Columbia University Department of Art History and Archaeology Miriam and Ira D. Wallach Fine Arts Center Fall 2012
DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER 826 FALL 2012 schermerhorn from the chairman’s office
After two years of working closely with our graduate students as Director of Graduate Studies, I am grateful for the opportunity to serve as Chairman of our distinguished Department. During the past academic year our faculty and students received an outstanding number of awards and honors. A few must be singled out. Vidya Dehejia received the Padma Bhushan, the third-highest civilian award in the Republic of India; Rosalind Krauss was elected to the American Philosophical Society; and Barry Bergdoll was elected to the American Academy of Arts and Sciences. Furthermore, our faculty members have been engaged in many new and exciting projects, which you will get a glimpse of in the following pages. Unfortunately, the year ended with a sad loss for our community. Professor Natalie Boymel Kampen passed away in Rhode Island on August 12. A short tribute in this newsletter highlights aspects of Tally’s distinguished career as a teacher, beloved mentor, and leading scholar of Roman art. Her warmth, intellectual generosity, and delightful presence will be deeply missed in and around Schermerhorn Hall. Generous donations from many alumni and friends continued to benefit our students throughout the year. A gift from Gregory Wyatt (’71 CC) enabled us to offer several summer research opportunities to our graduate students including the Cathedral Fund Fellowship Left: Professors de Angelis and Klein with the Travel Seminar at the Roman at the Royal Academy of Art in London. Thanks to the generous Colosseum. Above: The Roman Forum at Night. Photographs by Jasper Clyatt. support of Dr. John Weber we were also able to continue our exchange 2012 Travel Seminar Visits cover: View of Wells Cathedral, Wells, Somerset, England. Photograph by Professor Stephen Murray Gift from the Institute for Studies program with Cambridge University. An endowment established by Mr. and Mrs. Leonard Riggio, allowed Professor Francesco de Angelis Rome on Latin American Art and myself to take our undergraduate seminars to Rome during Spring The destination of the 2012 The common identity of the gave all participants a vivid 12-hour walk through the city—, On May 7, 2012, the Break to study the city’s ancient and medieval monuments. These Travel Seminar was Rome, seminar was cemented by the idea of the continuities and but also to the remarkable assis- Institute for Studies funds also supported undergraduate interns from the Media Center specifically the city’s ancient trip to Rome that took place over changes that had occurred over tance of Anne Chen, Alessandra on Latin American who documented the sites and monuments we explored for future and medieval monuments. Spring Break. Blessed by splendid more than a thousand years Di Croce, and Monica Art (ISLAA) research and teaching in the department. Accordingly, the seminar had weather and mild temperatures, and connect Antiquity via the Hellstrom, PhD candidates in pledged $60,000 Among the many other contributions that benefited our students was a twofold structure, consisting participants spent nine days Middle Ages to the present. The art history and Classical Studies to be distributed a series of mentoring events organized by Annette Blaugrund (’87 PhD) of two distinct courses, run by visiting all the main ancient and culmination of the trip was by at Columbia. Staff members of to the Department for students interested in alternative career paths. Looking ahead, the Professors Francesco de Angelis medieval monuments of the city, common consent the visit to the the Media Center for Art History of Art History and department is grateful for a generous gift from Ray Lifchez, husband and Holger A. Klein respectively, from the Forum to the Lateran catacomb of Via Latina, a site directed by Caleb Smith, took Archaeology over the of the late Judith Lee Stronach (’69 MA), to complete the furnishing but taught jointly during the and from the Pantheon to Santa closed to the public and rarely advantage of the occasion and, next three years. The of the Judith Lee Stronach Center. A major gift from the Institute for first half of the semester. This Maria Maggiore. Each visit accessible even to scholars: the assisted by two Riggio interns, funds will be used to support numerous programs for graduate Studies on Latin American Art will provide funding for graduate stu- innovative format allowed for a entailed intensive observation fascinating coexistence of pagan Gina Ciancone and Catherine students in the field of Modern Latin American Art, includ- dent programming in the field of modern Latin American art for years comparative approach of ancient and extended discussions, and Christian imagery —e.g., Slowik, documented the sites ing guest lectures, travel seminars, and individual graduate to come. and medieval monuments both often triggered by individual the stories of Hercules, Samson, photographically for future use student travel to conduct field research. Attendance at the sign- We are also happy to welcome Deborah Cullen as the new director of in class and on site. Participants presentations. “What do you Moses, and Jonah depicted only in lecture courses and seminars ing ceremony, held in the department’s Judith Lee Stronach the Wallach Art Gallery. She comes to us from New York’s El Museo had the opportunity not only to see?” was the main question a few meters apart from each taught on Rome and its monu- Center, included the President of ISLAA, Mauro Herlitzka, del Barrio, where she worked as Director of Curatorial Programs for focus on the time period that was and leitmotif of the trip that other—made all of us realize that ments in the Department of Art Kaira Cabañas, Zainab Bahrani, and Alex Alberro, who will be many years. We are looking forward to working with Deborah as she of particular interest to them, made everybody—including the art produced in Rome during History and Archaeology. in charge of approving the various proposals developed by the starts shaping the future of the Wallach Art Gallery in advance of its but also, and especially, to study the professors—look at the the Late Antique period defies department’s faculty and students. move to the Lenfest Center for the Arts in Manhattanville. the historical development of monuments and their decorative any simple categorization and Funds from the first distribution have already been set aside I would like to thank all, who have so generously supported the the Eternal City’s monuments programs with fresh eyes. led us to question the artificial for Carmen Ferreyra, an MA student in the MODA program, department and its students over the past year, and look forward to and topography with a long-term Historically multilayered sites, disciplinary boundaries drawn to do field research on the performance artist Regina José seeing you either at our annual CAA reception in February or on a perspective. such as the early 12th-century between the study of ancient and Galindo in Guatemala. A second allocation has been set aside future visit to Schermerhorn Hall. The two groups—the basilica of San Clemente with its medieval art and culture. to support a graduate student symposium, entitled “Homeland “Ancients” and the “Medievals” monumental apse mosaic, built The success of the experience Security,” which will take place in spring 2013. Organized holger a. klein professor and department chair —rapidly coalesced into one. The atop a (now excavated) Early was due not only to each partici- by MODA students Carmen Falcioni, Carmen Ferreyra and difference of interests, far from Christian church with impressive pant’s extraordinary enthusiasm, Cecelia Thornton-Alson, this symposium will bring students Dr. Holger A. Klein is a 2012 recipient of the Distinguished Columbia Faculty Award being an obstacle, turned out early medieval frescoes, itself commitment, and stamina—a and scholars from Latin America to Columbia to examine the and the 2011 Mark Van Doren Award for Excellence in Teaching. His research focuses on to be one of the most enriching built atop a Roman imperial typical day started with breakfast professors francesco de ways in which concepts of safety and security affect and influ- Late Antique, Western Medieval, and Byzantine art and architecture. factors of everybody’s experience. sanctuary of the god Mithras, before 7 am and ended after a angelis and holger a. klein ence the work of various contemporary Latin American artists.
2 3 Mapping Gothic England
left: Peterborough Cathedral, Retrochoir. Above (Clockwise from above left): Crossing Tower, Canterbury Cathedral; Ruins of Rievaulx Abbey; Ruins of Fountains Abbey. (Photographs by Professor Stephen Murray)
NEW FIELD PROJECT: Mapping Mesopotamian Monuments
Zainab Bahrani, the Edith Porada Professor of Ancient Near Eastern Art and Archaeology, and Caleb Smith, Director of the Media Center for Art History, have begun work on a new or three weeks in early June I returned to ries, culminating in the beautiful fan vaults of was, we hope, the first of four intended to field project to document the standing monuments, rock-cut reliefs, and historical architec- fmy native England and revisited and pho- King’s College Chapel Cambridge. allow the user to explore Gothic as a ture of Iraq. Their aim is to map, photograph, and assess damage and conservation needs of tographed monuments long familiar to me. Over a period of four years, and with the pan-European phenomenon. the country’s monuments from antiquity to the present by recording them in gigapan digital I own up to a deep-seated preference for support of the Andrew Mellon Foundation, a In Spring 2013 I hope to work with a photography and immersive 360° panoramas. Bahrani and Smith will work on site in Iraq with things French and was surprised by the extent team of faculty and students from Columbia group of students who will edit the thirty- a small team from Columbia University, which includes graduate students and colleagues from to which I fell under the spell of English University and Vassar College has collected five English churches I collected this summer both the Art History Department and Columbia’s program in Architecture and Preservation. Gothic. Longer and lower than their con- and databased tens of thousands of high-res- within the context of my undergraduate semi- Columbia’s Department, with its expertise in archaeology and architectural history and tinental counterparts the English churches olution images of French Gothic cathedrals nar, considering the elusive phenomenon of conservation, and its skilled and experienced Media Center experts, is in a unique position to paradoxically have extraordinary spaciousness and churches in an ambitious new interac- Englishness within the framework of Gothic. conduct this work. The team will collaborate with colleagues and students in Iraq, and make (the nave at Lincoln) as well as rich linearity tive website, www.mappinggothicfrance.com. Watch out for the appearance of our English the data and images available to the international scholarly community by means of an open (Exeter) that is entirely compelling. There is Now that the end of the period of the grant churches on the website some six months access database. an inventiveness in English design both in the has been reached and the website almost from now … overall spatial envelope (Bristol Cathedral; complete, it is time to expand Mapping Gothic the Ely Octagon) and in the details (Ely Lady to contiguous regions—England, Spain, by stephen murray, the lisa and bernard Chapel) that keeps on coming over the centu- Germany and Italy. This summer’s expedition selz professor of medieval art Sculptural Detail, Hatra, Iraq.
