minoan Haute Couture: The Herakleion Album: Drafting Netherlandish Sculpture. about still and moving images in the 21st century. Archaeological Museum,” Herakleion, 2018; “Haute Couture in Ancient Greece: The Costumes Tom McDonough of Ariadne and Helen of Troy,” Melbourne, 2018; MA 1993, PhD 1998 “The Dress on the New Tiryns Fresco, Linear B Primary Advisor: Linda Nochlin Reflections, and the Hagia Triada Sarcophagus,” Email Address: [email protected] Boston, 2018; “Terracotta Statues from Ayia Irini, Latest Position: Associate Professor, Kea: an Experimental Replication, with E. Hasaki,” Binghamton University 30 Publications: “Foreword,” in Julien Besançon, 2017; “Art of Deception: Jews, Aryans and Art,” Made Art and Made History,” Chautauqua, 2017; The Walls Have the Floor: Mural Journal, May New York, 2016. “Women, Art and History,” Honolulu, 2017; ‘68 (2018); “Haegue Yang’s Amphibological Recent Honors & Awards: National Endowment “Authors on Art and Otherness,” Pleasanton, 2017; Sculpture,” in Haegue Yang: Lingering Nous (2017); for the Humanities, Summer Research Stipend, “Women Artists of the Past/The Future is Female,” Boredom (2017); “BLACK DADA MIME,” in 2017. Berkeley, 2017; “Female Trouble,” Los Angeles and Adam Pendleton: Black Dada Reader (2017); Upcoming Projects: MS. in progress on San Diego, 2017; “Women, Art & Power,” Palo “Extraterritorial,” in Silke Otto-Knapp Florian propaganda/art exhibits held at the Künstlerhaus in Alto, 2017; “Name One Great Woman Artist: A Pumhösl: Ratio of Distance (2017); “The Cacodylic Nazi Vienna. Case History,” San Francisco, 2017; “You Say You Mind: Francis Picabia and the Neo-Avant-Garde, Additional News: Curator: The Enslaved Children Want a Revolution: Female Painters, the French 1953-1963,” in Breathless Days, 1959-1960 (2017); of Lake Volta: Evan Robbins and Breaking the Chain Revolution & the Fallacy of Connoisseurship,” “Dispersal-Dissemination-Monumentality,” in Through Education, Nancy Dryfoos Gallery, Human Arlington, 2017; “The Margins,” San Francisco, Danh Vo: Wād al-ḥaŷara (2016); “Nouvelles formes Rights Institute, Kean University, 2016. 2016; “Mistakes Were Made,” San Francisco, 2016. de communauté et conférences situationnistes,” in Recent Honors & Awards: 2018 Amelia Bloomer Lire Debord (2016); “T. J. Clark et le renouveau Jennifer Perry List, a project of the Feminist Task Force, American de l’histoire sociale de l’art,” in Histoires sociales de MA in Art History and Diploma in Conservation, Library Association; Amazon Top Pick: Best Art & l’art—Une anthologie critique (2016);“Common 1993. Photography Books 2017; Publishers Weekly Top Places Ready Made,” in Matt Keegan (2016); “Sans Primary Advisor: Margaret Holbein Ellis 10 for Memoir & Biography, Spring 2017; 35 Over spectacle, sans drame: de la représentation de la Mailing Address: Dept. of Asian Art, Metropolitan 35, 2017 notable debut authors over age 35. violence dans l’oeuvre d’Adel Abdessemed,” in Adel Museum of Art, 1000 Fifth Ave., New York, NY Upcoming Projects: I’m currently working on Abdessemed par... (2016). 10028 a book titled Suffragist City, an account of the Lectures: “Comments on the Political Dialectics Email Address: [email protected] extraordinary women (and some men) who of the Opacity of the Sign,” Geneva, 2018; “On Latest Position: Mary and James Wallach Family secured the vote for women in America, and what Boredom in Architecture: A Dialogue with Henry Conservator of Japanese Art, The Metropolitan happened next. As a hat tip to the one hundredth Sussman,” New Haven, 2018; “Crowds without Museum of Art anniversary of the 19th Amendment in 2020, it Company,” Philadelphia, 2017; “Decivilizing Publications: Marco Leona and Jennifer Perry, includes work by one hundred women artists. Rituals,” New York, 2017; “. . . speaking to absent “Beneath the Blue: A Scientific Analysis of Korin’s things: Amie Siegel’s Films” London, 2017. Irises at Yatsuhashi,” Impressions: The Journal of the Kathleen Ryor Recent Honors & Awards: Scholar in residence, Japanese Art Society of America (2016). MA 1988, PhD 1998 Académie de France à Rome/Villa Medici. Primary Advisor: Jonathan Hay Upcoming Projects: Essays on Iñaki Bonillas, Bridget Quinn Email Address: [email protected] Theaster Gates, Philippe Parreno, Mario Garcia MA 1991 Latest Position: Tanaka Memorial Professor of Torres, Christopher Williams. Primary Advisor: International Understanding and Art History, Robert Rosenblum Carleton College Laura Morowitz Mailing Address: Publications: “Style as Substance: Literati Ink PhD 1996 655 Spruce St., Painting and Buddhist Practices in Late Ming Primary Advisor: Robert Lubar San Francisco, CA 94118 Dynasty China,” in Domestic Devotions in the Early Mailing Address: 38 Morningside Rd., Email Address: Modern World (2018). Verona, NJ 07044 [email protected] Lectures: “The 100 Flowers and Myriad Things: Email Address: [email protected] Latest Position: Author/ Flower Cultivation as Cosmo in the Mid-Late Latest Position: Professor of Art History, Independent Scholar Ming,” Vancouver, 2018. Wagner College Publications: “Looking for Women’s Voices—and Upcoming Projects: Annotated translation of Publications: “The Arcades Project, Copia, and the Stories—at ‘Her Paris,’” msmagazine.com (2018); He Liangjun’s “On Painting” and interpretative American Consumer,” Cultural Critique (2018); Broad Strokes: 15 Women Who Made Art and Made essay (submitted for publication); co-director of “From l’Expositon des primitifs français to Les History (in That Order) (2017); “Rest in Power: the Carleton Humanities Center Faculty Research primitifs allemands: French Discourse on the Remembering Linda Nochlin’s Revolutionary Seminar for 2018-19: “What is a Text? What is primitifs 1904-1910,” in Primitive Renaissances: Retelling of Art History,” msmagazine.com (2017); an Author?”; for fall 2018 designing and teaching Northern European and Germanic Art at the Fin de “Why Edvard Munch Began Painting Portraits of experimental course combining art history and studio Siècle to the 1930s (2018); “Regarder vers le haut. the Soul,” Hyperallergic (2017); “Broad Strokes: practice on the arts of the Japanese tea ceremony. Le Conquête de l’air et le future de l’homme,” in An Essay,” Narrative Magazine (2017); “Alice Additional News: I was the co-director of the Par-delà le cubisme: Études sur Roger de La Fresnaye, Neel: How to Persevere and Live the Artist’s Life,” Carleton Global Engagement Initiative, an suivies de correspondances de l’artiste (2017); “Heil Lithub.com (2017). $800,000 grant from the Mellon Foundation from the Hero Klimt: Nazi Aesthetics in Vienna and Lectures: “She Persisted: Bold Women Artists,” Jan. 2014 to December 2017. I will be leading a the 1943 Gustav Klimt Retrospective,” Oxford Art Nevada City, 2018; “Women Writing in the Age workshop on Chinese ink painting at the Freer Journal (2016). of #MeToo,” Honolulu, 2018; “Stanford Authors Gallery of Art in 2018. Lectures: “Expropriated Art and Erased Memory: Breakfast with Broad Strokes,” Palo Alto, 2018; The 1943 Gustav Klimt Retrospective in Anschluss “Sahba Salon: One Woman Artist,” San Francisco, Paul Stanwick Vienna,” Pittsburgh, forthcoming 2018; “Ostmark 2018; “Matrons of Art,” Raleigh, 2018; “Broad PhD 1999 as Bulwerk: Austrian Mountains and the East in Strokes Book Talk,” Toledo, 2017; “Book Talk with Primary Advisor: David O’Connor the Nazi Imaginary” Burlington, forthcoming Bridget Quinn,” San Francisco, 2017; “Graphically Email Address: [email protected] 2018; “Alt-Deutsch and Avant-Garde: The Prints Inclined: Books to Look At,” San Francisco, Additional News: Appointed to Board of of Josef Sattler,” Amsterdam, 2017; “Erasures and 2017; “Creative Writing and Writing About Art,” Governors for the American Research Center in Eradications in Viennese Modernism,” New York, Belmont, 2017; “Broad Strokes: Women Who Egypt in April 2018. 31 Alumni Updates CONTINUED 1990s

