Number 54 – Fall 2019

NEWSLETTERAlumni ABSTRACT PAINTING AND THE MINIMALIST CRITIQUES EAST ASIAN POPULAR CULTURE

ROUTLEDGE ADVANCES IN ART AND VISUAL STUDIES ABSTRACT PAINTING

MATTHEW L. LEVY AND THE MINIMALIST )DVKLRQ,GHQWLW\DQG CRITIQUES ROBERT MANGOLD, DAVID NOVROS, 3RZHULQ0RGHUQ$VLD AND JO BAER IN THE 1960s

MATTHEW L. LEVY ISBN: 978-1-138-31458-0 EDITED BY KYUNGHEE PYUN & AIDA YUEN WONG www.routledge.com

Routledge titles are available as eBook editions in a range of digital formats 9 781138 314580

Published by the Alumni Association of 1 Contents

From the Director...... 3 In Memoriam Faculty Updates ...... 18 James McCredie...... 11 Alumni Voices: Alumni Updates...... 22 Vita Activa/Vita Contemplativa. . . . . 4 Irving Lavin...... 12 Doctors of Philosophy Conferred Alumni Voices: Advancing the Arts Willibald Sauerländer . . . . .13 in 2018-2019 ...... 32 of Latin America...... 6 Florenz Deuchler...... 14 Masters Degrees Conferred Alumni Association in 2018-2019 ...... 34 Summer Stipends 2018 ...... 8 The Year in Pictures...... 15 Institute Donors...... 36

Institute of Fine Arts Alumni Association

Officers: Alumni Board Members: Committees:

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

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

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

These fellowships allow an advanced PhD The Institute was delighted to host an Alumni student to spend a year fully immersed in the Reunion that coincided with the College Art curatorial department of a museum. The 2019- Association’s annual meeting in February, and 2020 fellows are Madeline Murphy Turner, to celebrate Edward J. Sullivan’s CAA who will work under the supervision of Inés Distinguished Teacher of Art History Award. Katzenstein, Director of the Patricia Phelps de We also displayed the many books and Cisneros Research Center for the Study of Latin catalogues published by faculty and alumni American Art at MoMA, and Katerina Harris, (several of which had won prizes). This high- who will work under the supervision of curator spirited event allowed our expanding community Denise Allen in the Department of European to recognize current accomplishments, while Sculpture and Decorative Arts on the bringing our alumni together to see old friends Metropolitan Museum’s collection of bronzes, and colleagues and to meet our current students. among other projects. Finally, a note about the remarkable retirement A central feature of the curatorial program at party the Institute held for Professor Norbert Looking back over the last year, it is wonderful the Institute is the opportunity students have Baer, who retired after fifty years of distinguished to see how much we accomplished, and how to organize their own exhibitions. The Great teaching and scholarship at the Conservation much there was to celebrate! Our students, in Hall Exhibitions program, supported by the Center. On May 9, Norbert Baer’s many friends, particular, have brought their fresh ideas, global generosity of Institute Trustee Valeria Napoleone, colleagues, and students gathered to celebrate his perspectives, and creativity to several important allows students to curate two exhibitions a challenging teaching style, proactive mentorship, initiatives, including the May launch of our year of the work of mid-career women artists. practice of clipping and mailing relevant online, peer-reviewed, open access journal, In the fall, the GHE curators organized a newspaper and journal articles to his students, Lapis: The Journal of the Institute of Fine Arts; the show of the colorful sculptural boxes and as well as his wide-ranging and important reconfigured Duke House Exhibition series; the reliefs of Elaine Lustig-Cohen, an artist better scholarship. We played bespoke Bingo over new IFA Contemporary Asian Art Forum; and known for her graphic design and painting. lunch and listened to a beautiful recital of some the always illuminating Great Hall Exhibitions. The spring exhibition featured the work of of his favorite lieder in the afternoon. Former We were thrilled to host our first collaboration LA-based artist Amy Yao. Her installation, students and colleagues representing each decade with NYU Steinhardt School’s Department of titled Amy Yao: Authorized Personnel, addressed of his career shared their memories (one alumna Music and Performing Arts, featuring faculty issues of gentrification, cultural identity, and translated his impressive CV into poetic rhyme), and student musicians and conductors in a displacement in neighborhoods traditionally waved old exams, and even offered an interpretive well-attended series of four concerts. And we inhabited by marginalized groups, such as LA’s performance of a strip of paper in an MIT Folding gathered to hear about the recent publications of Chinatown. These exhibitions now include more Endurance Tester (even as the old machine was our faculty in several book parties that brought ambitious and varied programming, so stay resuscitated and flapped back and forth at the students, faculty, and alumni together for tuned for events planned in conjunction with front of the lecture hall). Colleagues from around engaged conversation and festive toasts. the Amy Yao installation. the world sent filmed remarks recalling their work with Norbert Baer on a variety of projects. Clearly, Our new Marica and Jan Vilcek Curatorial The Duke House series is now organized by he will be sorely missed! Program has had an auspicious beginning. Last a group of students in the Introduction to year, as part of the program, we invited three Curatorial Practice and Museum History seminar The Institute has become a thriving center for curators to teach at the Institute. They included taught by Professor Edward J. Sullivan. The learning about art in a global context, from the two Metropolitan Museum of Art curators, spring exhibition featured the paintings of the distant past to the present. We now host well over Monica Binçsik, who taught a seminar on Argentinian/Spanish couple, Sarah Grilo and 100 events per year, and look forward to including Japanese Decorative Arts, and John Carpenter, Jose Antonio Fernández-Muro, and also included dance along with our other weekend musical who offered a course on Japanese painting a half-day symposium. We are grateful for the performances in the future. If you are not on our and sculpture. Anne Umland, curator at The generous support of Ariel Aisiks and the events mailing list, please let us know, and we will Museum of Modern Art and Institute alumna, Institute for Studies on Latin American Art be happy to include you in our monthly notices. taught a seminar on Sophie Taeuber-Arp, whose (ISLAA), which made both the exhibition and We hope to see you at a future conference, lecture, work will be the subject of a major forthcoming symposium possible. book launch, exhibition opening, concert, dance retrospective at the museum. We were also performance, or other occasion! delighted to host a seminar on the exhibition Other student-organized exhibitions comprised The World Between Empires: Art and Identity Save Y/Our Past Today, a set of 13 three- in the Ancient Middle East, co-taught by Met dimensional displays in the large, street-level colleagues Kim Benzel, Michael Seymour, and Kimmel windows that addressed contemporary Blair Fowlkes-Childes (Institute alumna). approaches to conservation, and the Curatorial Collaborative series that showcases the work Our first Marica and Jan Vilcek Curatorial of graduating students in the BFA Program in Christine Poggi Fellowships were also awarded this year. Studio Art at the Steinhardt School. Judy and Michael Steinhardt Director