4 5 The Unfinished: Indian Stone-Carvers at Work Scholars have praised the astonishing variety and richly carved surfaces of India’s stone monuments, but have maintained a surprising silence on what is not there. Over half of the roughly 1,100 rock-cut monuments excavated into hillsides and rocky outcrops remain unfinished, and incomplete work repeatedly appears in structures built up with blocks of stone. Rock-cut monuments include “caves” and monolithic shrines that are barely blocked out, those with finished facades but incom- plete interiors, and those that merely lack finishing touches. Constructed monuments frequently incorporate blocks left for later conversion into images, details that are finished on one side of a tower but only incised in profile on the other, or bands of incom- plete carving on an apparently finished temple. The unfinished is not a deliberate “non-finito” as seen in the works of Rodin; in pre- modern India, the unfinished is the unintended by-product of a variety of circumstances. The vast body of unfinished monuments in India leads us Left: Sculptural Detail, Pattadakal, to reassess the pre-modern attitude towards “finish,” and look beyond the death of patrons, political Karnataka. Above: Pancha Rathas, instability, and other arguments of a specific nature. It appears that once a shrine was ready for con- Mahabalipuram, Tamil Nadu. secration and worship, patrons found it irrelevant to concern themselves with the finish of the overall Photographs by Prasad Pawar. structure. As long as the sanctum was complete and the sacred myths were clearly readable, patrons and devotees seem to have been unmindful of the fact that pillars remain incomplete, walls carry rough tool marks, and images remain partly obscured by the living rock. A substantial degree of flex- ibility appears to have been built into the very concept of “finish.” The unfinished speaks of the tools used since the carver has not progressed to the final stage in which the surface is smoothed, obliterating the marks of the tools. Indian stone carvers used only a pointed axe, and three types of chisels (pointed, flat, and round-edged) with a hammer, to carve anything and everything. Such evidence can have considerable ramifications for art history as, for instance, in the ancient province of Gandhara of Greco- or Romano-Buddhist fame, where the stylis- tic influence of classical sculpture is amply evident. Unfinished works reveal that three tools common to Hellenistic carving—the tooth chisel, the rasp, and the drill—were unknown to the Gandharan sculptors. At the same time, the lathe, a tool never seen in stonework from the Hellenistic world, is apparent in Gandhara. This evidence on tools provides provocative material for rethinking the theory that Gandhara may have witnessed an influx of sculptors from the Hellenistic world. Unfinished carvings allow us to see the differing ways in which sculptors carved different kinds of stone. As practicing stone carvers will affirm, hard granite cannot be cut in the same way as softer limestone or marble, making granite carving a slow and time-consuming process. More attention needs to be focused on the obvious though largely neglected probability that certain differences in by vidya dehejia and “style” are due in part to the nature of the stone being carved and the manner in which its workability peter rockwell affects the carver’s product. Incidentally, in contrast to the practice in the West, where favored The Unfinished: Indian Stone- stones such as Carrara marble were transported long distances, carvers in India always worked with Carvers at Work is a collaborative the local stone. project funded by the NEH. We propose that issues surrounding unfinished stone carving provide a singular lens, over Vidya Dehejia is the Barbara and above the established tools of art historical research, through which to examine issues of art his- Stoler Miller Professor of Indian torical consequence. and South Asian Art and Peter Rockwell is a sculptor and expert in stone conservation.
7 exhibitions curated by faculty news from the Wallach
It’s very excit- my interests are wide-ranging, I definitely American Printmaker, for CUNY Graduate ing to join Columbia have a modern and contemporary focus. Center, examined the legendary Jamaican- Now Dig This! University as the new Recently, I was part of the curatorial team American’s role from the Harlem Renaissance curated by kellie jones Director & Chief of Caribbean: Crossroads of the World (at El through the “print boom” of the 1960s. Now Dig This! Art and Black Los Angeles, 1960–1980 was organized Curator of the Miriam Museo, The Studio Museum in Harlem, I am enthusiastic about the 2012–2013 by Kellie Jones for the Hammer Museum, UCLA in Los Angeles and Ira D. Wallach Art and Queens Museum of Art), and edited the Wallach line-up. Our fall project is an exhibi- where it was on view from October 2011 through January 2012. It Gallery! I am eager to anthology, Caribbean: Art at the Crossroads tion of the rarely-seen paintings by Robert S. will be on view in New York at MoMA PS1 from October 2012 continue nearly 30 years of the World (El Museo del Barrio & Yale Duncanson (1821-1872), an African American through February 2013. of programmatic excel- University Press). Other exhibitions I curated pioneer affiliated with the HudsonR iver Through painting, sculpture, video, and works on paper, Now lence, while thinking together with you about include the performance survey, Arte ≠Vida: School, curated by Dr. Joseph D. Ketner II. Dig This! chronicles the integral role of African American artists in what possibilities lie ahead as we plan for the Actions by Artists of the Americas, 1960-2000 In spring, we present a version of Frames and Southern California in the development of the US art scene during expansion into the elegant Lenfest Center for (2008); Nexus New York: Latin/American Documents: Conceptualist Practices, organized the latter part of the twentieth century. A wide-ranging group of the Arts rising on the new Manhattanville Artists in the Modern Metropolis (2009), which by Donald Johnson-Montenegro (’11MA) individuals who are now celebrated nationally and internationally, campus. In concert with Art History & looked at the city’s diverse artistic dialogues from a project curated by Jesús Fuenmayor including Melvin Edwards, David Hammons, Maren Hassinger, Archaeology, the School of the Arts, the in 1900-1940; and Retro/Active: The Work of and Philippe Pirotte and drawn from the Suzanne Jackson, Senga Nengudi, John Outterbridge, Noah Purifoy, campus, and the community at large, we will Rafael Ferrer (2010), a retrospective of an Ella Fontanals-Cisneros Collection, Miami, and Betye Saar, began their careers in Los Angeles. These African critically and creatively engage the visual artist key to 1970s post-minimalism and includes key conceptual practitioners from American artists found support from young gallerists, curators, and arts, reflecting a diversity of interests and 1980s painting. I also authored his mono- across the Americas. Crowned by the MFA publishers and from new institutions inspired by the energy of the approaches with the high standards for which graph in conjunction with the exhibition. exhibition and our “MODA Curates” series, time, yet much less is known about them than their white contempo- Senga Nengudi Setting Up for a Performance of RSVP X in her Los Angeles Studio, Columbia is renowned. Finally, I must confess, I love the graphic Speak, Memory, curated by Tamar Margalit raries. The show explores the wider circle of artistic friendships and 1976. Senga Nengudi and Thomas Erben Gallery, New York. I believe my background is well suited arts and have served as Chief Curator for and Beau Rutland, it should prove to be a collaborations among black artists and others. for this challenging, multi-faceted, and the Trienal Poligrafica de San Juan (2012) memorable year. Now Dig This! is organized into four sections. Frontrunners high- Now Dig This! was in good company as part of the Getty collaborative environment. For over 15 years, and Curator for the 30th Ljubljana Biennial I hope to see you at the Wallach! lights the work and activism of artists in the emergent Los Angeles Foundation initiative Pacific Standard Time: Art in L.A. 1945– I served at El Museo del Barrio, the city’s pre- (September 2013). As a longtime supporter art scene of the 1950s and 1960s; Assembling focuses on sculptural 1980, which brought keen focus to the seismic impact of Southern mier Latino cultural institution. As Director of Robert Blackburn’s The Printmaking assemblage, a key artistic strategy of reclaiming discarded objects and California’s arts in the postwar period through the sponsorship of of Curatorial Programs, I worked with the Workshop, I worked in the print studio and transforming them into expressions of collective social experiences; more than 60 exhibitions. With Getty Foundation sponsorship 7,000-object Permanent Collection, ranging as Curator of the Print Collection (1993– deborah cullen, Post / Minimalism and Performance includes artists who moved beyond Dr. Jones was able to access and process additional archives, conduct from pre-Columbian to contemporary. While 1996). My dissertation, Robert Blackburn, director and chief curator the constraints of representational aesthetics to experiment in more oral histories, and document obscure works of art. It has also a multimedia and postminimalist vein expanding existing ideas of enabled her to support this underrepresented community of artists Vale of Kashmir what “black art” could be; and Los Angeles Snapshot explores the through commissions, providing digital documentation of works, and Robert S. Duncanson 1870, Oil on Canvas. informal relationships between African American artists in Los archival organization that allows them to benefit from their own his- Angeles and those in Northern California, as well as L.A.-based tories. Now Dig This! is accompanied by a comprehensive catalogue artists of varied ethnic backgrounds. These relationships are an which includes scholarly essays, artists biographies, archival material important part of fully understanding and contextualizing the work and images of all the works in the exhibition. of this generation.
Specters of Artaud. Language and the Arts in the 1950s curated by kaira cabañas The exhibition Specters of Artaud. Language neo-Dada in exhibitions and the historiogra- and the Arts in the 1950s, curated by Kaira phy of postwar art. The exhibition thus hopes Cabañas and Frédéric Acquaviva, opens at to shed new light both on Artaud and his the Museo Nacional Centro de Arte Reina multifaceted reception in the postwar era. Sofía (MNCARS) in Madrid on September Kaira Cabañas will serve as editor of 18, 2012. The exhibition derives from Dr. the exhibition’s catalogue, which will be Cabañas longstanding interest in dissident published by MNCARS and feature approxi- Surrealist Antonin Artaud’s production—in Isador Isou, Film Still from Traité de bave et d’éternité. mately 200 images and nine essays by scholars theater, cinema, drawing, and radio—as a and writers, including Frédéric Acquaviva, crucial legacy for understanding artistic prac- ken—lived on in the work of artists similarly Sergio Bessa, Lucy Bradnock, Hannah tices at mid-century. By including various concerned with questions of language, the Feldman (’04 PhD), Ferreira Gullar, and means of artistic expression, the exhibition body, and spectator participation. To date Denis Hollier. looks at how Artaud’s desire to move beyond Artaud’s importance for the arts has been the confines of language—written and spo- largely overlooked due to the centrality of
8 9 faculty bookshelf: exhibition catalogues faculty highlights
Silver Winds: The Arts of Sakai Hõitsu, Scramble for the Past: A Story of Archaeology Alexander Alberro’s publica- came out in January 2012. This papers at the Mies van der Rohe of Johns Hopkins University 1761–1828 is curated by Matthew McKelway, who also wrote the in the Ottoman Empire, 1753-1914 co-curated by tions in the past year include past year he published an essay symposium in Aachen and gave (books.wwnorton.com/books/ accompanying catalogue with contributions by Tadashi Kobayashi Zainab Bahrani, Zeynep Çelik, and Edhem Eldem, the exhibi- “The Joke of Painting,” in Texte on Baccio Pontelli in La luce e il the keynote speech at the confer- detai.aspx?ID2387). and Toshinobu Yasumura. The exhibition will be at the Japan Society tion, Scramble for the Past: A Story of Archaeology in the Ottoman zur Kunst; “Criticism, Dialectics, Mistero, and on Michelangelo in ence “Design and Revolution.” in NYC from September 29, 2012–January 6, 2013. Empire, 1753–1914 ran at the SALT Istanbul Archaeological and Utopia,” in The Place(s) of Porre un limite all’infinito errore. He also served as juror on several Jonathan Crary’s essay on Museum from November, 2011 through March, 2012. Here is a Criticism; “Art in Pursuit of Studi di Storia dell’architettura architectural design competi- Jean-Luc Godard’s Histoire(s) du description of the project from the accompanying book of the same Publicness,” in From Revolt to dedicati a Christof Thoenes, as tions, including one for an AIDS Cinéma is included in the new title. The book was co-edited by the three scholars: Postmodernity (1962–1982); and well as several contributions to Memorial in Manhattan and a anthology Sensible Politics: The “Stan Douglas’ Vancouver,” in Architettura del Novecento: Teorie, new Bauhaus Museum in Weimar, Visual Culture of Nongovernmental Beginning in the mid-eighteenth century, European schol- Stan Douglas: Abbott & Cordova, 7 Storie, Eventi. He gave lectures Germany, as well as for the 2012 Activism (Zone Books), coedited ars and amateurs poured into Greece, Turkey, Egypt, Syria, August 1971. His book Conceptual at the University of Washington, Album des Jeunes Architectes et by Yates McKee (’09 MA). Lebanon, and Mesopotamia to explore, dig, catalogue, and Art and the Politics of Publicity was the School of Architecture of des Paysagistes, sponsored by the cart home the material remains of the ancient world. The translated and published as Arte the Politecnico in Milan, and French Ministry of Culture. As Francesco de Angelis delive- collections they amassed became celebrated museums; the Concettuale e strategie pubblicitarie the School of Architecture in a newly elected member of the red the opening lecture of the scholarly techniques they developed formed the foundation (Milan: Johan & Levi Editore); his Genoa. In June, he organized American Academy of Arts and Presidential Panel at the Annual of modern, scientific archaeology. But at the time, the lands essay “The Catalogue of Robert and taught a seminar in Italy on Sciences, Bergdoll looks forward Meeting of the Archaeological they traversed and the antiquities they found belonged nei- Smithson’s