Gail Stavitsky 1800, first posted in 2015; Member of theJunta de Lectures: “Tide Line Gleaners,” Victoria, 2018; PhD 1990 Calificación, Valoración y Exportación de Bienes del “Fish Tales: Shoreline encounters with Symbolist Primary Advisor: Gert Schiff Patrimonio Histórico Español (Organo Consultivo Mer-creatures,” Toronto, 2018; “Labor on the Mailing Address: Montclair Art Museum, de la Administración del Estado); from 2001 to the Land: John Berger and the Peasant-Artist,” 3 South Mountain Ave., Montclair, NJ 07042 present (this is the commission within the Ministry Philadelphia, 2018; “‘Things are partial, yet Email Address: of Education and Culture of Spain that decides on organic’: an ecomaterialist reading of Paul Géniaux’s [email protected] all purchases of art made by the state and on export Salt Harvester,” Rochester, 2018; “Littoral readings: Latest Position: Chief Curator, Montclair Art permits for the sale of works of art abroad); Member Visualizing coastal vitality and change in Atlantic Museum of the Board, Center for Spain in America from 2017. France,” Detroit, 2017; “Material Ecology on the Publications: Matisse and American Art (2017); French Atlantic Shore,” New York, 2017; “Grief, Philemona Williamson: Metaphorical Narratives Longing and Maritime Things,” Charleston, (2017). 2000s 2017; “Immersion: Nineteenth‐Century Coastline Lectures: “Matisse and American Art,” New York, Paintings,” Montreal, 2016; “Kicking a Pig: Living 2016. Andaleeb Banta Closely with Animals,” Providence, 2016. Upcoming Projects: Morton Livingston MA 1997, PhD 2007 Recent Honors & Awards: 2017 Nineteenth Schamberg: Pioneer of the Machine Age. Primary Advisors: Donald Posner, Century Studies Association President’s Award: Jonathan Brown, and Louise Rice “For sustained service to the association and James Steward Email Address: [email protected] significant contributions to nineteenth-century MA 1990 Latest Position: Senior Curator and Head of studies.” Primary Advisor: Robert Rosenblum Department of Prints, Drawings, and Photographs, Upcoming Projects: Co-editor of forthcoming Mailing Address: Princeton University Art Baltimore Museum of Art (as of August 2018) collection: Nineteenth-Century Ecocritical Visual Museum, McCormick Hall, Princeton University, Publications: Lines of Inquiry: Learning from Culture: A Critical Anthology. Princeton, NJ 08544 Rembrandt’s Etchings (2017); The Enduring Legacy of Email Address: [email protected] Venetian Renaissance Art (2016). Kristi Dahm Latest Position: Nancy A. Nasher--David J. Lectures: “Angels, Muses, Sibyls, and Gods: MA and Certificate in Conservation 2002 Haemisegger, Class of 1976, Director, Princeton Rendering the Graphic Illusion,” Austin, 2018; Primary Advisor: Margaret Holben Ellis University Art Museum, 2009-present. “Travels and Tours: Artistic Maneuvers in the Early Mailing Address: Paper Conservation, Publications: Michael Kenna: Rouge (2016). Modern Period,” Oberlin, 2017. The Art Institute of Chicago, Lectures: “Sally Mann: The Family,” Recent Honors & Awards: Samuel H. Kress 111 South Michigan Ave., Chicago, IL 60603 Washington DC, 2018. Foundation/Association of Art Museum Curators Email Address: [email protected] Upcoming Projects: Currently leading the Affiliated Fellow, American Academy in Rome, 2016. Latest Position: Associate Paper Conservator, Art fundraising and planning for a new museum facility Institute of Chicago for Princeton University. Jeanne Brako Publications: “Mounting Evidence: Original MA and Certificate in Conservation 2002 Mounts on Early Matisse Drawings,” in Matisse Alexander (Alejandro) Vergara Primary Advisor: Norbert S. Baer Paintings, Drawings and Sculpture at the Art Institute MA 1988, PhD 1994 Email Address: [email protected] of Chicago (2016) Primary Advisor: Jonathan Brown Latest Position: Curator of Collections and Lectures: “Casting Far and Wide: Winslow Mailing Address: Museo del Prado, Public Programs, Fort Lewis College Homer’s Engagement with the Materiality of Ruiz de Alarcón 23, 28014 Madrid Lectures: Multiple talks on Conservation and Paper,” Montreal, 2016; “Henry Fuseli’s Drawing Email Address: Collections Care. Media, Papers, and Processes: New Observations [email protected] Recent Honors & Awards: Board Member, ATALM. from the Art Institute of Chicago Collection,” Latest Position: Senior Curator of Flemish and Additional News: I will be retiring from my Chicago, 2017. Northern European Paintings, Museo del Prado position of 16 years as Curator/Conservator at The Publications: Rubens Painter of Sketches, with Center of Southwest Studies, Durango, Colorado Mailan Doquang Friso Lammertse (2018); “Cai Guo-Quiang and and looking forward to a variety of upcoming MA 2003, PhD 2009 the Energy of Painting,” in The Spirit of Painting. projects. Recently enjoyed my first visit to NYU’s Primary Advisor: Marvin Trachtenberg Cai Guo-Quiang at the Prado (2017); “Rubens: Villa La Pietra, Florence, Italy, and meeting up with Email Address: [email protected] Wille und Vorstellung,” in Peter Paul Rubens. NYU Textile Conservation Instructor and classmate Publications: The Lithic Garden: Nature and the Metamorphosen (2017); “L´idealismo di Rubens: Deborah Trupin and her conservation students and Transformation of the Medieval Church (2018). visioni dell´assoluto,” in Rubens e la nascita del colleagues for their tapestry washing project. Barocco (2016). Yvonne Elet Additional News: Curator, Rubens: Painter of Maura Coughlin PhD 2007 Sketches, with Friso Lammertse, Madrid, Prado and PhD 2001 Mailing Address: Museum Boijmans Van Beuningen, Rotterdam, Primary Advisor: Linda Nochlin Vassar College, 2018-2019; Curator, The Spirit of Painting. Cai Mailing Address: 1150 Douglas Pike, Smithfield, Department of Art, Guo-Quiang at the Prado, Madrid, Prado, 2017; RI 02917 124 Raymond Ave., Curator, The Art of Clara Peeters, Antwerp, Museum Email Address: [email protected] Box 702; Rockoxhuis, and Madrid, Prado, 2016; Professor Latest Position: Professor, Visual Studies, Bryant Poughkeepsie, NY 12604 of the online course (MOOC) for the online University Email Address: platform edX: European Paintings: From Leonardo Publications: “Biotopes and Ecotones: Slippery [email protected] to Rembrandt to Goya. Uncovering the meaning Images on the Edge of the French Atlantic,” Latest Position: behind the art of the great painters from 1400 to Landscapes (2015/16). Associate Professor, 32 History of Art and Architecture, Vassar College Art Museums of Latin America: Structuring Upcoming Projects: Research project on Abstract Publications: Architectural Invention in Renaissance Representation (2018); “An International