3 Vita Activa/Vita Contemplativa

Derek A. R. Moore, PhD ’88, AIA, FAAR Mont-Saint-Michel, and—in a curious Director, Skidmore, Owings & Merrill, LLP foreshadowing—the US Air Force Academy in Colorado Springs, designed by SOM. Dedicated to Charlotte Nichols, Nevertheless, when I entered college I felt Institute of Fine Arts PhD ’88, FAAR, woefully ignorant of many fields and was who spurred it all undecided whether I would major in studio art, art history, or indeed philosophy. I saw There was a quip making the rounds when art history as the sum of all knowledge. At the I was at the Institute that was purported to Institute I took my most formative courses have been the caption of a typically arch New with Marvin Trachtenberg, Kathleen Weil- Yorker cartoon—“I trained at The Institute, Garris Brandt, Wolfgang Lotz, and P. H. von now I’m at The Academy, and next fall I’m Blanckenhagen. In Rome I was fortunate to starting at The Museum.” Pomposity aside, assist Richard Krautheimer in the research this was the world to which many of us and structure of his last book, The Rome of aspired. I had bounded up the granite steps Alexander VII: 1655-1667. of the Duke House in 1978, my mind fired by the Institute’s history, its fabled faculty, its In the company of architects at the prominent seat in the heart of New York City. American Academy I came to sharpen my I embraced the thrill of the mirrored lecture views about contemporary design. Post- hall, the terror of the great round seminar modernism was dominant in the schools and Derek A. R. Moore, Torso, 1972, charcoal on paper table, the ceremony of the Oak Room, and all surging in the marketplace. I found its use of the encounters upstairs and down. I thought historical precedent extraordinarily shallow, academe would be my life and Rome the my Masters of Architecture and PhD degrees showy and ephemeral, and some of its leading center of my world. within two weeks of each other. I then started practitioners either opaque or pretentious. a career at the age of 31. I imbibed a culture Internally I was increasingly troubled that I Instead, today I wield a drawing pen, as a junior architect at I. M. Pei & Partners knew more about what had happened, year oversee a cohort of young architects, and have and began to learn what graduate school had by year, during the pontificate of Sixtus V helped to design airport terminals in India, not taught. I also found how susceptible the than about the architecture of the present Hong Kong, Kunming, Dublin, Seattle, and design fields are to the business cycle. While day, let alone the next day. The emblem of Kansas City, as well as a cultural district in practicing I managed to teach for ten years the Academy is the Janus head. I had looked the United Arab Emirates, railroad stations on an adjunct basis back at the Columbia too long in one direction. My retrospective in New York, Denver, and Miami, and transit architecture school—courses and seminars in cast turned to a prospective one. I wanted to districts in Auckland and Bangalore. How did Renaissance architecture, urban history, and engage the future. this happen, and what role did the Institute architecture theory before the 18th century. play in this, I have often asked myself? Since 1998 I have been at Skidmore, Owings Despite my determination, I had no & Merrill (SOM), where I am now a Director clue what was in store for me in architecture A quick sketch of my iter. After in the New York office. school. I applied using a portfolio of my coursework at the Institute I enjoyed a drawings of figures, landscapes, and still lifes, fellowship at the American Academy and My decision to turn from history but I had no technical drawing skills. And three heady and transformative years in to practice came in no single moment I was used to sleeping at night. I soon learned Rome. Charlotte Nichols and I married in of revelation. Rather, it was one of long that my Institute training was a double-edged 1982 and made the most of the luxurious gestation, in truth more of a return than a sword in the studio. The asymmetry between penury of student life. Returning to the US departure. I was one of those kids who had my critical faculties and my design abilities in 1985, with my dissertation still unfinished, always responded to the question, “what do was initially so great that I had to tamp down I entered the Masters of Architecture program you want to be when you grow up?” with, the former so as not to crush the latter. at Columbia University. Working during “architect!” As a boy I drew up designs for Over the long run these functions have summers and odd moments I brought the villas and monuments, and crafted models of merged into what I hope is a productive dissertation to near-conclusion by the middle what were—I now see—building archetypes. mechanism for self-critique and improvement of my final year of architecture school. I was especially drawn to cohesive urban of my design work. Following a hellish spring term of studio and architectural environments. Early and charrettes and late nights gluing photos into lasting impressions included Mesa Verde, I cannot attribute my core design aptitude multiple copies of the dissertation, I received the reconstruction of colonial Williamsburg, to the Institute and art history. I know