Library” was repub- the architecture of Antonio da to his induction ceremony in Institute of America as well as a ther to the empires of Europe nor to local states; rather, the lished in The Studio (Whitechapel Sangallo the Younger in collabo- Cambridge, Mass. this October— Silberberg Lecture, “Looking for entire territory was the possession of the Ottoman Empire. Gallery and MIT Press) and his ration with Columbia’s Graduate a month that will also take him to Justice in the Forum of Augustus,” What did the Ottomans think of the European passion for “Periodising Contemporary Art” School of Architecture, Planning Paris for the opening of the exhi- at the Institute of Fine Arts, New the past? What was their own view of the ancient world and was featured in the Global Art and Preservation (GSAPP). He bition he has co-curated on the York University. He also spoke at its heritage? Museum (http://www.globalart- is currently working on his new French nineteenth-century archi- the conference “Mémoire, décon- museum.de/site/site/guest_author). book project on the Renaissance tect Henri Labrouste. struction, recréation dans les arts Scramble for the Past explores the historiography of archae- Professor Alberro also presented architect Antonio da Sangallo the visuels et la poésie de l’époque ology in the Ottoman domains between the founding of public lectures at the Museo Younger’s study of Vitruvius. Kaira Cabañas lectured at the hellénistique au premier siècle de London’s British Museum in 1753 and that of Istanbul’s Nacional Centro de Arte Reina Museo Nacional Centro de Arte notre ère” (INHA, Paris, May Evkaf Museum (Museum of Islamic Art) in 1914. It sees Sofía, Madrid, the Fundación Reina Sofía in Madrid, the École 2012). He and Professor Marco the rise of archaeology not as an alien western imposition PROA, Buenos Aires, and Normale Supérieure in Paris, and Maiuro (Department of History) Here is an excerpt from the catalogue, Silver Winds: The Arts of upon the east, or indeed as a purely European invention, the Museum of Modern Art, at Capacete’s Summer University co-organized “Archaeology and Sakai Hõitsu, 1761–1828 (New Haven, Yale University Press, but as a process that emerged out of an interaction between New York. in Rio de Janeiro. She co-chaired a the City: A Conference on Ancient 2012): Europe and the Ottoman world. Essays by fifteen leading panel on the intersections between Rome in New York” in conjun- international scholars explore the relationship of archaeology In February 2012, Zainab art and experimental film at the ction with the exhibit, George N. Without subscribing slavishly to an evolutionary model of to politics, ideology, and national identity as well as the Bahrani gave a Silberberg Lecture College Art Association confer- Olcott and the Collection of Roman artistic development, we can nevertheless detect in Hõitsu’s influences of the ancient finds on popular culture. at the Institute of Fine Arts, ence in Los Angeles in February Artifacts at Columbia (March-June oeuvre clear signs that he made conscious decisions to change New York University entitled 2012. She was also awarded a 2012), which they prepared with styles and attempt new idioms at different stages through- “The Double: Difference and Getty Scholar Grant for her the help of graduate students in out his career. These moves, combined with other decisions Repetition,” and presented a research on the origins of geomet- both their departments. In June that Hõitsu made at key points in his life, highlight his own paper at the IFA Mellon work- ric abstraction in Brazil. 2012 both professors directed the agency in plotting his narrative: it seems as if the arrival of shop “Image & Ontology in second archaeological excavation each new decade brought with it an expectation, on Hõitsu’s Comparative Perspective” in April. of the Roman villa San Marco in part, that he should pursue shifts in style or thematic content Her major project this year was Barry Bergdoll collaborated Stabiae. and attempt to achieve something distinctive and important an exhibition in Istanbul called with Professor Reinhold Martin over the next ten years. Hõitsu’s artistic choices were guided Scramble for the Past: A Story (GSAPP) on a project that grew Vidya Dehejia, Barbara Stoler in large part by the sheer variety of schools, workshops, and of Archaeology in the Ottoman into the exhibition Foreclosed: Miller Professor of Indian and modes of painting that existed in late eighteenth- and early Empire, 1753–1914, which she Rehousing the American Dream South Asian Art, was awarded the nineteenth-century Edo. As he migrated among paint- curated with two colleagues, at the Museum of Modern Art Padma Bhushan by the govern- ing styles and then probed ever more deeply into the career Zeynep Celik and Edhem Eldem. (through 13 August 2012) and ment of India in January 2012. of Ogata Kõrin, Hõitsu revealed himself as a painter with A book, co-edited by all three catalogue. He lectured on the his- The award is granted for distin- an art-historical passion; the notion that he envisioned his scholars was published in tory of architectural exhibitions at guished service of the highest personal career as having its own storyline is perhaps not conjunction with the exhibition Cornell University and the School order, and is given to individuals farfetched. (see p. 10). of Architecture at the University who have done exceptional work of Michigan, at Vassar College, in fields, including art, social Francesco Benelli’s book The on MoMA’s political engagement Michael Cole co-authored work, public affairs, science and Architecture in Giotto’s Paintings with Latin American architec- Italian Renaissance Art (W.W. engineering, trade and industry, (Cambridge University Press) ture. In addition, he presented Norton) with Stephen J. Campbell medicine, literature and education,
10 11 Faculty Highlights continued faculty book shelf: monographs
David Freedberg gave a cycle of gram that she initiated with the lectures on Art and Neuroscience Université de Paris I. at the Collège de France in May and June. His Power of Images With the support of a grant was translated into Chinese, from the American Council of Albanian and Slovenian. He Learned Societies, Elizabeth continued his work with neuro- Hutchinson was on leave scientists devising experiments 2011–2012 to work on her book on visceral, motor and emotional project Muybridge’s Pacific Coast. responses to art. In spring he She also served as faculty mem- returned to South Africa (for the ber for the NEH Landmarks of first time in 28 years) as a guest American History and Culture of the Stellenbosch Institute workshop, “The Hudson River for Advanced Study, where he in the Nineteenth Century and not only completed his book on the Modernization of America,” Art and Neuroscience, but also and as faculty supervisor for The Architecture in Under Blue Cup Inka Cubism: Reflections reconnected with old friends. His the Wallach Art Gallery exhi- Giotto’s Paintings on Andean Art last weeks in South Africa coin- bition Social Forces Visualized: cided—appropriately, given his Photography and Scientific Charity, To return to Alberti, the ingenium of the At the time of the postmodernist crisis of the While nineteenth-century Western art was earlier interests in censorship and 1900-1920. In addition, she architect coincides with that of the painter 1970s, three things happened to make it irre- slowly going in the direction of simple unor- iconoclasm—with the African published several reviews and because both originate in a compositio, futable that the specific medium had fallen namented forms in art and architecture—a National Congress’s attempt to the article “‘The Costume of whereas the feature that distinguishes archi- onto the trash heap of history. The first was trend which was to culminate in the famous censor Brett Murray’s satirical his Nation:’ Romney’s Portrait tecture from painting lies in the object, or in postminimalism and its rejection of the mini- “less is more” statement attributed to Mies portrait of President Jacob Zuma, of Joseph Brant” (Winterthur the theme to be realized, which is produced malist literal object—the boxes the slabs the van der Rohe—a nineteenth century nos- and the subsequent destruction Portfolio Summer/Fall 2011). by the artefice through which his practical fluorescent tubes—as so many things to be talgic countercurrent, such as the Arts and of the image. Returning to the ability achieves his ends. Painting thus comes bought and sold. In 1973 Lucy Lippard called Crafts movement, was particularly interested mountains of his adolescence he Kellie Jones lectured on her to be conceived according to the same criteria this collective dismissal “the dematerializa- in ornament and design. This was related to also reengaged with the problem book EyeMinded: Living and as does architecture; the final product differs tion of the art object,” pointing to ephemeral the anthropological debate as to whether “art” of rock art, and determined to Writing Contemporary Art, at solely because of the nature of the medium. works such as pencil marks on walls as the began in abstraction and eventually became work further on this topic and Yale University, School of the Art Yet what happens when the ultimate objective fragile alternative. The second thing was more naturalistic, or whether it began in other paleolithic art that predates Institute of Chicago, Hammer of architecture is to be painted on a surface conceptual art and its declaration that the Vidya Dehejia, Barbara Stoler Miller Professor of Indian and South Asian Art, naturalism and degenerated into abstraction. receiving the Padma Bhushan Award by the Indian President Pratibha Patil in the much better-known sites of Museum, and The Studio rather than to be materially constructed? As object was now supplanted by the dictionary Examples could be found either way among January, 2012. Lascaux, Altamira, and Chauvet. Museum in Harlem among other will be seen, differences between a painted definition ofart as such—the idea art tran- the objects of “primitive” groups such as the institutions. During the sum- and a real building most of the times are scending the dispersal of separate mediums; South Sea Islanders or Native Americans. Robert E. Harrist, Jr. was on mer of 2012 she was in residence substantial, even in the case where one is a thus, art-as-such dispenses with Jean-Luc Ornament thus had a major role to play sports, and civil service. This past was renewed. Di Palma has also academic leave during 2011– at the McColl Center for Visual “portrait” of an existing model. The reasons Nancy’s conception of the muses as “several in evolutionary theories of art in the nine- year she has also devoted herself been invited to be next year’s 2012. He spent several weeks as a Art in Charlotte, NC, diving into for this are many. The first and most obvi- and not just one.” The third was Duchamp’s teenth century. It was widely believed that to her project on the unfinished Gillmor Visiting Lecturer at the visiting professor at the University a project on conceptual art in ous one lies in painted architecture’s freedom eclipse of Picasso as the most important art- “primitives” covered all surfaces in pattern in temples of India (see p. 6). University of Calgary. of Paris/Sorbonne and at Lingnan Mexico and the US. Her exhibi- from the restraints of a budget, a building ist of the century. Duchamp had invented the response to a horror vacuii, that is, as a kind University in Hong Kong. tion Now Dig This! Art and Black site, and construction; free of these restraints, readymade, or the objects he merely bought, of apotropaic device that warded off evil. This year Vittoria Di Palma Noam M. Elcott presented lec- Los Angeles, 1960-1980 (Hammer it can express ideal forms, impossible to find signed, and then installed inside museums. gave a lecture at the Isabella tures at Cambridge University Anne Higonnet gave this year’s Museum, October 2011 through in the real architecture of its time, such as, for Conceptual art saw this intervention as the Excerpt from Esther Pasztory’s, Inka Cubism: Stewart Gardner Museum, (England), Eikones/ University Lifton Lecture at the Art Institute January 2012) was named one example, symmetry in the façades of private naked definition of the object’s aesthetic Reflections on Andean Art, http://www.colum- spoke on landscape at the of Basel (Switzerland), and of Chicago, and also spoke at the of the best exhibitions of 2011 palazzi, in line with what Edouard Pommier status and made Duchamp its god. As art bia.edu/~ep9/Inka-Cubisim.pdf, p. 23. Harvard Graduate School of McGill University (Canada). He Frick Collection and the Museum by Artforum and The Los Angeles wrote about the notion of what Laura’s por- became “idea,” the medium vanished; it Design, participated in the published the catalogue essay for of Modern Art. Her essays on Times, and will be on view at trait by Simone Martini means for Petrarch: washed away. The three things opened our age Harvard conference Ornament Anthony McCall: Five Minutes Manet for Grey Room, on prov- MoMA PS1 in New York from an opposition between the alma intended as onto what must be called the post-medium as Portable Culture, and chaired of Pure Sculpture (Hamburger enance for the Getty Research October 2012 through February the original and pure idea and the velo, the condition, rhyming with Walter Benjamin’s the History/Theory open ses- Bahnhof, Berlin); an essay on Institute, and on images for the 2013 (see p. 9). world of appearance that darkens the true reference to “the age of mechanical reproduc- sion at the annual meeting of Stan Douglas in October; and Routledge History of Childhood knowledge; the image the portrait conveys is tion.” But by the mid ’70s some artists began the Association of Collegiate contributed to a number of other in the Western World are now in Branden W. Joseph published a reminiscence of the world of pure ideas. to reject the three things. To do this, each Schools of Architecture. Her anthologies and catalogues. Elcott press. She is currently prepar- essays on the Detroit art/music appropriated a technical support and used it article “Flow” was published in spent most of his leave at work ing an Introduction to the History collective “Destroy All Monsters” Excerpt from Francesco Benelli’s The to “invent” a medium. the volume Routes, Roads and on a book manuscript provision- of the Art Museum for Blackwell. (which included visual artists Architecture in Giotto’s Paintings, Landscapes (Ashgate) and her ally titled Artificial Darkness: A In the spring, the Columbia Mike Kelley and Jim Shaw), on (Cambridge University Press, 2012) p. 5. Excerpt from Rosalind Krauss’ Under Blue term as Field Editor of caa.reviews Modern Art and Media History. Senate ratified the dual MA pro- the multimedia happenings of Cup (MIT Press, 2011) p. 20.