Proving Art in the Andes 1950-1970. Rome: Artists, Humanists, and the Planning of Ground: Latin American Artists at the Paris Raphael’s Villa Madama (2017); “Writing the Salons,” in The Americas in the Dynamics of Lyle Humphrey Renaissance Villa,” in Writing Place: Investigations Global Visual Culture from 17th to 20th Century: MA 1998, PhD 2007 in Architecture and Literature (2016); “Raphael Circulation / Exchange / Materiality (2017); “Rivera Primary Advisor: Jonathan J. G. Alexander and the Roads to Rome: Designing for Diplomatic and the Language of Classicism,” in Picasso and Mailing Address: 1535 Carr St., Encounters at Villa Madama,” I Tatti Studies in the Rivera: Conversations Across Time (2016). Raleigh, NC 27608 Renaissance (2016). Lectures: “Latin American Artists at the Académie Email Address: [email protected] Recent Honors & Awards: Visiting Professor, Lhote,” Istanbul, 2017; “Vicente do Rego Monteiro’s Latest Position: Assistant Curator of European Art, Università degli Studi di Urbino Carlo Bo, Italy; Quelques visages de Paris: A Cultural Parody,” North Carolina Museum of Art Dipartimento degli Studi Umanistici, Spring, 2017. Chicago, 2017; “Structuring Representation: Publications: “Saul Among the Prophets: W. R. Art Museums of Latin America,” Los Angeles, Valentiner, Robert Lee Humber, Carl Hamilton, Deborah Goldberg 2017; “Transatlantic Encounters: Latin American and the Italian Art Collection at the NCMA,” MA 1990, PhD 2000 Artists in Paris between the Wars,” Mexico City, in Collecting Early Modern Art in the US South Primary Advisor: Robert Lubar 2017; “Artistas Latinoamericanos en París,” Quito, (1400–1800) (2018); “Collecting Christianity on Email Address: [email protected] 2017; “Visita interpertada y conferencia sobre the Nile circa 1900: J. Pierpont Morgan and The Latest Position: Independent Art Historian Arte Moderno,” Quito, 2017; “Modernism and Metropolitan Museum of Art,” in Byzantium and Publications: “David Baskin’s Contemporary Classicism, Picasso and Rivera,” Los Angeles, Islam: Age of Transition (7th –9th Century) Collected Vanitas,” in David Baskin: The Speculative Gaze 2017; “Transatlantic Encounters: Latin American Papers (2016). (2018); “Sculpture from the Collection of Artists in Early 20th century Paris,” Washington Lectures: “Morgan in Egypt,” Hartford, 2017; “Glory Morton and Barbara Mandel,” in Raising the Bar: DC, 2017; “Andean Abstraction as Displayed at of Venice: Renaissance Paintings 1470–1520,” Raleigh, Masterworks from the Collection of Morton and the OAS,” Madrid and Washington DC, 2016; 2017; “Books and Fragments from the Venetian Barbara Mandel, Sotheby’s, New York, Evening Sale “Defining ‘Latin American Art’: Raymond Cogniat, Renaissance,” Research Triangle Park, 2017. (2018); “Poetry in Stone: Furniture as Sculpture,” Parisian Critic,” New York, 2016. Upcoming Projects: (with David Steel) Italian Wright Auctions (2018); “The Human Figure in Recent Honors & Awards: Global Discovery Art, Systematic Catalogue of the Collection, North Bronze: From the Finn Family Collection,” in Grant (George Mason University), 2018; College Carolina Museum of Art. Shaping a Legacy: Sculpture from the Finn Family of Humanities and Social Sciences Faculty Collection, Sotheby’s, New York, Impressionist & Research and Development Award (George Mason Veronica Kalas Modern Art Evening Sale (2017); “O’Keeffe’s ‘Great University), 2017; Millard Meiss Publication MA 1993, PhD 2000 American Painting,’” in Jonathan Boos, Winter Grant, 2016. Primary Advisor: Thomas Mathews Antiques Show, New York (2017); “Pablo Picasso: Le Upcoming Projects: Research project on Abstract Email Address: [email protected] Peintre et son Modéle,” in Pablo Picasso: Le Peintre Art in the Andes 1950-1970. Latest Position: Adjunct Assistant Professor in et son Modéle, from the Collection of Joan Oestreich Art History, Albion College; Instructor for Study Kend (2016). Tami Hausman Abroad Programs, Hellenic American University, Lectures: “Isamu Noguchi’s Important and MA 1996, PhD 2002 Athens, Greece; Guest Curator for “Take Me There Unique Dining Table for Mr. and Mrs. Milton Primary Advisor: Jean-Louis Cohen Greece” at The Children’s Museum of Indianapolis; Greene,” New York, 2018; with Cynthia Altman, Mailing Address: 70 East 10th St. #17, Expert Study Leader for Cultural Heritage Study “Collections in Focus: Nelson Rockefeller as New York, NY 10003 Tours with Smithsonian Journeys, National Curator: The Siting of Sculpture,” Tarrytown, Email Address: [email protected] Geographic Expeditions, Archaeological Tours, 2018; “Isamu Noguchi: Designer,” New York, Latest Position: President, Hausman, LLC Andante Travel, and Spiekerman Travel (to Greece, 2018; “Collections in Focus: Sculpture of the 1960s Lectures: “Putting Your Message Where the Media Turkey, Jordan, Lebanon, Italy, and the Caucasus). --1970s,” Tarrytown, NY, 2017; “Talking with Is,” Pittsburgh, 2017; “Above the Noise,” New Stone,” New York, 2016; “Collections in Focus: York, 2017; “PR Take Five,” New York, 2016; Ilona Katzew Sculpture of the 1950s-60s,” New York, 2016; “Mixed Media: Combining Traditional and Digital MA 1992, PhD 2000 “Isamu Noguchi and Edward A. Rumely: The Artist Marketing,” Philadelphia, 2016. Primary Advisors: and His Patron,” Washington DC, 2016. Additional News: I just celebrated 10 years of my Edward J. Sullivan and company, Hausman LLC by throwing a party for Robert S. Lubar Michele Greet clients, consultants, and colleagues on May 1 in Email Address: PhD 2004 New York City. Our company provides integrated [email protected] Primary Advisor: communications services to architecture and design- Latest Position: Edward J. Sullivan related firms throughout the US, and to global firms Curator and Mailing Address: with a presence in North America. Department Head of 3825 Jancie Rd, Latin American Art, Fairfax, VA 22030 Tara Homung Los Angeles County Email Address: MA History of Art and Archaeology and Museum of Art [email protected] Advanced Certificate in Art Conservation 2009 Publications: Latest Position: Primary Advisor: Michelle Marincola Painted in Mexico, 1700-1790: Pinxit Mexici Director, Art History Email Address: [email protected] (2017); “White or Black: Albinism and Spotted Program, George Mason University Latest Position: Conservator, Judd Foundation Blacks in the Eighteenth-Century Atlantic World,” Publications: Transatlantic Encounters: Latin Lectures: “Archaeological Conservation,” in Envisioning Others: Race, Color, and the Visual in American Artists in Paris between the Wars (2018); Boulder, 2017. Iberia and the Atlantic World (2016). 33 Alumni Updates CONTINUED 2000s