4 Alumni Voices

it was embedded genetically, generously layers in a city plan like a palimpsest, or The worlds of scholarship and design encouraged by my family, and self-propelled examining the stonework of a single building have only grown further apart since I entered almost chemically from within. I experience with a long and complex history of extension architecture school. History counts for little an intense physical pleasure and psychic and alteration—these were skills that allowed now in the schools today. Practice has been satisfaction from moving the pencil or pen me to develop building designs that anticipate transformed by digital design tools. Artificial across a sheet of paper, arranging the pieces change and to sketch the steps by which a intelligence, integrated 5d project delivery, of a complex building program, solving a building will be constructed on a complex and “design without drawings” will soon technical detailing problem, or making the site while respecting constraints and allowing be commonplace. Sustainable, net-zero, decisive stroke that sets up a series of design ongoing operations. The element of time regenerative and energy-positive design, along opportunities. And standing in a finished embedded in design is for me a significant with resilience planning and water urbanism, building I have had a role in designing is a legacy of my historical studies. are among the tools architects are bringing to feeling like no other. the challenge of climate change. Science and The historian’s cast of mind is very technology are the vanguard in the profession. My time at the Institute did, however, different from that of the designer. They are In one sense you could say that the narrow give me a leg up in other skills that have aided two ways of seeing, of thinking, of doing. modern definition of the architect’s role is my advancement. In addition to the rigor The studio and technical curriculum of broadening to something analogous to what of critical thinking and visual analysis, the architecture school altered profoundly the it was throughout much of building history. ability to write with relative ease prepared me way I look at buildings, most especially the Designing with nature rather than against it for proposal and report writing, which is no series of courses in structural engineering. also harkens back to age-old practice, albeit small part of what architects do. Institute of The realm of structural design, materials with vastly more powerful analytics. On the Fine Arts seminars were a kind of rehearsal and building technology, and the modern other hand, the insidious monetization of for pitching design services and making architect’s mastery of these—not to mention public space and the global commons seems presentations, finding the words to accompany the mysterious crucible of the design a condition unique to our time. I would the forms, and explaining the experiential process—are well beyond the layman’s. argue for a teleology of design that balances aspects of a design to varied audiences. I have been careful when teaching pre-modern the performative with the humanistic as we periods of architecture history to avoid the face the existential challenge of survival on a In addition to these tools there is a very trap of anachronism. That said, I firmly degraded earth. It matters how we survive, not important conceptual aspect of the historian’s believe that without an architectural just that we survive. outlook that has—I realized only some years education and several years of serious later—informed my work as an architect. practice it is impossible to address the history I would like to think I am bilingual, or Studying urban environments over a long arc of modern and contemporary architecture ambidextrous—able to think like an historian of time, reading the classical and medieval comprehensively. and act as a designer. Recently, I experienced a moment of convergence of the two modes, the outcome of a chance encounter on a flight to Mumbai. I led a pro bono study by SOM for the World Bank, in close coordination with the World Monuments Fund, set in Agra, India. The core of the study was intended to provide design guidelines for rehabilitating the Shah Jahan (formerly Victoria) Park, and to address a set of sanitation, infrastructure and preservation problems of an impoverished village next to Mehtab Bagh, the site of the Mughal garden across the Yamuna River from the Taj Mahal. The wider purpose of the study was to develop a plan for a circuit of visitation that would facilitate visitors’ ability to see more of the city’s treasures than the Taj Mahal and the Agra Fort. I marshalled SOM’s landscape architects, civil engineers and urban designers and guided the development of a Skidmore, Owings & Merrill, Denver Union Station, completed 2013, Denver, Colorado (photo: © Magda Biernat) continued on page 10