12 13 Faculty Highlights continued Dissertation Sarah Schaefer “Reading from Esther Kim Varet “Art INC: Movement: Béla Balázs and Fellowship Awards the Book of Gustave Doré: A Reassessment of the Art and Central-Eastern European Religious Media and the Shaping Technology Program at the Los Modernism” for 2012–2013 pop artist Claes Oldenburg, and opportunities for “interdisci- Tenth International Symposium Materiality and Visibility of Rituals of Modernity” Angeles County Museum of Art” Rudolf Wittkower on the little-known development plinary, intellectual fellowship.” of Art and Art Theory in Mexico in the Ancient World will come Serdar Yalçın “Seals and Colette LeRoux “In the Departmental Dissertation of “Biomusic” for a special George Washington, John Adams, City in February 2012. His book out later this year. In spring 2013, ACLS/Luce Fellowship Patronage in the Ancient Near Beginning was the Picture: Fellowship issue of Grey Room dedicated to Thomas Jefferson, Charles Visual Time: The Image in History Mylonopoulos will spend a month Emily Liebert “Roles Recast: East during the Late Bronze Age Visual Culture in the Uruk Eleanor Antin and the 1970s” (ca. 1550–1100 BC)” Expansion” Alessandra Di Croce brainwashing. He lectured at the Darwin, Thomas Edison, Albert is with Duke University Press. as visiting professor at Paris I “Christian Antiquity in Counter- Museum of Modern Art, Warsaw; Einstein, and Robert Frost were Panthéon-Sorbonne. Turkan Pilavci “Drinking a Ary Stillman Departmental Dedalus Foundation God and Sacrificing a Drink: Reformation Rome” the Moderna Museet, Stockholm; all members. Her book, Under Stephen Murray was awarded Dissertation Fellowship Dissertation Fellowship the Berlage Institute, Rotterdam; Blue Cup, was published in fall The Horizon Interactive Web was a mem- Hittite Libation Vessels in Art Esther Pasztory Eliza Butler “Louis Comfort Joshua Cohen “Masks and Rudolf Wittkower Finishing the Swiss Cinémathèque, 2011 (see p. 13). Award for www.mapping- ber on a panel of the Future of and Ritual” Tiffany and the Nature of Color” the Modern: African/European Joseph Scheier-Dolberg “Yu Grant Lausanne; and the Museum gothicfrance.com. His talk Precolumbian Art at the 2012 Christina Charuhas Rachel Silveri “The Art Encounters in Twentieth- Zhiding (1646–1716) and the Moderner Kunst Stiftung Lud- Matthew McKelway lectured on “Notre-Dame of Paris CAA in Los Angeles. This panel “Constructing Eighteenth- of Living in the Historical Century Art” Envisioning of the Early Qing wig (MUMOK),Vienna; as well on the painter Nagasawa Rosetsu and Manifest Destiny” for and its discussion is now being Century Bermuda: Utopia in the Avant-Garde” World” as at Harvard University and (1754–1799) at the National Humanities West, San Francisco, published and edited by Cecelia Gladys Krieble Delmas Transatlantic Imagination” the Solomon R. Guggenheim Gallery of Art in the symposium was voted the best of the pro- Klein. She continues to work Jessica Maratsos “Pontormo: Atsumi International Foundation Grant for Japan Foundation, Japanese Museum, New York. His book, “The Artist in Edo” in April. gram and in April he gave the on “Aliens and Fakes: Popular Stylistic Dialogue and the Italian Foundation Fellowship Independent Research on Studies Fellowship The Roh and the Cooked: Tony He published an article in the Armand Hammer Lecture at Theories of the Origins of Aaron Rio “Ink Painting in Venetian History and Culture Frank Feltens “Poetics and Reform” Conrad and Beverly Grant in Japanese art historical journal UCLA. His recent publications American Indians.” Fifteenth-Century Kamakura” Lorenzo Buonanno “Sculpted Theatre in the Arts of Ogata Julia Siemon “Courtiers Europe, was published (in English) Bijutsu kenky and sections on include “Stories of Saint-Denis: ū Altarpieces, Devotion, and Kõrin” Seeming Soldiers: Bronzino and by August Verlag, Berlin, and his screen paintings for the catalogue, The Rhetoric of Persuasion,” in John Rajchman’s publica- Belgian-American Educational Artistic Interaction in Early the Politics of Portraiture in first book,Random Order: Robert Splendid Impressions: Japanese Image, Memory and Devotion: tion of the anthology French Foundation Fellowship Renaissance Venice” Metropolitan Museum of Art, 1530s Florence” Rauschenberg and the Neo-Avant- Secular Painting 1400–1900, Liber Amicorum Paul Crossley Philosophy Since 1945: Problems, Adam Eaker “Van Dyck against Jane and Morgan Whitney Garde will appear in French in the Museum of East Asian Art (Brepols); “Back to Beauvais,” in Concepts, Inventions (The New Rubens: The Portraitist between GSAS-CU International Travel Fellowship Social Science Research Council translation in 2012. Cologne. He spent the summer New Approaches to Medieval Art Press) led to public discussions in Court and Studio” Fellowship Chun-Yi Tsai “Images of International Dissertation of 2012 as the Ishibashi Visiting and Architecture (Ashgate); “The Berlin and Paris with co-editor Talia Andrei “Mapping Sacred the Supernatural Grotesque Research Fellowship Holger A. Klein received the Professor at the University of Crisis in Art History?” in Visual Etienne Balibar, now teaching at Center for Advanced Study Spaces: Representations of in China, ca. 1200–1500: Stephanie O’Rourke “Bodies Lenfest Distinguished Faculty Heidelberg, during which time he Resources: An International Journal Columbia. Rajchman also lec- in the Visual Arts, Ittleson Pleasure and Worship in shaji Iconographic Origins, of Knowledge: Fuseli, Girodet, Award in 2012. In the spring, he also worked on Japanese paint- of Documentation 27/4, 2011; and tured in London, Berlin, Paris, Predoctoral Fellowship sankei mandara” Transmissions, and Perceptions” and Spectatorship at the Turn of taught the department’s under- ings in European collections. His “Mapping Gothic France,” in and Brussels on topics related to Subhashini Kaligotla Nicole Griggs “Reconsidering Megan McCarthy “The the Nineteenth Century graduate travel seminar on late exhibition, Silver Wind: The Arts Architecture et sculpture gothiques: French Theory in the visual arts. “Shiva’s Waterfront Temples: the Early Gothic Choir in Empire on Display: Exhibitions antique and medieval monu- of Sakai Hõitsu, 1761–1828 opens renouvellement des méthodes et des In September, he will lecture on Reimagining the Sacred Twelfth-Century Northern of Germanic Art and Design in 2011–2012 Dissertations ments in Rome (see p. 2). A grant at the Japan Society in New York regards (Art et Société des Presses critical theory at the opening of Architecture of India’s Deccan France” America, 1890–1914” Defended from the Gladys Krieble Delmas in September 2012 (see p. 10). Universitaires de Rennes). the Moscow Biennial. Region” Francesca Marzullo “The Foundation enabled him to con- Overdoor in Renaissance Italy” Metropolitan Museum of Art, Jessica Basciano “Architecture duct research this summer at Keith Moxey contributed a Ioannis Mylonopoulos spent David Rosand held the Robert Center for Advanced Study Gabriella Szalay “Materializing Sylvan C. Coleman and Pamela and Popular Religion: French Venetian archives, libraries, and comment, “Lost in Translation,” the year at the Institute for Janson-La Palme Visiting in the Visual Arts, Samuel H. the Past: The Romantic Narrative Coleman Memorial Fellowship Pilgrimage Churches of the Kress Predoctoral Fellowship museums for his project Philippe to the Stone Summer Institute Advanced Study in Princeton Professorship in Art and of German Art” Amanda Gannaway Nineteenth Century” (Barry Susan Wager “Boucher’s Bijoux: de Mézières, Cardinal Bessarion, volume What is an Image? pub- working on his book, Making the Archaeology at Princeton, where Zachary Stewart “The “Visualizing Divine Authority: Bergdoll) Luxury Reproductions in the Age and the Rhetoric of Relics in lished by James Elkins. He also Gods. The Visual Construction of he taught a seminar on Titian Production and Reception of An Iconography of Lordship on of Enlightenment” the Late Intermediate North Medieval Venice. He is currently attended the last of the Institute’s the Divine in Ancient Greece, to be and gave the public Janson-La Perpendicular Architecture in Patrick Crowley “Forms of editing a book entitled Saints seminar series Farewell to published by Harvard University Palme Lecture, “Figuring the the Parish Communities of Late Coast of Peru” C.V. Starr Departmental Spectrality in Ancient Rome” and Sacred Matter: The Cult of Visual Studies in July 2011 and Press. He gave talks at universities Renaissance: Leonardo, Dürer, Medieval East Anglia” Dissertation Fellowship (Richard Brilliant, Francesco de Museum of Modern Art, Relics in Byzantium and Beyond contributed an essay on peri- and research institutes in France, Michelangelo and their Critics.” Rebecca Fitle “Transformative Angelis, Natalie Kampen) GSAS Research Excellence Beaumont and Nancy Newhall to be published by Harvard odization (“Do We Still Need a Germany, Italy, and the US on a His book on Veronese was pub- Impressions: the Print Aesthetic Dissertation Fellowship Curatorial Fellowship University Press. Renaissance?”) to Reframing the broad range of subjects, including lished, in French translation, by Sonja Drimmer “The Visual in Sixteenth-Century New Marta Becherini “Staging the Drew Sawyer “Walker Evans’ Danish Renaissance (Copenhagen: fifth-century Athenian funerary Citadelles & Mazenod in early Language of Vernacular Spain” Foreign: Niccolo Manucci (ca. Cultures of Work and the Politics This spring Rosalind Krauss Syddansk Universitetsforlag). He imagery, Hellenistic and Roman 2012. He continues to serve as Manuscript Illumination: John 1638–1717) and Early European of Style” was elected to the American participated in several conferences statuary of priests, and tradition co-project director of Save Venice Gower’s Confessio Amantis C.V. Starr Finishing Grant Collections of Indian Paintings” Philosophical Society (APS), including “Art History and the in the Hellenistic visualization Inc., whose major current projects Anne Chen “Elusive Empresses (Pierpont Morgan MSM126)” Sandrine Colard “Photography Pierre and Gaetana Matisse the oldest learned society in the Indian Ocean” sponsored by the of deities. During his leave from include Veronese’s decorations and Divine Dads: The Politics (Stephen Murray) in the Colonial Congo” Departmental Dissertation United States. Founded in 1743 Clark Art Institute and the Power Columbia he wrote several arti- in the church of San Sebastiano of Family in Tetrarchic Art and Robert Fucci “Jan van de Velde Fellowship by Benjamin Franklin to “pro- Institute of the University of cles, was asked by the De Gruyter and Titian’s “Presentation of the Architecture” Andrew Finegold “Dramatic II and Creative Printmaking in Giulia Paoletti “La mote useful knowledge,” the APS Sydney in March 2012; “Beyond Press to author a monograph Virgin” in the Sala dell’Albergo Denise Murrell “Seeing Laure: Renditions: Battle Murals and the Early Dutch Republic” Connaisance du Réel: Fifty Years honors and engages distinguished Italy and New Spain: Itineraries on Greek sanctuaries, and was of the Accademia. In spring of The Iconographic Legacy of the Struggle for Elite Legitimacy William Gassaway “The of Photography in Senegal scientists, humanists, social sci- for an Iberian Art History” at appointed as one of the editors of 2013 he will offer his last class at Race as Modernity in Manet’s in Epiclassic Mesoamerica” Extraordinary Body in Aztec Art (1910–60)” entists, and leaders in civic and Columbia in April 2012; and the Archiv für Religionsgeschichte. Columbia, a seminar on late style. Olympia” (Esther Pasztory) (AD 1200–1521)” Eszter Polonyi “Surfaces in cultural affairs and promotes “What Time is Tomorrow?” at the His edited volume, The