Recent Honors & Awards: The exhibition Jongwoo Jeremy Kim Modernism, 1910–1950” (2016). catalogue for Painted in Mexico, 1700–1790: PhD 2007 Lectures: “The Colonial in the Modern: Early Pinxit Mexici received an Association of Art Primary Advisor: Linda Nochlin Mexican Muralism,” San Francisco, 2016. Museum Curators 2018 Award for Excellence; Mailing Address: Carnegie Mellon University, Recent Honors & Awards: Millard Meiss honorable mentions from the Association for Latin The School of Art, 5000 Forbes Ave., CFA 300, Publication Fund grant, College Art Association, American Art (ALAA)’s 2018 Margaret Arvey Book Pittsburgh, PA 15213-3890 2017; University of Maryland Phillips Collection Award and the American Society of Hispanic Art Email Address: [email protected] Book Prize, 2016. Historical Studies 2018 Eleanor Tufts’ Book Award; Latest Position: Associate Professor of Critical and was also selected by The New York Times as Studies, Carnegie Mellon University Anne Leader one of the best art books of 2017. Publications: Queer Difficulty in Art and Poetry: MA 1995, PhD 2000 Upcoming Projects: Exhibition: Latin American Rethinking the Sexed Body in Verse and Visual Primary Advisors: Art in the 1960s (working title); Culture (2017); Painted Men in Britain, 1868– Colin Eisler and Marvin Book Project: Collecting Spanish Colonial Art in 1918: Royal Academicians and Masculinities (2016). Trachtenberg the US (working title). Lectures: “Spa Night (2016) and Queer Korea Mailing Address: 230 in Los Angeles,” London, 2018; “Binding and Brookwood Dr., Joan Kee Unbinding Bodies: Simeon Solomon,” Ghent, Auburn, AL 36830 PhD 2008 2018; “Bathers and Lotus Eaters,” Los Angeles, Email Address: Primary Advisor: 2018; “Simeon Solomon and Homosocial [email protected] Jonathan Hay Networks,” Washington, DC, 2017; “Spa Night Latest Position: Visiting Mailing Address: (2016) by Andrew Ahn: Queer Korean-American Fellow, Institute for 110 Tappan Hall, Corporeality,” Louisville, 2017; “Francis Bacon’s Advanced Technology in History of Art, Bedroom and the Wormy Sight,” Washington, DC, the Humanities, University of Virginia University of Michigan, 2016; “Housewives and High School Boys in Love: Publications: “Corsini Triptych; Angel and 855 S. University Ave, Korean Mothers in Lee Song Hee-Il’s Night Flight Christ in Judgment; The Penitent St. Jerome” in Ann Arbor, MI 48109 (2014),” Washington DC, 2016; “A Red Shoe: Fra Angelico: Heaven on Earth (2018); Giuliano Email Address: Linda Nochlin and Robert Gober,” Washington, de’Medici: Machiavelli’s Prince in Life and Art [email protected] DC, 2016. by Josephine Jungić, ed. and rev. (2018); “‘In the Latest Position: Upcoming Projects: Book in Progress - Tomb of Ser Piero’: Death and Burial in the Family Associate Professor, History of Art, University of Transplanted: Wandering Body Parts and the Queer of Leonardo da Vinci,” in Renaissance Studies Michigan Uncanny. This book treats Aubrey Beardsley, Jean (2017); “Tracing the Da Vinci Tomb in the Badia Recent Honors & Awards: Global Discovery Cocteau, Francis Bacon, David Hockney, Robert Fiorentina,” in Human Evolution (2016); “The Grant (George Mason University), 2018; College Gober, and Andrew Ahn. Leaders of Krystynopol, Galicia,” in The Galitzianer of Humanities and Social Sciences Faculty Additional News: Appointed as Associate Professor (2016). Research and Development Award (George Mason of Critical Studies in the School of Art at Carnegie Lectures: “The Badia of Florence,” Auburn, 2016. University), 2017; Millard Meiss Publication Mellon University. Recent Honors & Awards: Samuel H. Kress Grant, 2016. Foundation Digital Resources Grant, 2017; Upcoming Projects: Models of Integrity: Art and Lynda Klich American Philosophical Society Franklin Research Law in Post-Sixties America (forthcoming in Spring PhD 2008 Grant, 2016. 2019 from the University of California Press). Primary Advisors: Additional News: My visiting fellowship at Additional News: My new book on contemporary Edward J. Sullivan IATH is virtual, so I am based in Alabama, not art and law is forthcoming from the University of and Robert S. Charlottesville. California Press. Amidst the intensified campaigns Lubar for social and legal reform happening between the Mailing Address: Justine Moeckli 1960s and 1990s, the political efficacy of a work 351 West 24th St. MA 2005 was often gauged by how quickly it could provoke #14C, New York, Primary Advisor: Linda Nochlin legislatures, courts, and police into action. Yet for NY 10011 Email Address: [email protected] artists like Tehching Hsieh, Gordon Matta-Clark, Email Address: Latest Position: Assistant Curator, Musée d’Art et Felix Gonzalez-Torres, Sally Mann and Christo and [email protected] d’Histoire, Geneva Jeanne-Claude, critique was not enough to justify Latest Position: Publications: Expositions temporaires et the claims of social relevance they made on behalf Assistant Professor, Hunter College interdisciplinarité. Une étude de cas: Misia, reine de of their works. It was also necessary to model for Publications: “Estridentismo, Mexican Modernity, Paris (2018); Madame Hodler, une oeuvre d’Alice their audiences what forms trustworthiness could and the Popular,” in Latin American Modernisms Bailly (2017); We Belong Dead: Modern Gothic take, in short, to demonstrate integrity in the face and Technology (2018); The Noisemakers: Visions (2016). of a world that seemed emptied of it. This they did Estridentismo, Vanguardism, and Social Action in by engaging with ideas, rituals or documents of the Postrevolutionary Mexico (1921-1927) (2018); Elizabeth Pergam law -- an institution subject to intense moral and Visual Typologies from the Early Modern to the PhD 2001 political scrutiny, yet whose primacy in the social Contemporary: Local Contexts and Global Practices Primary Advisors: Robert Rosenblum and infrastructure made it a widely recognized source (2018); The Propaganda Front: Postcards from the Linda Nochlin of authority to audiences both in and out of the Era of World Wars (2017); “Caricature as Strategy: Mailing Address: 105 East 63rd St. #5A, artworld. An Estridentista Group Portrait,” in International New York, NY 10065 Yearbook of Futurism Studies (2017); “Mexico Email Address: [email protected] estridentista,” in Paint the Revolution: Mexican Latest Position: Faculty, Sotheby’s Institute of Art 34 Publications: “John Charles Robinson in 1868: Lisa Rafanelli Marta Ameri A Victorian Curator’s Collection on the Block,” in PhD 2004 PhD 2010 Journal of Art Historiography (2018). Primary Advisor: Kathleen Primary Advisor: Lectures: “An Ephemeral Display within an Weil-Garris Brandt Donald Hansen Ephemeral Museum: The East India Company Mailing Address: Email Address: Contribution to the Manchester Art Treasures 60 East End Ave. #5B, [email protected] Exhibition of 1857,” Geneva, 2018. New York, NY 10028 Latest Position: Email Address: Lisa. Assistant Professor of Kyunghee Pyun [email protected] Art, Colby College MA 1999, PhD 2004 Latest Position: Professor, Publications: Seals and Primary Advisor: Jonathan J. G. Alexander Manhattanville College Sealing in the Ancient Mailing Address: Fashion Institute of Technology, Lectures: “The Afterlife of Michelangelo’s Vatican World: Case Studies from 227 West 27th St., B634 History of Art, Pietà,” New York, 2018; “The Preservation of the Ancient Near East, Egypt, the Aegean, and South New York NY 10001 Memory: Joseph Sibbel’s Jesus of the Sacred Asia, co-ed. (2018); “Introduction: Small Windows, Email Address: [email protected] Heart for Manhattanville College (1897),” New Wide Views” and “Letting the Pictures Speak: An Latest Position: Assistant Professor, History of Art, York, 2018; “The Representation of Saint Mary Image-based Approach to the Mythological and Fashion Institute of Technology Magdalene in the Western Tradition: Davis Narrative Imagery of the Harappan World,” in Seals Publications: “Jean Pucelle,” in Allgemeines Discoveries Series,” Wellesley, 2017; “From and Sealing in the Ancient World (2018); “Changing Künstlerlexikon (Encyclopedia of Artists of the World) Imitazione to Musealization: Michelangelo’s Pietà Patterns of Indo-Iranian Interaction in the Third and (2017); “Portraying Monks in Illuminated Service and its Afterlife (16-18th centuries),” Lisbon, 2017. Second Millennia BCE as Seen from the Ahar-Banas Books in the Fourteenth Century,” in Journal of the Upcoming Projects: The Afterlife of Michelangelo’s Culture,” in Contextualizing Material Culture in Association of Western Art History (2016). Vatican Pietà. South and Central Asia in Pre-Modern Times (2016). Lectures: “Addressing Identity Politics in Modern Lectures: “Revisiting Harappan Iconography: Seals, Asia: Hybrid Fashion and Cultural Cross-dressing,” Mark Trowbridge Sealing and Tablets as Small Windows onto the San Francisco, 2018; “Fashion, Identity, and Power MA 1998, PhD 2000 Indus Valley Civilization,” New York, 2018; “‘Ships in Modern Asia: The Modernization and Dresses Primary Advisor: Colin Eisler from Dilmun, Magan and Meluhha’: Ancient of Cultural Cross-dressing,” New York, 2017; Email Address: [email protected] South Asia and its Contacts with the West in the “Predicament of Contemporary Artists: Represent Latest Position: Professor of Art History and 3rd millennium BCE,” New York, 2017. or Subdue Ethnicity?” New York, 2016. Chair of Department of Fine Arts. Marymount Upcoming Projects: Book Project: Miniature Recent Honors & Awards: NEH Grant University, Arlington VA Arts of the Harappan World: Seals, Sealing and Humanities Connections 2018-2021: Teaching Tablets as Small Windows onto the Indus Valley Business and Labor History to Art and Design Civilization. Students ($100,000); SUNY Conversations in the 2010s Disciplines Grant 2018-2019; Fashion Institute Tiffany Apostolou of Technology, President’s Award for Faculty Kaylee Alexander MA 2017 Excellence, 2018; SUNY FACT2 Award for MA 2015 Primary Advisor: Thelma K. Thomas Excellence in Instruction, 2018; SUNY Innovative Primary Advisor: Meredith Martin Email Address: [email protected] Instructional Technology Grant (IITG), Tier 1, Email Address: [email protected] Latest Position: Research Assistant, 2016-2017 (up to $10,000); SUNY Innovative Latest Position: PhD Candidate, Duke University Gagosian Gallery Instructional Technology Grant (IITG), Tier 3, Publications: “Descent from the Cross: James Lectures: “Bodies and Columns: A Case of Stylite 2017-2018 (up to $60,000); Leon Levy Fellow for Ensor’s Portrait of the Symbolist Artist,” Shift Portraiture,” Minneapolis, 2017; “Signatures in the Center for History of Collecting at the Frick (2017). Byzantine Art,” Minneapolis, 2016. Collection in 2017. Lectures: “Père Lachaise in 1815: A New Method Upcoming Projects: Interview with artist Georgia Upcoming Projects: Co-editor and contributing in the Study of Ephemeral Funerary Monuments,” Kotretsos, Athens, Greece. author, Fashion, Identity, and Power in Modern Indianapolis, 2018; “Cut, Copy, Paste: A Truthful Asia (under contract with Palgrave Macmillan, Picture of the Paris Catacombs,” Edinburgh, 2018. Birgitta Augustin forthcoming in 2018); “The Master of the Remède Upcoming Projects: Dissertation: “Sépultures (non) PhD 2015 de Fortune and Parisian Manuscript Production remarquables: The Production of Parisian Funerary Primary Advisor: Jonathan Hay circa 1350,” in An Illuminated Manuscript of the Monuments, 1804–1870” [tentative title]. Email Address: [email protected] ‘Collected Works’ of Guillaume de Machaut (BnF, ms. Additional News: Member of the 2018 cohort Latest Position: Curator of Chinese Art, Asian Art fr. 1586): A Vocabulary for Exegesis. of Summer Teaching Fellows at the National Museum, Berlin Additional News: I am a founder and executive Humanities Center. director of the Bamboo Canvas: Diverse Techniques Joshua Bell in Asian Arts and Crafts. http://bamboocanvas.org. MA 2016 Primary Advisor: Colin Eisler Email Address: [email protected] Latest Position: Major Gifts Officer, The Studio Museum in Harlem