5 Advancing the Arts of Latin America

Blanca Serrano Ortiz de Solórzano, PhD ’17

I write this exactly a decade after I left my native Madrid for New York City. Now I am back in Madrid. All the years in New York changed me more than I would like to admit. I now able to endure unbelievably long commutes, and, more importantly, I have a job as an expert on the arts of Latin America. Indeed, it is not only I that have changed in the last ten years: the field that I specialized in at the Institute of Fine Arts has also transformed. An outstanding generation of scholars with whom I feel fortunate to have shared my time as a graduate student have contributed to an extraordinary development Blanca Serrano Ortiz de Solórzano at the opening of the exhibition Julio Le Parc 1959 supported by ISLAA at in the study of the arts from Latin America. The Metropolitan Museum of Art, December 2018. We sat together in seminars and helped to develop new initiatives which sought to bring influence, giving support to both scholars followed the fall of the Soviet Union. Parallel modern and contemporary Latin American and and curators who will then carry the history to my academic development, my professional Caribbean art into view for everybody at New of Latin American art to a broader audience. training at the Institute allowed me, from York University and beyond. Since I graduated Having the opportunity to make a difference 2011 to 2013, to organize the Roberta and from the Institute in 2017, I have worked as in how the field is taking shape is the most Richard Huber Colloquium on the Arts and Project Director at the Institute for Studies on rewarding part of my job. Visual Culture of Spain and the Colonial Latin American Art (ISLAA), an independent Americas. From 2013 until 2016 I was also organization that promotes the arts at the I moved to New York in 2009 to work adjunct instructor and course and class assistant intersection of academic research and public as an intern at El Museo del Barrio and the at both the Institute and the undergraduate programming, where I managed conferences, Solomon R. Guggenheim Museum after Department of Art History at NYU, and seminars and publications. Founded in 2011, graduating with a degree in Art History in 2016-2017, I co-curated the Great Hall ISLAA is based in New York City, although its at Universidad Complutense de Madrid. Exhibition series at the James B. Duke House. international team extends around the world, One year later, thanks to the support of La including my new location in Madrid. Caixa Foundation Fellowship for Graduate It was precisely through the Institute’s Studies in the US, the Florence and Samuel extensive range of public programs and The study of the history of Latin C. Karlan Memorial Scholarship, and the initiatives run by the students that I first American art owes to both the Institute and Florence Waterbury Fellowship, I was able to encountered ISLAA. Soon after I started at the ISLAA its strong position today. Scholars fulfill my pursuit of academic education at school, I vividly remember feeling exhilarated from Argentina, Brazil, Colombia, Costa the Institute. I had an invaluable experience the first time I attended the Latin American Rica, Ecuador, Perú, Spain, the United as a graduate student thanks to the courses Forum. This is a platform for artists, curators Kingdom, and the United States have trained and seminars I took with Edward J. Sullivan, and scholars to present their work at the at the Institute, while ISLAA has supported who ended up being my PhD advisor, as well Institute that has received support from ISLAA numerous Latin American art initiatives as Jonathan Brown, Robert Lubar, Robert since its inception in 2012. Acclaimed artists throughout the Americas and Europe. Slifkin, Jean-Louis Cohen, and with many such as Luis Camnitzer, Jaime Davidovich, and Accompanying a striking increase in private other faculty members under whose guidance Marta Minujín, to mention a few, as well as sales, auctions, and art fairs, the growth of I did substantial work on a variety of subjects. distinguished scholars including Dawn Adès, Latin American art can only be meaningful All of them shaped my own perspective and James Oles, and Mari Carmen Ramírez, have if it goes hand in hand with academic and understanding of the discipline. I am currently participated in this groundbreaking public curatorial initiatives. The Institute produces turning my dissertation into a book manuscript program. The Annual Symposium for Latin that knowledge and ISLAA promotes whose preliminary title, Between Limit American art, also founded with the support of it, through lectures, publications, and and Possibility: Bricolage, Construction, and ISLAA, is a two-day international symposium exhibitions, in dialogue with museums and Restoration in 1990s Art from Cuba, underscores for emerging scholars on the arts from Latin universities from around the globe. It is from the scope of my investigation on intellectual America which is completely organized by within a cultural institution like ISLAA that and manual labor in contemporary Cuban art students. I was lucky to coordinate the first two one can often create a bigger and more lasting against the backdrop of the severe recession that editions alongside some of my fellow students.