14 15 alumni news
Meredith Fluke “Building across Aimee Ng “Ruptures in Laurie Schneider Adams ’67 Julia Assante ’00 PhD has four Herbert R. Broderick ’67 BA the Sacred Landscape: The Painting after the Sack of Rome: MA in Modern Art: Critical PhD published “Contemporary articles in press, plus one sched- ’78 PhD, FSA, delivered a paper Romanesque Churches of Verona Parmigianino, Rosso, Sebastiano” Art in China: ‘Anxiety of uled for 2013. Her book, The at the conference “Das Atrium in their Urban Context” (David Freedberg, David and Curatorial Studies Influence’ and the Creative Last Frontier, will be released in von San Marco in Venedig,” (Stephen Murray) Rosand) I am pleased to announce MODA’s programs for the 2012–13 Triumph of Cai Guo-Qiang” November 2012. at the Forschungskolleg academic year. Organized by Cecelia Thornton-Alson, Carmen in Subversive Strategies in Humanwissenschaften. His Teresa Harris “The Olivia Powell “The Ferreyra, and Carmen Falcioni (all MODA students), the panel Contemporary Chinese Art, Brill, Noit Banai ’07 PhD partici- paper, “The Veil of Moses Transformation of the City: Choreographic Imagination in discussion Homeland Security: Art and the Global Contemporary will 2011 and ART: A Beginner’s pated in the summer seminar as Exegetical Image in the The Kampffmeyer Family Renaissance Art” (David Rosand) bring together contemporary thinkers, scholars, and curators to dis- Guide, Oneworld Publications “France’s Haunting Past: Recent Illustrated Old English and the German Garden City cuss new modes of artistic practice related to the question of borders (Oxford, 2011 and 2012). Debates on Twentieth Century Hexateuch,” was published Association” (Barry Bergdoll) Sara Switzer “Correggio and the in the 21st century. Together, these students will also take over as French History and National in Insular & Anglo-Saxon Art Sacred Image” (David Freedberg, editors of MODA’s online graduate student journal Interventions. Eric Anderson ’09 PhD has Identity,” sponsored by the and Thought in the Early Page Knox “Scribner’s Monthly David Rosand) Tamar Margalit (MODA) will join Gillian Young (PhD) and an been appointed an assistant pro- National Endowment for the Medieval Period. 1870–1881: Illustrating a New MFA representative to coordinate the Works in Progress series, a fessor at Rhode Island School Humanities. American Art World” “Diplomatic Mark Watson forum for students and faculty in art history and the visual arts. of Design. His article, “From Perry Brooks ’90 PhD teaches (Elizabeth Hutchinson) Aesthetics: Globalization and Finally, this year also inaugurates MODA Curates at the Wallach Historic Dress to Modern Colleen Becker ’08 PhD Italian Renaissance art at Stony Contemporary Native American Art Gallery. I am delighted to report that the Wallach Steering Interiors: The Design Theory welcomed the birth of her sec- Brook University. He spoke “‘Constructing Art” (Elizabeth Hutchinson) Risha Lee Committee has chosen Beau Rutland and Tamar Margalit’s joint of Jakob von Falke,” was pub- ond son, Cole Luke Madan, on on “The Meaningful Use of Community’: Tamil Merchant proposal “Speak, Memory” to inaugurate this new program. lished in Performance, Fashion August 23, 2011. She has been Φ and Π in the Paintings of Temples in India and China, Carolyn Yerkes “Drawing as a For 2012–13 I will be on academic leave and Kellie Jones will and the Modern Interior: From writing for the Huffington Post Piero della Francesca” in the 850–1281” (Vidya Dehejia) Way of Knowing: Architectural serve as interim MODA Director and teach the spring’s Curatorial the Victorians to Today (Oxford, as well as publishing fiction CAA session “Visual Culture Survey in the Late Renaissance” Colloquium. Art historian and critic Bettina Funcke, currently 2011). and reading at venues includ- and Mathematics in the Early Joseph Loh “When Worlds (Hilary Ballon, David Freedberg) head of dOCUMENTA (13) publications, will teach the fall’s ing the Tate Modern and Foyle’s Modern Period,” and published Collide: Art, Cartography, and Critical Colloquium. Stanford Anderson ’68 PhD, Bookshop in London. “Erotic Fallout in Bernini’s Japanese Nanban World Map Undergraduate Awards Screens” (Robert Harrist) kaira cabañas Professor, MIT Department Apollo and Daphne” in Gravity and Prizes of Architecture, was appointed Adrienne Baxter Bell ’05 PhD in Art, edited by Mary Edwards “‘On Earth as It an advisory professor at Tongji received tenure and was pro- (’86 PhD). M. Jordan Love The Department awarded its Is in Heaven?’: The Creation of University in Shanghai. Aalto moted to Associate Professor senior thesis prizes to Laura Cambridge/Columbia the Bastide Towns of Southwest and America, co-edited with of Art History at Marymount Eva Burmeister ’97 BA was Waelbroeck for “Furnishing France” (Stephen Murray) Research Exchanges Gail Fenske and David Fixler, Manhattan College. Her 2012 appointed to the violin section of Gentility: Jacques Seligmann was published by Yale University publications include a chap- the Pittsburgh Symphony. Since and the Marketing of Decorative Thanks to the generous sup- “The Building Press. Eladio Dieste: Innovation ter in The Cultured Canvas: graduating from the Columbia/ Jeffrey Miller Arts, 1880–1923” and to port of Dr. John Weber, the Program of Archbishop Walter de in Structural Art was reissued by New Perspectives on American Juilliard joint program, she Elisabeth Stephan for “A informal exchange program Gray: Architectural Production Princeton Architectural Press. Landscape Painting and a pref- has been an associate musician Spectre upon the Threshold: The between the Department of the and Reform in the Province ace to a new edition of Meyer with the Metropolitan Opera X-ray’s Aesthetic Aperture into History of Art at the University of York, 1215–1255” Drew Armstrong ’03 PhD, Schapiro’s Modern Art. Orchestra and a member of the Modernity.” of Cambridge and Columbia’s (Stephen Murray) Department of Art History Dr. Weber’s gift has also Director of Architectural Studies Leipzig Gewandhaus Orchestra. and Archaeology continues enabled faculty from Cambridge in the Department of History Priya Bhatnagar ’09 MA is The Summer Thesis Travel Kim-Ly Moynihan “Comedy, to thrive. This year’s high- and Columbia to cross the of Art and Architecture at the Director of Publications for Allison Caplan ’11 BA interned Fellowship went to Hwi Kyung Science, and the Reform University of Pittsburgh, was Kiito-San, a new publishing at the Metropolitan Museum of Lee to conduct research in South light was the graduate student Atlantic to deliver lectures and of Description in Lombard Korea. symposium, “Modernism and meet informally with colleagues promoted to Associate Professor imprint founded by the artist Art, where she led tours on Latin Painting of the Late Renaissance: Cross-Cultural Exchange,” and students. In November with tenure. His book, Julien- Urs Fischer. American and Spanish art. She Archimboldo, Vincenzo Campi, Riggio Summer Internship held at Columbia on March 31, Professor Luke Skrebowski of David Leroy and the Making also worked as a curatorial assis- and Bartolomeo Passerotti” Fellowships were awarded to 2012. Twelve students presented Cambridge, a scholar of modern of Architectural History, was Jane Braun ’11 MA is tant at the American Numismatic (David Freedberg, David Nicole Estevez, Laura Kenner, papers for an international and contemporary art, pre- published in 2011. He is cur- Curatorial Research Associate for Society in its Latin American Rosand) and Laura Waelbroeck for audience on topics ranging sented the lecture “Revolution rently working with Alison Exhibitions in the Department collection. This fall, she is enter- internships at Sikkema Jenkins from artistic Anglophilia in in the Aesthetic Revolution: Langmead (’04 PhD) on of Prints, Drawings, and ing the MA/PhD program in Albert Narath “The Baroque & Co. and Paula Cooper Gallery, early twentieth-century Russia Hélio Oiticica and the Concept ITINERA, a project that will Photographs at the Museum of Art History and Latin American Effect: Architecture and Art NYC, A.I.R Gallery, NYC, and to contemporary Japanese of Creleisure” at Columbia, permit scholars to visualize Fine Arts, Boston. She is helping Studies at Tulane University. History in Berlin, 1886–1900” The Frick Collection, NYC, ink painting. Cambridge and in May Columbia professor patterns of travel, site documen- prepare a touring exhibition on (Barry Bergdoll) respectively. Department Chairman Frank Noam Elcott (’00 CC), likewise tation and collecting. Japonisme and an in-house exhi- David Cast ’70 PhD wasap- Salmon accompanied the stu- a modernist, delivered a lecture bition on Francisco Goya. pointed to the Eugenia Chase dents from Great Britain. Next in Cambridge titled “Oskar Guild Chair in the Humanities at year’s symposium will take place Schlemmer’s Dance Against Bryn Mawr College. in Cambridge. Enlightenment.”