35 Alumni Updates CONTINUED 2010s

William Worth Bracken Lorraine Karafel Jessica Mingoia MA 2002, PhD 2015 PhD 2010 MA 2016 Primary Advisor: Donald Hansen Primary Advisor: Colin Eisler Primary Advisor: Katherine Welch Mailing Address: Mailing Address: 103 East 84th St. PHE, Email Address: [email protected] 4141 46th St. #5K, Sunnyside, NY 11104 New York, NY 10028 Latest Position: Art Lecturer and Tour Guide, Art Email Address: [email protected] Email Address: [email protected] Smart New York Latest Position: Adjunct Associate Professor, Latest Position: Assistant Professor of Art and Recent Honors & Awards: Excellence Fellowship St. John’s University Design History, Parsons School of Design 2017-2021, Rutgers University. Publications: “Rembrandt’s Lamentation over Publications: Tapestries from the Burrell Collection Additional News: Admitted into Rutgers Art the Dead Christ at the British Museum: A (2017). History PhD program, started Fall 2017. Reconsideration,” Master Drawings (2018). Lectures: “Raphael: Designs for Tapestries,” Upcoming Projects: A book on the principles that New York, 2018. Adele Nelson underlay Rembrandt’s use of motifs from other Recent Honors & Awards: Tapestries from the MA 2012 artists. Burrell Collection named by the London Evening Primary Advisor: Edward J. Sullivan Standard as one of the best art books of 2017. Email Address: [email protected] Liam Considine Latest Position: Assistant Professor, Art History MA 2007, PhD 2012 Abigail Lapin Dardashti & Associate Director, Center for Latin American Primary Advisor: Thomas Crow MA 2013 Visual Studies, Dept of Art & Art History, The Mailing Address: Primary Advisor: Edward J. Sullivan University of Texas at Austin 551 Myrtle Ave. #4R, Brooklyn, NY 11205 Email Address: [email protected] Publications: “Mário Pedrosa, el museo del arte Email Address: [email protected] Latest Position: PhD Candidate, The Graduate moderno y sus márgenes,” Issuu (2017); “The Latest Position: Lecturer, School of Visual Arts Center, CUNY Bauhaus in Brazil: Pedagogy and Practice,” Art Publications: “Claire Fontaine: Redemptions,” in Recent Honors & Awards: Fulbright Fellowship Margins (2016). France and the Visual Arts since 1945: Remapping in Brazil and International Dissertation Research Lectures: “Formas, Fotoformas, Forma objetos: European Postwar and Contemporary Art (2018); Fellowship, Social Science Research Council in Intermediality in Postwar Brazilian Abstraction,” “Triumph of the Banal,” in XTRA (2017). Senegal, France, and Brazil, both 2017-2018. Austin, 2018; “Geraldo de Barros’ Intermediality,” Lectures: “Made in USA: Godard’s Pop Tableaux,” New York, 2018; “Art as Real, Direct Construction: New York, 2017. Jiete Li Waldemar Cordeiro and Grupo Ruptura,” Los Recent Honors & Awards: MA 2017 Angeles, 2017; “Lygia Pape, Fields, and Language,” Mellon Research Grant, Pratt Institute, 2017. Primary Advisor: Jonathan Hay New York, 2017; “Hemispheric Ambitions and Upcoming Projects: Pop Art Against America: Email Address: [email protected] Ambivalences at the São Paulo Bienal,” Washington Politics of the Transatlantic Image in France, Latest Position: Carpenter Foundation Fellow at DC, 2016; “Mário Pedrosa’s Modernism and the 1962–1968. the National Gallery of Art in Washington DC Question of the Global,” New York, 2016;“Pedagogy Recent Honors & Awards: Received a grant from of Experimentation: Bauhaus Ideas and the Brazilian Evan W. Gray the Getty Foundation. Postwar Avant-Garde,” New York, 2016. MA 2012 Recent Honors & Awards: Summer Research Primary Advisor: Marvin Trachtenberg Kunhua Liu Assignment, The University of Texas at Austin, Email Address: [email protected] MA 2017 Department of Art and Art History, 2018. Latest Position: Independent Scholar Primary Advisor: Jonathan Hay Distinguished Teaching Award, The University of Lectures: “Italian Octagonal Piers and Late Email Address: [email protected] Texas at Austin, 2018; Faculty Creative Research Medieval Anti-Classical Modernism,” Kalamazoo, Latest Position: Object Intelligence Researcher in Stipend, College of Fine Arts, The University of MI, 2017. the Asian Art Department of Christie’s New York Texas at Austin, 2017. Recent Honors & Awards: White Levy Travel Upcoming Projects: Book in progress: “Forming Marc Hajjar Grant 2016. Abstraction: Art and Institutions in Postwar Brazil.” MA 2015 Primary Advisor: Jonathan Brown Raul Martinez Maggie Popkin Email Address: [email protected] Museum Studies 2011 MA 2007, PhD 2012 Latest Position: Associate Director, Business Primary Advisor: Philippe de Montebello Primary Advisor: Katherine Welch Development and Advisory at Winston Art Group Email Address: [email protected] Mailing Address: 3010 Huntington Rd., Shaker Latest Position: Curator at the Royal Palace of Heights, OH 44120 Maile Hutterer Madrid, Royal Collections Email Address: [email protected] MA 2011 Publications: Dos pinturas inéditas de José del Latest Position: Robson Junior Professor and Primary Advisor: Marvin Trachtenberg Castillo para la decoración del Palacio de los secretarios Assistant Professor of Art History, Case Western Mailing Address: 5229 University of Oregon, de Estado en las colecciones del Instituto Valencia de Publications: “Urban Images in Glass from the Eugene, OR 97403 don Juan (2017). Late Roman Empire: The Souvenir Flasks of Puteoli Email Address: [email protected] and Baiae,” American Journal of Archaeology (2018); Latest Position: Assistant Professor, Ashley McNelis “The Parthian Arch of Augustus and its Legacy: University of Oregon MA 2015 Memory Manipulation in Imperial Rome and Publications: “Architectural Design as an Email Address: [email protected] Modern Scholarship” in Afterlives of Augustus: AD Expression of Religious Tolerance: The Case of Latest Position: Curatorial Assistant, 14-2014 (2018); “Stone Objects,” in Samothrace: Sainte-Madeleine in Montargis,” Journal of the Carnegie International, 57th Edition, 2018 Excavations Conducted by the Institute of Fine Arts Society of Architectural Historians (2017). 36 of New York University (2017); “Souvenirs and to Shelter, 1953-1993,” JSAH (2017); “Crafting Additional News: In July 2018, I will be joining Memory Manipulation in the Roman Empire: The the Archive: Minnette De Silva, Architecture, and the faculty of Barnard College. Glass Flasks of Ancient Pozzuoli,” in Materializing History,” Journal of Architecture (2017); “Traversals: Memories in Art and Popular Culture (2017). In and Out of the Dadaab Refugee Camps,” Blanca Serrano Ortiz de Solórzano Recent Honors & Awards: National Endowment Perspecta (2017); “On Humanitarian Architecture: MA 2012, PhD 2017 for the Humanities Fellowship, 2017-2018 A Story of a Border,” Humanity (2017); “Seventeen Primary Advisor: Edward J. Sullivan (project title: “Souvenirs, Memorabilia, and Years a Refugee,” Harvard Design Magazine (2017). Email Address: [email protected] the Construction of Knowledge in the Roman Lectures: “Minnette De Silva, Architecture, Latest Position: Project Director at the Institute Empire”); Case Western Reserve University and History,” Colombo, 2018; “Architectures of for Studies on Latin American Art (ISLAA.org). Baker-Nord Center for the Humanities Faculty Migration, a Feminist Approach,” Delhi, 2018; Fellowship, 2017. “Feminist Architectural Histories of Migration,” Louis Soulard Cambridge, MA, 2018; “Domesticating the Margin MA 2016 H. Alexander Rich in East Africa,” Cambridge, MA, 2018; “Learning Primary Advisor: Michele Matteini MA 2005, PhD 2013 from Dadaab: Architectural History in a Refugee Email Address: [email protected] Primary Advisor: Linda Nochlin Camp,” Cambridge, MA, 2018; “From Sri Lanka Latest Position: Gallery Manager at Jason Jacques Email Address: [email protected] to the World: Minnette De Silva, Architecture, Gallery Latest Position: Curator and Director of Galleries and History,” New York, 2018; “Field Notes for Publications: “Tales of our Time,” ArtAsiaPacific & Exhibitions, Polk Museum of Art; Assistant an Architectural History of Forced Migration,” (2016). Professor of Art History, Florida Southern College; New York, 2017; “Chasing Minnette De Silva: Director of Galleries & Exhibitions, Florida An Architect in the World,” Mumbai, 2017; Jason Vrooman Southern College “Humanitarian Heritage and Anxious Architectures PhD 2017 Publications: “A Nightmare Experience: Henry in East Africa: A Long History of the Dadaab Primary Advisor: Linda Nochlin Fuseli’s The Nightmare, Bram Stoker’s Dracula & Refugee Camps,” Annandale-on-Hudson, 2016; Email Address: [email protected] the Experiential Role of the Viewer/Reader in Two “Crafting the Asian Modern Archive: Historical Latest Position: Curator of Education & Academic Gothic Masterworks,” Journal of Florida Studies Latencies in the Work of Minnette De Silva,” Programs, Middlebury College Museum of Art (2018); “Interpreters of Nature: Marjorie Kinnan Calcutta, 2016; “Crafting Regionalism: Minnette Lectures: “Gentlemen and Journeymen: Working Rawlings, Frank Lloyd Wright, and the ‘Sense of De Silva and an Asian Modern Architecture,” Class Masculinity in Henri-Gabriel Ibels’s Programs Place,’” Journal of Florida Literature (2016). London/Bangalore, 2016; “Dadaab: Visual for the Théâtre Libre,” Pittsburgh, 2018. Lectures: “Goya, Picasso, and the Symbolism Histories of an Emergence,” Nairobi, 2016. of the Bull,” Lakeland, FL, 2018; “Childhood Recent Honors & Awards: Postdoctoral Fellowship, Evan D. Williams Visual Literacy: Seeing the World Through Harvard University, Mahindra Humanities MA 2012 Art and Museums,” Naples, FL, 2018; “New Center, 2017-2018; New York University Provost’s Mailing Address: Box 856, Ithaca, NY 14851 Perspectives: Reconsidering Renoir and ‘American’ Postdoctoral Fellowship for Academic Diversity, Email Address: [email protected] Art,” Lakeland, FL, 2017; “A Brief-ish History of 2015-2017; Fulbright Scholars Program Fulbright- Latest Position: Lecturer, Cinema and Photography,” Lakeland, FL, 2017; “Faces in the Nehru Fellowship, 2016-2018; American Institute Photography, Ithaca College, 2018 Crowd: The Individual and Communal Experience of Indian Studies Senior Fellowship, 2016-2017; Lectures: “Brought Into The Light: The Museum of Seeing & Being Seen in the Museum,” Lakeland, Graham Foundation Grants to Individuals, 2016; and the Photograph 1850-1900,” Rochester, FL, 2017; “The Museum as Academy: Or What SAH Beverly Willis Annual Conference Fellowship, 2018; “The Sea Vast and Empty: Erasing Van We Learn When We Look at Art,” Lakeland, FL, 2016; University of Basel Urban and Landscape Anthonissen’s Whale,” Richmond, KY, 2017. 2017; “From Paris to Cos Cob: An American Studies Research Fellowship, 2015-2016; NYU Recent Honors & Awards: Certified Member, Impressionism,” Lakeland, FL, 2017; “The Art of Faculty of Arts and Sciences Writing Collaborative Appraisers Association of America. Subversion,” Lakeland, FL, 2016; “A Nightmare grant, 2015-2016; Global Architectural History Additional News: Mixed media art pieces included Experience: Henry Fuseli’s The Nightmare, Bram Teaching Collaborative grant, 2015-2016. in three juried exhibitions at ARC Gallery, Stoker’s Dracula & the Experiential Role of the Upcoming Projects: Book Projects (tentative Chicago, 2015, 2016, 2017; Published “Deliver Viewer/Reader in Two Gothic Masterworks,” St. titles): Dadaab Is A Place On Earth: Modern Me,” chapter book featuring eighteen artists and Petersburg, FL, 2016. Colonial Borderlands and Architectures of poets to benefit the ACLU’s freedom of expression Upcoming Projects: Exhibitions: Chagall: Stories Humanitarianism; Minnette de Silva and an Asian work, 2016; Served as Director of Fine Art & into Dreams; Degas: The Private Impressionist; Modern Architecture. Guest Editorships: “Feminist Special Collections for a regional auction house, Toulouse-Lautrec & the Belle Epoque; Music and Architectural Histories of Migration,” special issue 2016-2018. Dance in Painting of the Dutch Golden Age; Lorrie in preparation for Architecture Beyond Europe, co- Goulet: Seventy Years Carving. edited with Rachel Lee.; “Architecture as a Form of Knowledge,” themed section in preparation for Anooradha Siddiqi Comparative Studies of South Asia, Africa, and the PhD 2014 Middle East. Articles and Book Chapters: “Colonial Primary Advisor: Jean-Louis Cohen Ground, Modern Land: Archiving Architecture Mailing Address: 536 West 11th St. #5, and Territory in East Africa, in preparation for New York, NY 10025 Architecture on the Borderline: Boundary Politics Email Address: [email protected] and Built Space, Routledge Architext series, edited Latest Position: Harvard University, by Anoma Pieris; “Humanitarian Homemaker, Postdoctoral Fellow Emergency Subject.,” in preparation for Architecture Publications: Spatial Violence (2016); “Architecture and the Housing Question, edited by Juliana Maxim Culture, Humanitarian Expertise: From the Tropics and Can Bilsel. 37 Degrees Conferred in 2017-2018