6 Alumni Voices

Since 2017, South and About! has provided a Another cornerstone of my work at workshop space for young Latin Americanists ISLAA is the reinforcement of academic from the tri-state area to share their research and research through the support of publications. exchange ideas. It is very exciting for me to have A new book series, Studies on Latin American participated in all of these programs as a student Art, is launching jointly with University at the Institute, and then to be in charge of of California Press. It focuses on the visual managing them from my position at ISLAA. cultures of Central and South America, the Caribbean, and the Latin American In fact, the university lectures and symposia diaspora in the 20th and 21st centuries. are ISLAA’s flagship initiatives, which include The first volume, Abstract Crossings: Cultural a key partnership with Columbia University Exchange between Argentina and Brazil, by and with the Institute of Fine Arts. My mission Argentinean researcher María Amalia García, as Project Director at ISLAA is to propel these will be out this summer. A selection of the projects forward. At the Institute, South and most recent titles ISLAA has backed includes About! is now in its tenth edition, while the Printed Photography in Venezuela, edited by Annual Symposium on Latin American art Sagrario Berti; Pop América, 1965-1975, is today presented by the CUNY Graduate edited by Esther Gabara and published on Center, and the Latin American Forum the occasion of the exhibition co-organized continues to thrive (one of its latest events was by the Nasher Museum of Art at Duke a panel in collaboration with The Metropolitan University and the McNay Art Museum in Cover of the first issue of ISLAA’s journal Vistas: Museum of Art around the exhibition Lucio San Antonio; and Cecilia Vicuña: Seehearing Critical Approaches to Modern and Contemporary Fontana on the Threshold). ISLAA also avails the Enlightened Failure, edited by Miguel A. Latin American Art, 2019. itself of the spring portion of the Duke House López for the Chilean artist’s exhibition at Exhibitions to showcase the work of artists the Witte de With Museum in Rotterdam. among ISLAA’s other recent productions, from Latin America. Artists Sarah Grilo and As for ISLAA’s own publications, it is one of which I also coordinate, is the art-house José Antonio Fernández-Muro were the first my greatest pleasures to be the editor of the short film series 270, a collection of visual subjects of this new program. As part of its online journal, Vistas: Critical Approaches to essays based on interviews with contemporary long-lasting alliance with Columbia University, Modern and Contemporary Latin American artists from the Americas. The first of them and in collaboration with the Museum of Art. Its diverse readership guarantees graduate is dedicated to Liliana Porter and directed by Modern Art (MoMA), ISLAA will support a students, curators, and both emerging and Julio Grinblatt. These short films constitute two-day symposium next year on the themes established scholars that their research can a creative approach to the concept of oral of the exhibition Sur Moderno: Journeys of be shared across disciplinary boundaries and archives, and provide a dynamic tool for the Abstraction—The Patricia Phelps de Cisneros Gift. help expand the horizons of the field. Finally, dissemination of art historical contents.

Being at ISLAA is not only a great opportunity to think in unusual ways about how best to preserve the heritage of Latin American Art, but also a valuable means of contributing to its promotion by triggering conversations, facilitating exchanges and seeking partnerships. By developing quality research on Caribbean, Central and South American art, both the Institute of Fine Arts and ISLAA have proved to be essential to my training over the years, and, more importantly, they have led the way in generating scholarship in the field. From Madrid I will continue to develop ISLAA’s ongoing initiatives and I will explore new opportunities to support projects that advance academic research on the arts from Latin American and the Caribbean. The ISLAA space in New York City.