16 Altar of Santa Maria in Trastevere, Rome, Italy. Photograph by Jasper Clyatt Alumni News continued
Lynn Catterson ’02 PhD gave curate an exhibition on Schiele Gravity in Art: Essays on Weight Towson University. He contin- Holly Greenfield ’04 MA is Rachel Paige Katz ’10 BA Conservation Program, and In 2011 David Moos ’93 PhD papers on Stefano Bardini in in 2014. and Weightlessness in Painting, ues as editor-in-chief of Studies working at Paddle8, heading its was promoted to Membership helped organize more than 30 established David Moos Art New York and Florence, and one Sculpture and Photography, a in Medievalism, co-editor (with nonprofit partnerships and the Director at The Breman Jewish public art installations, including Advisory in Toronto, Canada. on Donatello at the Courtauld Patrick Crowley ’11 PhD will collection of essays which she Chris Jones) of the book series, For Good division. Museum in Atlanta, GA. She the BMW Guggenheim Lab and Institute of Art. She spent be starting his appointment co-edited with Elizabeth Bailey. Medievalism, and as an associ- also curated “The Dreyfus Ai Weiwei’s Circle of Heads at the Albert Narath ’11 PhD is much of the year processing the as an assistant professor in the Bettina Bergmann (’85 PhD), ate editor of Medievally Speaking: Julia Halperin ’11 BA is an Affair and the Press: the Art of Pulitzer Fountain. an assistant professor in the Florentine archive of Bardini for Department of Art History at the Constantin Marinescu (’96 Medievalism in Review. assistant news editor for the Visual Reportage” at The Jewish Department of the History of a digital project. University of Chicago in the fall PhD), Perry Brooks (’90 PhD), art news site, ARTINFO.com, Theological Seminary, which Sarah Lawrence ’94 PhD is Art and Architecture at the of 2013. Johanna Fassl (’04 PhD), and Kerry Gaertner ’12 MA as well as its magazine, Art + was on display from May until now Dean of Art and Design University of Oregon. Kristen Chappa ’11 MA Kirsten Hoving (’82 PhD) con- is a Researcher and Rights Auction. August 2012. History and Theory at The New curated the 2012 exhibition After five years of service as tributed to the collection. Administrator at Art Resource, School (Parsons). Deborah Nevins ’76 M Phil You never look at me from the Associate Provost at Smith New York. Nancy E. (Garner) Hampshire Trudy Kawami ’83 PhD gave is designing a 40-acre park for place from which I see you at the College, John Davis ’91 PhD Patricia A. Emison ’85 PhD ’78 MA was Instructor of Art the lecture, “Artistic Currents Britt Levy ’06 BA is a first- the Stavros Niarchos Cultural SculptureCenter, as well as the stepped down to return to teach- published The Italian Renaissance Jessica Garrett ’12 MA is work- History, Providence College, Along the Gulf in Ancient year veterinary student at the Center in Athens with the Renzo performance series Coda, fea- ing and research. His article on and Cultural Memory (Columbia ing with at-risk students in the RI for eleven years. She is now Times,” at Dar al-Athar as- University of Pennsylvania. Piano Building workshop. It will tured as a Critic’s Pick on Eastman Johnson’s Negro Life at University Press, 2012) and is Murray School District in Salt painting watercolors and plans Islamiya, Kuwait City. She include The National Library of artforum.com. She organized the South was included in The Art scientific advisor on Vittore Lake City, Utah where she is also to resume private research in has in press “The ‘Sasanian’ Carla Lord ’86 PhD contributed Greece and The National Opera “Translating Spaces: Translating Bulletin’s Centennial Anthology Carpaccio’s Knight for a Google interning with an Art Dealer/ African and Mexican art in addi- Stuccoes of Mound H, Kish,” in a chapter “A Survey of Imagery of Greece. The project is fully Law” with Volunteer Lawyers of Greatest Hits, an online Art video. Consultant for the Repartee Art tion to the art of early American Where Kingship Descended from in Medieval Manuscripts of underwritten by the Stavros for the Arts and has contributed collection. Gallery. gravestones. Heaven: New Studies on Ancient Ovid’s Metamorphoses and Niarchos Foundation. texts to Art in America, Frieze, As an assistant vice president in Kish, ed. Karen L. Wilson and Related Commentaries” to Ovid Interventions Journal, and the Duygu Demir ’08 BA works the Impressionist and Modern Alex Gartenfeld ’08 BA will Kikka Hanazawa ’00 BA orga- Deborah A. Bekken (University in the Middle Ages (Cambridge 2012 marked the fourth year of Performa 09 Anthology. In 2013 at SALT, İstanbul. With Vasıf Department at Sotheby’s, curate a group exhibition at Team nized another Fashion Girls for of Chicago Press) and “Parthian University Press, 2011). Victoria Newhouse’s ’77 MA she will be curating “In Practice” Kortun, she organized I am not Jeremiah Evarts ’04 BA was Gallery in New York in January, Japan fundraiser. The $100,000 and Elymaean Rock Reliefs,” research for Site and Sound: The at the SculptureCenter. a studio artist (2011), a retrospec- a seminal member of the team 2013. In April he will co-orga- proceed was donated to Toyo Oxford University Press Handbook Alexandra Lotero ’12 BA was Architecture and Acoustics of New tive of Turkish artist Hüseyin responsible for selling Edvard nize with Sir Norman Rosenthal Ito and Kazuyo Sejima, who on Iranian Archaeology. a Summer College Intern in the Opera Houses and Concert Halls, Elizabeth C. Childs ’89 Bahri Alptekin, and edited the Munch’s The Scream. a survey of New York artists at will build a communal house in Met Education Department. which was published in April. PhD was named the Etta and accompanying publication. the Palazzo delle Esposizioni in Tohoku, and present their proj- Heidi King ’81 MA gave This September, she will be Mark Steinberg Professor in She co-curated I Decided not to Jerome Feldman ’77 PhD was Rome. ect at the Venice Architecture papers at the Museo Nacional a Teacher Resident at Match Kathleen Nolan ’85 PhD Art History, at Washington Save the World (2011) with Kyla the Slade Visiting Professor in Biennale. de Antropologia e Historia in Community Day School presented “Identité visuelle de University in St Louis. She has McDonald, an exhibition at Tate Art History at King’s College, Peregrine Gerard-Little ’08 Mexico City and at the Annual in Boston. la royauté féminine : Bertrade also been reappointed as Chair Modern’s Level 2 Gallery, which Cambridge for 2004– 2005—a BA is a PhD student in the Teresa Harris ’12 PhD was the Meeting of the Institute of de Montfort et Adélaïde de of the Department. Her book, came to SALT in 2012. Duygu first for a specialist in Tribal Arts. Anthropology Department project coordinator for the web- Andean Studies at Berkeley. She Kenneth Maddox’s ’99 PhD Maurienne,”at the Archives Vanishing Paradise: Art and contributes to magazines and He is Professor of Art History, at Cornell, studying Iroquois site Marcel Breuer Digital Archive is the main author and editor of article, “Cropsey’s Paintings Nationales, Paris, which drew Exoticism in Colonial Tahiti, is online platforms including Art Hawaii Pacific University. archaeology. (http://breuer.syr.edu), launched the book, Peruvian Featherworks: of the ‘Fog Company’ and the from her 2009 book: Queens in forthcoming with University Asia Pacific, Broadsheet, Art by Syracuse University, which Arts of the Precolumbian Era, to Industrial Riverside of Hastings- Stone and Silver: the Creation of of California Press. Unlimited and Ibraaz. Natalie Fielding ’68 MA has Joseph Gergel ’12 MA is represents a collaborative effort be published by the Metropolitan on-Hudson,” will be published a Visual Identity for Queenship in been a member of the Advisory Project Coordinator/Co-Curator to digitize over 30,000 materi- Museum of Art in fall 2012. in IA, Journal of the Society for Capetian France (Palgrave). David Christman ’66 PhD Samuel Draxler ’12 BA is Council of the New Orleans of the LagosPhoto Festival at the als related to the early career of Industrial Archaeology. retired as the director of the working as a gallery assistant Museum of Art since 2010. African Artists’ Foundation in Marcel Breuer. Kathryn Kramer ’93 PhD Sarah Kelly Oehler ’10 Hofstra University Museum. at David Nolan Gallery. Nigeria. curated Contemporary Aboriginal Susan McDonough ’90 BA PhD is the Henry and Gilda Michelle Finocchi ’02 BA is With the opening of the new Art: Mapping Land, Representing has an appraisal practice in Buchbinder Associate Curator In 2011 Alessandra Comini Sonja Drimmer ’11 PhD was a PR consultant working with Senta German ’99 PhD started American paintings and sculp- Country at Dowd Gallery, San Francisco. of American Art at the Art ’69 PhD was granted Barnard awarded a Henri Frankfort David Zwirner Gallery. a three year post as Andrew ture galleries this past January, SUNY Cortland, in fall 2011; Institute of Chicago. Current College’s distinguished alumna Fellowship from the Warburg W. Mellon Foundation Teaching Morrison H. Heckscher and authored, with John Carmen Miller ’11 BA is cur- projects include They Seek a City: award and this June she was Institute for 2013. She will also Ilene Forsyth’s ’60 PhD Curator at the Ashmolean ’86 PhD reports the comple- Rennie Short, “Flânerie and the rently the gallery manager at Chicago and the Art of Migration, honored with an exhibition be organizing a session at the study on the Moissac Portal has Museum, University of Oxford. tion of the renovation of the Globalizing City” in City (June– Balice, Hertling & Lewis Gallery. 1910–1950, and Art and Appetite: and an international sympo- conference for the Association for appeared in Current Directions Metropolitan Museum of Art’s August 2011). American Painting, Culture, sium in Austria, celebrating the Art Historians titled, “Medieval in Eleventh and Twelfth-Century Andrew Greene ’11 BA American Wing. Aliza “Kathryn” Minogue- and Cuisine (both scheduled for 50th anniversary of her discovery Remediations: Aesthetic, Sculpture, eds. R. Maxwell and is teaching art history at St. Jonathan Kuhn ’83 MA as Nachison ’12 BA is entering 2013). Last year she was elected of Egon Schiele’s prison cell in Ideology, and Praxis.” K. Ambrose (Brepols, 2011). Stephen’s School in Rome. Next Ellen Hoobler ’11 PhD began a NYC Parks and Recreation’s Columbia University’s PhD Co-Chair of the Association of Austria. New York’s Neue Galerie year he will be returning to New position as Assistant Professor of Director of Arts and Antiquities, Program in Classical Studies Historians of American Art. Museum has asked her to guest Mary Edwards ’86 PhD Karl Fugelso ’99 PhD was York to teach at St. Bernard’s Art History at Cornell College in oversaw the 15th season of in the fall. announces the publication of promoted to full professor at School in Manhattan. Mount Vernon, IA in fall 2012. the Citywide Monuments