Doctor of Philosophy Andrea Mari Myers Achi Allison Kidd Joanna Sheers Seidenstein “Illuminating the Scriptorium: The St. “Imaginibus vel Simulacris: Depicting Urban “Rembrandt’s Treatments of Themes from Michael Collection and Monastic Book Landscapes and Architecture in Roman Classical Antiquity” Production in the Fayyum Oasis, Egypt, Antiquity” Advisor: Mariët Westermann during the Ninth and Tenth Centuries” Advisor: Katherine Welch Advisor: Thelma Thomas Andrew Larkin Farinholt Ward Heather Kopleff “Beyond Hellenization: Terracotta Ritual Elizabeth Buhe “A Community in Stone: The ‘Cenotaph’ Furniture in Ancient Sicily” “Sam Francis: Functional Abstraction” Stelae of Abydos” Advisor: Clemente Marconi Advisor: Thomas Crow Advisor: David O’Connor

Laura Dickey Corey Juanita Solano Roa “Mary Cassatt (1844-1926), American “Theater of the Self. Photography, Race, and Tastemaker: Portrait of the Artist as Advisor” Progress: Fotografía Rodríguez and Benjamín Advisor: Jonathan Brown de la Calle, Medellín (Colombia), 1891-1938” Advisor: Edward J. Sullivan

Master of Arts and Master of Science Dual-Degree

Joy Michelle Bloser Christine Haynes Hae Min Park “Found in Translation: Art Conservation “Altering Perspectives: Technical Analysis of “From Polyptych to Easel Painting: The Case Between Chinese and English” the Met Cloisters 13th-Century Catalan Altar of Terzago Polyptych by Giusto de’ Menabuoi” Advisor: Norbert S. Baer Frontal” Advisor: Patricia Rubin Advisor: Robert Maxwell Emily Frank “Preserving Trauma and Memory in the Work Sarah Mastrangelo of Jef Campion (1961-2014)” “From Print to Painting to Print Again: The Advisor: Norbert S. Baer Sentimentalist Milieu of Thomas Stothard’s Nina and Zorayde” Advisor: Margaret Holben Ellis

Master of Arts Indira Abiskaroon* Quinn R. Bolte Scott Ryan Davis* “Reframing Paul Cézanne’s Classicism” “The Ornament of Personal Adornment: “The SAMO Avant-Garde: Henry Flynt’s Advisors: Clemente Marconi and Kent Silver Stained Bracelets in the Byzantine The SAMO© Graffiti and the Problem with Minturn World” Cultural Production 1963-1987” Advisor: Thelma Thomas Advisor: Kent Minturn Abigail Abric “The Deviant and the Disease: An Phoebe Boosalis Megan Ashley DiNoia Interdisciplinary Analysis of Prostitution and “From Page to Paint: Love Letters in “Joan Miró’s 1970s Landscapes: Unearthing a Syphilis in the Work of Félícian Rops” Eighteenth-Century France” Post-Franco Nationalism” Advisor: Kent Minturn Advisor: Thomas Crow Advisor: Kent Minturn

Taylor Lauren Alessio Melanie Bühler Alana Dull “Sebald Beham’s Siege of Vienna: Perspective, “Portraiture’s Bleeding Edges: Frans Hals’s “Picturing the Garden: Jean Honoré- Politics, and Religion at the Dawn of Military Unruly Paintings and Their Afterlife in Fragonard and the French Picturesque” Cartography” Contemporary Art” Advisor: Thomas Crow Advisor: Christine Poggi Advisor: Thomas Crow Caroline Benson Evans* Emily Behzadi Pei-si ‘Peggy’ Chao* “Regression, Authority, and Identity in “Maruja Mallo: The Framing of a Feminista” “Memory and Destruction: The History of the Works of Federico Antonio Carasso Advisor: Edward J. Sullivan Taichung Shrine” (1899-1969)” Advisor: Jonathan Hay Advisor: Kent Minturn

38 Kendall Elizabeth Follert Fosca Maddaloni Julian Sanchez Gonzalez* “‘Les Quelles qui se semblent, se “Cushioned Bliss: The Enclosed World of the “The Issue of the ‘Double-Outlier’: rassemblent…!’: George Adéagbo’s Site- Children at Play on 12th and 13th Century Contemporary Art from the Caribbean and Specific Archive” Cizhou Pillows” Archipelago of San Andrés, Providencia, and Advisor: Christine Poggi Advisor: Jonathan Hay Santa Catalina” Advisor: Edward J. Sullivan Ji Hye ‘Alice’ Han Sanya Mirpuri “‘New Vision’ of Tomatsu Shomei: Occupation “Shifting Views of Women: A View of the Hannah Kate Simon Series and the U.S.-Japan Relationship of Emblematic Shifts in Johannes Vermeer’s “Imperial Cult Imagery in Asia Minor: 1960s, Early 1970s” Works” Purpose, Precedence, and Peculiarity” Advisor: Thomas Crow Advisor: Edward J. Sullivan Advisor: Clemente Marconi

Brontë Hebdon* Susana Montanes Lleras* Maria Slautina “Cockades, Cravates, and Hot Pants: “The Sorceress and the Dragon: Virginia “Recontextualization of Imported Chinese Aesthetic Politics and the Visual Language of Frances Sterrett’s Illustration for Hawthorne’s Rocks in Early Modern Japan: A Study in Citizenship During the French Directory” Tanglewood Tales” Transcultural Interactions” Advisor: Thomas Crow Advisor: Kent Minturn Advisor: Jonathan Hay

Yuxi Hou Stacy Renee Newport Arielle Suskin “From Big-Tailed Elephant to Yangjiang “The Material of Counterculture: “Cista with Cover in the Morgan Library: A Group: Two Decades of Experimental Art in Reconsidering Fiber Art” Reassessment” Pearl River Delta” Advisor: Robert Slifkin Advisor: Clemente Marconi Advisor: Jonathan Hay Lisa Angela Orcutt* Mi Tian* Yunli Huang “Li Huasheng’s ‘Grids’: Form and Context” “Visualizing the Dual Identity: A Study of “Visual Versatility and Cultural Specificity: A Advisor: Jonathan Hay ‘Elegant Gathering’ Paintings Commissioned Transverse Study of Ink Paintings by Liu Kuo- by Zeng Yu’s Mufu System” sung” Leah Jeanette Orescan Advisor: Jonathan Hay Advisor: Jonathan Hay “Painting in Bloom: Contextualizing Still Life with a Bouquet in the Making and the Career Alison Emilia Tufano* Alyssa Marie Hughes of Dirck de Bray” “Finding Intimacy in the Union Square “Golden Years in the Golden Age: Examining Advisor: Thomas Crow Subway Station: The Public Art of Mary Miss” the Space and Place of Elderly Women Advisor: Robert Slifkin through the Painted Works of Nicolaes Maes” Ilhan Ozan* Advisor: Edward J. Sullivan “Unfolding Abstraction: Regionalism and Mengyao Wang Diplomacy in the Fifth Tehran Biennial “Portraying the Mother Portraying the Child: Eva Grace Jensen (1966)” Doubling in the Photographic Portraits by “Eschewing the Footnote: Interrogating Advisor: Kent Minturn Diane Arbus” History and Memory at the 57th Swiss Advisor Robert Slifkin Pavilion” Mattos Paschal Advisor: Kent Minturn “They Still Live: Barbara Kruger and the Yifel Wu Patriarchal Control of Women” “A Game of Forms: An Analysis of Landscape Eana Kim Advisor: Robert Slifkin Prints from Green Mustard Seed Manual of “Embodiments of Autonomous Entities: Lynn Painting” Hershman Leeson’s Artificially Intelligent Haley Sierra Pierce* Advisor: Kent Minturn Robots, Agent Ruby and DiNA” “Illustrative Painting: The Influence of Advisor: Thomas Crow Printmaking in Fin-de-Siècle France” Yang Yang Advisor: Kent Minturn “Drawing a Fine Line: Artifice and Artistry in Heyeon ‘Erin’ Kim Henri Michaux’s Mescaline Series” “Elmgreen and Dragset’s Immersive Louisa Michelle Raitt* Advisor: Kent Minturn Installations: The Art World, Public “The Affect of Ambiguity: Spatial Institutions, and Our Society” Construction in the Early Bodegones of Diego Melissa Noelle Young* Advisor: Kent Minturn Velázquez” “Brush, Dab, Zoo: Animals That Paint” Advisor: Edward J. Sullivan Advisor: Kent Minturn Damia Koksalan “Mythologies of Chris Burden: Mediating Theology in Post-War Body Art” Advisor: Robert Slifkin *Indicates an M.A. thesis marked with distinction 39 Donors to the Institute

Philanthropy plays an essential role in fulfilling the Institute’s mission to educate future generations of art historians, conservators, and archaeologists. We gratefully acknowledge the generosity of our supporters. This list includes commitments received from July 1, 2017 to July 1, 2018.

$1,000,000-$6,000,000 Lise Scott and D. Ronald Daniel Loretta Howard* Anne* and Joel Ehrenkranz Deanie and Jay Stein Dorothy Ko and Marvin L. Trachtenberg* The Andrew W. Mellon Foundation Anonymous (2) Meeker Rom Family Foundation Judy and Michael H. Steinhardt Lucio A. Noto Harriet K. Stratis* $10,000-$24,999 Mary Ellen and Richard E. Oldenburg Jan T. and Marica Vilcek Patricia and Stephen Beckwith Eijk and Rose-Marie van Otterloo Bloomberg Philanthropies Alice Pacthod $100,000-$999,999 Catherine Coleman Brawer*and Anne N. Rorimer* Shelley Fletcher* Robert Brawer Bonnie Sacerdote Larry Gagosian Nancy B. Fessenden* Fredric T. Schneider Samuel H. Kress Foundation Georgia Riley de Havenon and Virginia St. George Smith Nancy Chang Lee* Michael de Havenon Eliot B. Stewart Leon Levy Foundation The Hagop Kevorkian Fund Mariët Westermann* and Valeria and Gregorio Napoleone Arthur Loeb Foundation Charles H. Pardoe, II The National Endowment for the Rosa Lowinger* and Todd Kessler Anonymous (5) Humanities Lorena and Javier Lumbreras Ann Wood Norton* Victoria and Samuel I. Newhouse, Jr. $1,000-$4,999 Maddalena Paggi-Mincione* and Cynthia Hazen Polsky and Leon Polsky Maryan Ainsworth Raffaele Mincione Jonathan D. Rabinowitz Dita G. Amory* Stephanie Stokes* Elizabeth and Reuben Richards Clarice Begemann Rachel* and Jonathan Wilf Ida and William Rosenthal Foundation Marianne Begemann Anonymous (3) Patricia A. Ross Mary Braman Buchan* and Lois Severini* and Enrique Foster Gittes Dennis S. Buchan $50,000-$99,999 Alice M. and Thomas J. Tisch Laura Isabel Uppercu Collier* American Council of Learned Societies Julie and David Tobey Wanda Marie Corn* Rachel Davidson and Mark Fisch Paula Volent* Joseph C. Cuttone Roberta and Richard Huber Alicia and Norman Volk Philippe de Montebello* Richard Lounsbery Foundation Anonymous (1) Frances B. Goodwin and Sheldon H. Solow Donn M. Mosenfelder Malcolm Hewitt Wiener Foundation $5,000-$9,999 Emilie E.S. Gordenker* Charles K. Williams, II Mary Lee Baranger* Kathryn Moore Heleniak* Anonymous (2) Gini and Randy Barbato Anne Hrychuk Kontokosta* and William L. Bernhard Constantine Kontokosta $25,000-$49,999 Lois Earl Blumka Kaufmann Repetto Suzanne Deal Booth* Ildiko and Gilbert Butler Jan Lynn Leja* Dedalus Foundation Furthermore: a program of the Jay A. Levenson* and Mary Schuette Institute for Studies on Latin American Art J. M. Kaplan Fund Dorothy Robinson Mahon* and (ISLAA) Eileen Guggenheim Wilkinson Terrence S. Mahon* Stephen S. Lash Debora A. Guthrie Claire Svetlik Mann* The Pierre and Tana Matisse Foundation Elisabeth Hackspiel-Mikosch* Michele D. Marincola* Alexandra Munroe* Christine and Sanford Heller Beatrix Medinger* and Gregor Medinger Lauren Berkley Saunders* Julie E. Herzig* and Robert J. Desnick Mary Oey*