18 19 Alumni News continued
Judith Ostrowitz ’96 PhD Barbara Porter ’01 PhD is Terry Robinson ’88 BA is a by the same name, published by at the Netherlands Institute for was awarded a 2012–2013 Art Director of the American Center guide at the Philip Johnson Glass Princeton University Press. Advanced Study. Writers Grant from the Creative of Oriental Research, Amman, House in New Canaan, CT. Capital/ Warhol Foundation for Jordan. Robert Simon ’82 PhD is In 2012 Silvia Tennenbaum’s a book with the working title: Donald Rosenthal’s ’78 PhD involved with the discovery of ’83 MA novel, Yesterday’s Contemporary Native American Olivia Powell ’12 PhD will be article, “Delacroix, Fantin- Leonardo da Vinci’s lost Salvator Streets (German title: Strassen Art: Cosmopolitanism and Creative the Samuel H. Kress Interpretive Latour, and Tannhäuser in Paris,” Mundi, recently exhibited at the von Gestern), was chosen for Practice. Fellow at The Frick Collection in appeared in Wagneriana (fall National Gallery, London. He is “Frankfurt liest ein Buch” 2012–13. She graduated in May. 2011). editing and co-writing a mono- (Frankfurt reads a book). Jennifer Overton ’88 BA ’91 graph on the painting. She also received the Goethe MPA joined the Peace Corps David Pullins ’05 BA, a PhD Paige Rozanski ’08 MA Medal from the state of Hesse. in the Congo and works in inter- candidate at Harvard University works as a curatorial assistant Cat Slowik ’12 BA is working in national development. and a fellow at the Metropolitan in the Department of Modern design and production at Annie Chun-Yi Tsai ’09 M Phil was an Museum of Art, began a three- and Contemporary Art at the Leibovitz’s studio. exchange student at UC-Berkeley Martha Page ’63 MA is now year David E. Finley Fellowship National Gallery of Art in in spring 2012. In 2012–2013, retired after getting an MA from the Center for Advanced Washington, DC. Jeffrey Chipps Smith ’79 she will be a Jane and Morgan in Fine Arts and Fine Arts Study in the Visual Arts PhD professor at University of Whitney Fellow in the Asian Art Education, Teachers College. (CASVA) in fall 2012. Karen Rubinson ’76 PhD Texas, Austin, published Dürer Department at the Metropolitan was part of the curatorial team (Phaidon, 2012). He organized Museum of Art. Andrea (Herbst) Paul ’03 BA Anne Reilly ’10 BA completed for Nomads and Networks: a conference on “Visual Acuity recently started a company a Masters in Art Crime Studies The Ancient Art and Culture and the Arts of Communication Anna Vallye ’11 PhD is in London that will design and will graduate in May 2013 of Kazakhstan, organized by in Early Modern Germany” Andrew W. Mellon Postdoctoral and sell dresses for professional from Fordham University School the Institute for the Study of at Duke University and co- Curatorial Fellow in the women. of Law. She is currently an the Ancient World, NYU. She chaired a CIHA session in July in Department of Modern and associate editor of the Fordham co-edited the accompanying Nuremberg. Contemporary Art at the Richard A. Pegg ’01 PhD gave Intellectual Property, Media, and catalogue. Philadelphia Museum of Art. She public lectures at the Hillwood Entertainment Law Journal and David Simon Sokolow ’70 is organizing Fernand Léger and Art Museum, The Newark contributes to the journal’s blog. After six years as Chairman of BA, ’71 MA won the Teacher the Modern City, which will open Museum, DePauw University, the American Friends of the Tel of the Year for 2011–2012 at in 2013. and Freie University in Berlin. Jamie Richardson ’08 BA com- Aviv Museum of Art, Steven The University of Texas School Sculptural Relief, Mahabalipuram, Tamil Nadu, India. Photograph by Prasad Pawar. pleted her Master of Arts in Art Schwartz ’70 BA, is now its of Law, where he has taught for Althea Viafora-Kress ’00 BA Menil Collection, Houston and Laura Weinstein ’11 PhD is the ect worked at Tell Sakhariya, six Ian Pepper ’10 PhD pub- History at Bryn Mawr College Vice Chairman, with responsibil- the past 31 years. It is his third sold Subodh Gutpa’s sculpture, Yale University Press. She was Ananda Coomaraswamy Curator kilometers from the site of the lished “Tangent 1: Maillart in 2012. ity for art acquisitions. Teacher-of-the-Year award. Line of Control, to India’s Kiran also the curator for the exhibition of South Asian and Islamic Art ancient ziggurat of Ur. Serra. ‘Maillart Extended’ or Nadar Museum. She continues at the Menil. at the Museum of Fine Arts, Nördling Eversed? An Exact Catherine Roach ’09 PhD is John Scott ’ 71 PhD is writ- Jenny Spring ’01 BA lives in to help build collections and sup- Boston. Carter Wiseman ’72 MA Fantasy” in English and Assistant Professor of Art History ing “Public Sculptures and San Francisco and works for port artist works at Viafora-Kress Barbara Weinberg ’72 PhD reports that he has completed German in Candide—Journal at Virginia Commonwealth Monuments” for World Scholar Chronicle Books, where she Fine Art. completed the multi-year ren- Barbara Ehrlich White ’65 ten years of teaching at the Yale for Architectural Knowledge University. Her research has Latin America and the Caribbean, manages client publishers. Her ovation of the Metropolitan PhD is completing her biogra- School of Architecture, and (University of Aachen, Germany). been published in the British Art (online), and “Desarrollo de los roster includes Laurence King Mark Watson ’12 PhD Museum of Art’s American phy: Renoir’s Intimate Life Story: that his book based on his Yale Journal, Visual Culture in Britain, ‘yugos’ y las ‘hacha’ en Veracruz Publishing (London), Princeton started as Assistant Professor Wing. She organized a team- Models, Children, and Friends. courses, The Architecture Writer’s Doralynn Pines ’85 PhD has the Museum History Journal; precolombino” for 1º Coloquio Architectural Press (New York), of Art History at Clayton State taught curatorial studies Companion, will be published been elected to the Board of the another article is forthcoming in Temas Selectos del Centro-Sur and the Creative Company University in Atlanta this fall. He colloquium, offered by the Met Lisa Williams ’12 MA was by Trinity University Press College Art Association. the Huntington Library Quarterly. de Veracruz: El Juego de Pelota (Mankato, MN). will be presenting a paper on the and NYU’s Institute of Fine Arts. the first Postgraduate Fellow next year. (UNAM Mexico City). work of Jimmie Durham in the She has also been preparing for for Forever & Today, Inc. The Cary D’Alo Place ’05 BA Janice Robertson ’05 PhD Louise Stewart ’11 BA is “Particularities of Post-identity” major loan exhibitions on George Robert Rauschenberg Foundation Susan Wood ’79 PhD contrib- became a Teach for America gave the papers, “Aztec Picture- Johanna Seasonwein ’10 completing her MA in session at the 2013 College Art Bellows, the Civil War, and John hired her to work on upcoming uted to the Blackwell Companion Corps Member in 2009 and Writing Meets Hypermedia and PhD is the Andrew W. Mellon Principles of Conservation Association conference. Singer Sargent. exhibitions. to the Flavian Era, forthcoming taught first grade outside Baton a ‘New World’ of Writing Opens Curatorial Fellow for Academic in September. in 2013, and is currently com- Rouge, LA. She is now an associ- Up,” at REWIRE 2011, FACT’S Programs at the Princeton Virginia-Lee Webb ’96 During the past few years Irene Winter ’73 PhD par- pleting a chapter for the Oxford ate designer at Odell Associates International Conference University Art Museum. Claudia Swan ’97 PhD con- PhD was awarded the Prix Anne Weinshenker ’62 PhD ticipated in the first SU Handbook of Roman Sculpture. in Richmond, VA. on Media Art Histories; and She organized the exhibition cluded a three-year term as Chair International du Livre d’Art has published catalog essays Archaeological Field Project in She was appointed the Doris “VoiceThread Class Projects Turn Princeton and the Gothic Revival: of the Department of Art History Tribal for Ancestors of the Lake: for exhibitions at the George Iraq since the departure of US and Paul Travis Professor of Art Text-Based Teaching Practices on 1870–1930 and authored a book at Northwestern University and Art of Lake Sentani and Humboldt Segal Gallery at Montclair State troops. Under the auspices of History, Oakland University Their Head,” at SECAC 2011. spent 2010–2011 in residence Bay, 2011, published by the University. SUNY Stony Brook the proj- (Rochester, MI).