* Institute alumnus/a

40 Paul N. Perrot* Thomas A. Buser* Sam Salloum Christine Poggi Karen F. Christian* Polly J. Sartori* Anne Litle Poulet* Jean-Louis Cohen Stephen K. Scher* Deborah* and David Rothschild Judith Colton* Patricia Schulze Hills* Katherine A. Schwab* Rachel L. Danzing* Javad Shabani Robert Simon Alan Darr* Larry V. Silver George E. Wheeler* Carmen Dubroc and Lewis I. Haber Priscilla Parsons Soucek* Reva June Wolf* Martha L. Dunkelman* Barbara E. Pollard Stein* and Dale* and Rafael Zaklad Martha E. Easton* and Patrick R. Sullivan Mitchell Stein Anonymous (3) Carol S. Eliel* and F. Thomas Muller Cecil Leopold Striker* Jennifer Eskin* Edward J. Sullivan* $500-$999 Stuart Evans Marie C. Tanner* William Nash Ambler* Leslie* and Tom* Freudenheim Marcia R. Toledano* Susan Anderson* Laura M. Gadbery* Deborah Lee Trupin* Alan D. Chong* Kathryn Calley Galitz* Anne W. Umland* Andria Derstine* Evan Whitney Gray* Stefanie Walker* Tami Dawn Hausman* Alison de Lima Greene* Jane H. Weber* and Lawrence G. Becker* Ariel* and John* Herrmann, Jr. Ashley Etter Hagwell Michele Wijegoonaratna* Paula Rand Hornbostel* Sharon* and Daniel Herson Deborah N. Wilde* Michael Jacoff* Gail Hessol Steven R Willis Suzannah Kellner* Penelope Hunter-Stiebel* Roberta May-Hwa Wue* Michael Bundy Kohn* Lorraine M. Karafel* Bonnie E. Yochelson* and Paul Schechtman Guenter H. Kopcke Anna D. Kartsonis* Eric M. Zafran* Charles T. Little* Roberta and Charles* Katz Lynn H. Zelevansky* Caroline and Anthony Lukaszewski Norman L. Kleeblatt* Orestes H. Zervos* Beth Merfish* Lynda Klich* Arlene Kurlander Zimny Cynthia Wolk Nachmani* Evelyn Monroe Koehnline* Alice M. Zrebiec* Francesco Pellizzi Dorothy Kosinski* Shelley E. Zuraw* Janko Rasic Architects PLLC Carol Herselle Krinsky* and Jennifer Russell* Robert D. Krinsky $100-$199 Diane H. Schafer A. Floyd Lattin* Mark B. Abbe* Marjorie N. Shelley* Yulin Lee* John Brooks Adams* Catherine Sweeney Singer* Susana* and Pierre Leval Morgan Simms Adams* Terence E. Smith* Roger W. Lipsey* Lynne D. Ambrosini* Paul Stanwick* Elizabeth J. Lytton* Patrick Amsellem* Mary Stofflet* Vivian B. Mann* Michael J. Amy* Marlene Barasch Strauss* and Lys McLaughlin Pike Rhonda M. Baer* Harold L. Strauss Margaret M. Miles Cathleen A. Baker Joan* and Robert C. Troccoli Marc H. Miller* Daniel M. Belasco* Ian B. Wardropper* Robert S. Nelson* Jo Anne G. Bernstein* Guy Nordenson Kathleen Brenner $200-$499 Jo Anne C. Olian* Leslie Davidson Bruning* Ms. Susan Staples Arms* and Stephen E. Ostrow* Marian Burleigh-Motley* Richard G. Arms* Ronald Y. Otsuka* Ruth A. Butler* Carla Caccamise Ash* Joan H. Pachner* Richard J. Channin Konstanze Bachmann* Jennifer Perry* Andrea Y. Chevalier* Norbert and Janet Baer Debra Pincus* Sue Ann Chui* Linda Freeman Bauer* Beatrice C. Rehl* Lucy A. Commoner Benevity Community Impact Fund Nancy R. Reinish* Dario A. Covi*

41 Donors to the Institute CONTINUED

Emily Salas Crowley* Linda Konheim Kramer* Gregory Rubinstein Kristi Anne Dahm* Marsa Laird* Rebecca A. Rushfield-Wittert* Hope Davis Braddick Richard S. Lanier* Amy Incornata Russo* Suzanne L. Davis* Ruthann R. Lehrer* Joseph T. Ruzicka* Margaret Fields Denton* Dene A. Leopold* Edmund Campion Ryder* Layla S. Diba* Douglas Lewis Christa C. Mayer Thurman Sala* Isabelle Duvernois* William A. Lieber* Sheila Schwartz* Arlene Hirsch Elkind Deborah D. Lipton* Ann Seibert* Priscilla Farah Gail P. Lloyd* Deborah S. Shinn* Sharon H. Ferguson* Susan D. Marcus* Christine M. Singer* Shalimar Abigail Fojas White* Olga S. Marder Roland R. R. Smith Wayne* and Linnea Franits Ira S. Mark* Webster Smith* Eric M. Frank* Melissa S. Meighan* David M. Sokol* Suzanne P. Fredericks* Jerry D. Meyer* Jack Soultanian, Jr.* Susan G. Galassi* Eugenie Milroy Eliza Robinson Spaulding* Heather Galloway* Denyse L. Montegut* Aron Y. Stavisky Jorge A. Garcia-Tuduri* Frances Land Moore* Rachel Arlene Stekson* Lisa A. Goldberg* Anita* and Martin Moskowitz* Elizabeth Rosen Stone* Lois R. Granato* Norman E. Muller* Joyce Hill Stoner* Michele M. Greet* Hilary St. Clair Ney* Julia Marella Sybalsky* Steven R. Haas* Won Y. Ng* James W. Sykes, Jr.* Marc John Hajjar* Christopher A. Noey* Carol F. Tabler* Pamela B. Hatchfield* Andrea Spaulding Norris* William S. Talbot* Andrée M. Hayum Elizabeth A. Oustinoff* Isabelle N. Tokumaru* Julia P. Herzberg* Jessica Lian Pace* Cybele Tom* Shepherd M. Holcombe, Jr.* Elizabeth C. Parker* Lindsey Tyne* Matthew Winer Israel* Merribell M. Parsons* Emily Trevor Van Vleck* Carolyn French Judson Philip M. Pearlstein* Patricia A. Waddy* Nora Kennedy Suzanne Meek Pelzel* Marina D. Whitman* Dale B. Kinney* Ruth R. Perlin* Walter F. Wientge, Jr. Donna Michele Stein Korn* William L. Pressly* Peter M. Wolf* Victor Koshkin-Youritzin* Stuart W. Pyhrr* Christine Elaine Wraga* Desiree G. Koslin* Allen Rosenbaum* Jeffrey M. Zalusky*

* Institute alumnus/a

42 If you make a gift of $100 or more you will receive one year of membership to the Institute’s Alumni Association, and enjoy access to our library, invitations to alumni receptions and special events, and a copy of the Annual Alumni Newsletter. Thank you for your generosity and support of your alma mater.

NAME: PREF. DONOR PUBLICATION NAME:

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AMOUNT OF GIFT: ¨ $100 ¨ $250 ¨ $500 ¨ $1,000 ¨ Other $______¨ I would like my gift to be considered anonymous

DESIGNATION: ¨ Connoisseurs Circle (22-89000-R2124) (Friend $7,500, Patron $10,000, and Benefactor $15,000) Fellowship support for IFA students

¨ Alumni Fund (10-89540) Supports stipends for student summer travel and research, the Alumni Newsletter, Annual Alumni Reunion, and the Walter W.S. Cook Lecture

¨ Annual Fund (10-89540-AF002) Essential support for IFA students and general operations

¨ Conservation Center Annual Fund (22-89000-R2145) Essential support for areas of greatest need at the Conservation Center

¨ 1932 Fund for Student Fellowships (10-89540-AF006) Student financial aid

PAYMENT METHOD: Secure electronic payment is available online at http://giving.nyu.edu

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Mail to: The Institute of Fine Arts Office of Development and Public Affairs 1 East 78th Street New York, NY 10075

The Institute is part of the Graduate School of Arts & Science 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. The Alumni Association 1 East 78th Street, New York, NY 10075