20 21
Columbia Art History With Thanks Professor Natalie Boymel Kampen and Archaeology (1944–2012) Advisory Council The strength and renown of Columbia’s Department of Art History and Archaeology derive not only from the expertise and dedication of the faculty, but also from alumni and friends who carry forward the The faculty and students of the Department of Art History and intellectual mission of the department and who provide financial support for professorships, fellowships, Archaeology mourn the loss of Professor Natalie Boymel Kampen, Philip E. Aarons, Esq. symposia, and an array of programs and projects that enhance our core offerings. beloved teacher, mentor, and internationally recognized historian Armand Bartos, Jr. We are deeply grateful to the following individuals, foundations, corporations, as well as those who of Roman art and architecture, who passed away at her home in Frances Beatty have wished to remain anonymous, who have given generously in the fiscal year 2011-2012: Wakefield, Rhode Island, on August 12, 2012. Born in Philadelphia, Annette Blaugrund Tally received her BA and MA from the University of Pennsylvania Nelson Blitz, Jr. and Catherine A Philip E. Aarons • Morton C. Abromson • Frances B. Adler • Cynthia B. Altman • Andrew W. in 1965 and 1967, and earned her PhD in Art History from Brown Woodard Mellon Foundation • Eloise M. Angiola • Rosemary F. Argent • Lilian A. Armstrong • Kevin J. Avery University in 1976. Having taught at the University of Rhode Island Jean Magnano Bollinger for almost two decades, she joined the faculty of Barnard College as Fiona Donovan B Joan D. Baekeland • Stephanie J. Barron • Adrienne B. Bell • Barry G. Bergdoll • Annette Blaugrund Professor of Women’s Studies and of Art History in 1988, chairing Lee MacCormick Edwards • Nelson Blitz, Jr. • Jane and Raphael Bernstein c/o Parnassus Foundation • Susan L. Braunstein • Richard the Department of Women’s Studies from 1988 to 1995. In 2004, she Theodore Feder Brilliant • Nancy A. H. Brown • Barbara C. Buenger C Charles R. Canedy III • Galit Carthy • David became the first Barbara Novak Professor of Art History and Women’s Linda S. Ferber Studies. Following her retirement in 2010, she served as Visiting C. Christman • Fen-Dow Chu • Petra T. D. Chu • Valerie M. Cihylik • Jacquelyn C. Clinton • Heather Professor at Jawaharlal Nehru University in New Delhi and Brown Sharon Flescher Clydesdale • Evelyn M. Cohen • Christiane C. Collins • Mary M. Cope • Maria A. Conelli • Jonathan K. Kate Ganz University. Tally’s warmth, intellectual generosity, and wit will be Crary • Shirley S. Crosman c/o Fidelity Charitable Gift Fund • Elizabeth D. Currier D Aurele A. Danoff much missed, but her memory will be cherished. Marian Goodman • John H. Davis • Normanella DeWille • Fiona Donovan E Lee M. Edwards • Mary D. Edwards • Jane Michael and Georgia de Havenon E. Egan • Lauren Etess F Barbara S. Fields • Natalie Fielding • Helen S. FitzGerald • Sharon Flescher Frederick David Hill • Raymond A. Foery • Ilene H. Forsyth • William G. Foulks • Chelsea H. Foxwell • Rebecca J. Frandsen On Tally Kampen’s Teaching Excerpts from the Writings of Professor Kampen Jeffrey M. Hoffeld Steve Kossak • Freeman Charitable Trust G Peregrine A. Gerard-Little • Ellen B. Gibbs • Grace A. Gliedman • Stacy The task of putting into words From Family Fictions in Roman Art, selected by james frakes ’02 phd Carol F. Lewine C. Goodman • Susan T. Goodman • Dean H. Goossen • Mary Livingston Griggs and Mary Griggs Burke what Tally meant to me as a I chose this excerpt because it guides me in my current work, and because I Glenn D. Lowry Foundation • Maeve C. Gyenes c/o Fidelity Charitable Gift Fund H Adelaide B. Hagens • Piri Halasz • teacher and mentor—to say had the privilege to be with Tally in Tripoli when she first saw the relief on Mary A. Lublin Dimitri Hazzikostas • Margaret B. Hayden • Morrison H. Heckscher I Institute for Studies on Latin nothing of her role as a col- the honorific arch of Leptis Magna with her own eyes. Philippa Feigen Malkin league and friend—is a very American Art c/o Geo Global Fund J Michael Jacoff K Mitchell D. Kahan • Karl Katz • Eloise The comprehensibility of the doubling of the triumphal panels Philippe de Montebello tall order indeed. The emo- Q. Keber • Andrew Jeong-Won Kim • Caroline A. King • Timothy B. King • Hannah Kligman • Alice on the Leptis arch turns on two central phenomena: the constant tions are still too raw, and the Amy D. Newman presence of the empress as a necessary part of the Severan fam- B. Kramer • Kathryn E. Kramer • Lara M. Krieger • Jane Kristof • Jonathan L. Kuhn • Jack H. Kunin temptation is too great to offer Doralynn Pines ily image and marker of its nature as a family and the dynastic L Bernice K. Leader • Lindsay Leard • Jaroslaw Leshko • Brittany Levy • Carol F. Lewine • Ira R. Licht • simple platitudes about the Amy Greenberg Poster hopes embodied by the two sons she produced. Julia Domna takes occasion, or worse, intellec- Louise Riggio Raymond Lifchez c/o Raymond Lifchez Living Trust • Virginia R. Liles • Carol A. Lorenz • Carla G. Lord multiple roles here, including those with military overtones, but tualizing it. Tally, of course, • Mary A. Lublin M Kenneth W. Maddox • Maxine S. Maisels • Michael Mallory • Nina A. Mallory her fundamental purpose is to provide the retrospective link to Terez Rowley would tell me to stop fum- the Antonine women … and at the same time to underscore the Steven and Lauren Schwartz • Tod A. Marder • John C. Markowitz • James H. Marrow c/o The Rose Marrow Fund • Courtenay C. fering around and get to the hope of dynastic continuity … The constant cross-referencing of Bernard T. and Lisa Selz McGowen • David J. Menke • Helen Meltzer-Krim • Katherine J. Michaelsen • Susan M. Milbrath • Julia point (one of the things that generations and of Leptis and Rome make the arch a remarkable Robert B. Simon makes Tally most present for I. Miller • Joan B. Mirviss N Otto J. Naumann c/o Otto Naumann, Ltd. • Michael E. Newmark • Joan illustration of the way Roman artistic creativity could be brought Leopold and Jane Swergold me is that her Yiddishisms have L. Nissman • Kathleen D. Nolan O Barbara O’Doherty • Judith H. Oliver • Priscilla H.V. Otani c/o to bear on local and imperial political needs. Dale C. Turza slowly but surely crept into my everyday vocabulary). Few graduate Philanthropic Ventures Foundation Grants • Megan K. O’Toole • Jennifer H. Overton P Martha S. Miriam Wallach students are lucky enough to study with a scholar who is simultane- Page • Melinda L. Parry • Francesco A. Passanti • Andrea H. Paul • Doralynn S. Pines • Jerome J. Pollitt ously brilliant and self-effacing; commanding and non-hierarchical; From “The Art of Soldiers on a Roman Frontier: Style and the Mark S. Weil • Barbara A. Porter • Sheila M. Pozon • Gino Pulido Helen A. Raye c/o Helen A. Raye Living Trust maternal and professional. At every turn, she offered a model of cau- Antonine Wall,” in Eve D’Ambra and Guy P. R. Metraux, The Art Marie-Hélène Weill R tious, but intrepid scholarship, encouraging me to rethink the obvious of Citizens, Soldiers and Freedmen in the Roman World, selected Adam Weinberg • Donald M. Reynolds • Nancy R. Reynolds • Louise Rice • Barbara Robinson c/o The Widgeon Point and ask questions that seemed at first to need no asking. I have only by elizabeth marlowe ’04 phd H. Barbara Weinberg Charitable Foundation • Terry H. Robinson • David Rosand • Donald A. Rosenthal S Emily J. Sano • just begun to take all these lessons to heart, but I thank her for show- I propose that these reliefs [figural distance slabs erected by mili- Gertrude Wilmers Charles C. Savage • Marie L. Schmitz • Steven P. Schwartz • John F. Scott • Nancy P. Sevcenko • Margaret ing me the way. tary units stationed along the Antonine Wall in Britain] need to be W. Shengold • Jeffrey C. Smith • Robert B. Simon • Susan M. Sivard • Katharine E. Staelin • Allen Staley patrick r. crowley ’11 phd understood not only through the ways they were produced and the • Louisa R. Stark • Christina C. Staudt • Richard E. Stewart • Damie Stillman • Howard M. Stoner • people who produced them but through the audiences that viewed Tally was an exemplary teacher and person. I learned as much from them … Rather than provincial styles always being failed attempts Deborah A. Stott • Virginia B.Suttman • Samuel D. Sweet • Leopold Swergold T Andrew J. Tallon • her about life as I did about Roman art. My family and I will miss her to be unprovincial, i.e. either indigenous in some originary way or We would also like to thank Weston W. Thorn • Silvia Tennenbaum • Joni R. Todd V Herica N. Valladares • Elizabeth W. Vanacek more than we can say. Luke Barclay ’07 BA and Irina Roman in some metropolitan and Hellenizing way, styles may be W Mary J. Wallach c/o The Mary & James G. Wallach Foundation • Virginia-Lee Webb c/o Virginia- hérica valladares ’06 phd Oryshkevich ’03 PhD for editing both taken-for-granted and at the same time expressive vehicles Lee Webb Consultants, LLC • John C. Weber • Mark S. Weil • Anne B. Weinshenker • Barbara E. White for group identity … A heterogeneous population of soldiers who copy; Joshua Sakolsky for production • Gertrude Wilmers • Irene J. Winter • Irene L. Wisoff • Susan E. Wood • Gregory A. Wyatt c/o Kouros came from all over the empire produced works in multiple styles, management, Caleb Smith, Gabe even within one legion in one brief period in one geographical Rodriguez ’08 BA, Jim Hall and Galleries LTD Y Thomas W. Yanni Z Mark J. Zuker area. At the same time, I would argue that all the styles partici- Emily Shaw ’11 MA, for image pated in the construction of a Romanness that had little to do with production; and Chris Newsome, Contributions provided funding for individual and group study and research worldwide; conferences, symposia and lectures; proj- ects by the Media Center for Art History; as well as various other department initiatives. We regret any errors or omissions. left: Zadar, Croatia, 2009 the metropolis and Hellenism and much to do with non-elite sta- Sonia Sorrentini and Seung-Yun Shin right: Dubrovnik, Croatia, 2009. (Photographs by Elizabeth Bartman ’84 PhD) tus and social diversity. for their many hours of proofreading.
22 23 columbia university Non-Profit Org. department of art history and archaeology U.S. Postage 826 schermerhorn, MC 5517 PAID New York, NY New York, NY 10027 Permit No. 3593
Vitthala Temple, Hampi, Karnataka. Photograph by Prasad Pawar Editor: Emily Ann Gabor; Design: Florio Design
826 FALL 2012
schermerhornwww.columbia.edu/cu/arthistory