7 Student Recipients of Summer Travel Stipends from the Alumni Association

Every year, the Institute Alumni Association and León that is usually not treated in detail. (as in projects that were actually abandoned) awards grants to students for summer travel Away from the dogmatic restraints prescribed and artistic device (positing a deliberate and research. Below are reports from some of by important intellectual centers in the use of a sketch-like style). During my trip the 2018 recipients. north, some provincial churches show artistic to San Francisco, the opportunity to study experimentation that reflects the intellectual two paintings by Jacques-Louis David, both Dustin Aaron language of monastic and courtly sites outside examples of a stylistic unfinishedness that is I study medieval art with Professor Robert of more cosmopolitan centers. During my central to my project, was particularly exciting Maxwell. It is no overstatement to say that visit, I traveled to more than thirty sites. I and important. I was fortunate to examine the Alumni Association summer travel funding hope to explore how distinct artistic and works alongside paintings conservator Elisa completely changed my dissertation. I was intellectual traditions found material means Effmann Clifford, whose insights allowed me already abroad in late May to examine a unique to express their individual, yet sometimes to contextualize further the artistic processes group of medieval ivory corpora in ecclesiastic overlapping discourses. The study of female and methods of working of David and his collections in Bamberg and Cologne. I realized intellectuals and rulers will be central to contemporaries during the Revolutionary while there that the paucity of information my study and offers one way of viewing period. The visit also spawned a potential available made it impossible to formulate the difference in elite patronage. An examination future research collaboration integrating project I wished. Funding from the Alumni of the Valbuena Abbey in Valladolid and technical/scientific and art historical analyses. Association afforded me the opportunity to the Church of San Juan Bautista in Fresno regroup and follow new leads to a number of del Viejo, founded by Estefanía and Queen J. English Cook exciting places: the Drüggeltekapelle, a Holy Urraca respectively, can challenge how scholars Thanks to the generosity of the Institute’s Sepulcher chapel near Soest; Externsteine, perceive the place of women in medieval Alumni Association, I was able to visit the a jagged sandstone formation carved with cultural production. archives of the British Film Institute (BFI), massive sculpture; the ruined imperial palace I hope to begin archival research in Spain the Royal Institute of British Architects at Gelnhausen; and the seemingly insignificant in the Spring of 2020. (RIBA), and the Victoria and Albert Museum parochial church of Großen-Linden. The in pursuit of dissertation research. Each of last features twelfth-century sculpture that Daniella Berman these collections contains material related to raised, for me, questions about the role of Thanks to the postwar cinema architecture, including the narrative and violence in remote settings. Institute’s Alumni legacy of fantasy movie palaces, the shifts to It inspired me to continue south and east Association Summer smaller, multi-screen complexes in the early towards Bavaria where I found the material for Travel Grant, I was days of competitive TV, and collaborations my prospectus. My dissertation is tentatively able to undertake or confluences between filmmakers and titled “Confronting the Wilderness Within: a short (two-day) architects, whether Sir Patrick Abercrombie, Visualizing Internal Colonization on the research trip to San Jill Craigie, or Ernő Goldfinger. Being able Medieval German Frontier.” Francisco to examine to see firsthand the drawings, photographs, relevant works at the and films, many of which are not available Cristina Aldrich Fine Arts Museums elsewhere, has greatly helped me flush out Daniella Berman in front With the generous of San Francisco of Napoleon’s visit to an important chapter in the history of funding from the (FAMSF), along with the Salon of 1808 by postwar architecture, cinema, and European Institute’s Alumni their curatorial and Antoine-Jean Gros, Cha- reconstruction. Association during conservation dossiers. teau de Versailles. Photo Working dissertation title: “Urban, Credit: Valérie Bajou the summer of 2018, The opportunity to Embodied: Cinema and a Phenomenology of I was able to travel Detail, portal, Saints study several paintings Architecture.” Advisor: Jean-Louis Cohen. through Palencia Cornelio and Cipriano, and a number of preparatory drawings in northern Spain Revilla de Santullán, in the FAMSF collection allowed me to Palencia. Late 12th c. conducting research further refine some of the arguments of my for my dissertation dissertation, “Aesthetics of Contingency: proposal, which I will defend in fall 2019 History and the Unrealized Paintings of the under the supervision of Robert Maxwell. French Revolution,” which I am completing My research analyzes early medieval under the supervision of Thomas Crow. My material production in the area of Castile project considers unfinishedness as both fact

8 Elizabeth Eisenberg is well known as the location of the annual life-long friend Egle Auguie, the maréchale I am grateful to the Running of the Bulls, in addition to having Ney. The information I gathered from the Alumni Association been a significant haunt of the late Ernest letters contributed to the third chapter for enabling me to Hemmingway, I spent no more than a few of my dissertation about the relationship undertake two weeks hours in the center - I was too busy pouring between Hortense’s collecting and amateur of research travel in over material in the archives at the private art practices, as well as to a paper entitled the summer of 2018. university, Universidad de Navarra. During “‘Small Gifts Kindle Friendship’: Hortense de The trip was crucial to this time, I was able to look at the personal Beauharnais, Amateur Art Practice, and the the formation of my correspondence of Felix Huerte Beaumont, Politics of Exchange in Post-Revolutionary Spring 2019 Master Raphael’s St. Jerome the late Navarrese politician and industrialist; France,” which I presented at the American Drawings article, “A with a View of Perugia sketches, designs and paperwork related to the Society for Eighteenth-Century Studies Verrocchio Sculpture as being examined at the Comedores de la SEAT by the architect César (ASECS) conference in March 2019. a Source for Leonardo Ashmolean Museum, Ortiz-Echagüe, and some drawings of the Casa Oxford and Raphael: the Sindical de Madrid in the archive of one of its Sam Omans Evidence of Drawings,” which was awarded main architects, Rafael Aburto. I feel fortunate In summer 2018 I traveled to Moscow the publication’s first annual Ricciardi Prize to have had funding from the Institute’s to research my dissertation, “El Lissitzky: for best article by a scholar under 40. The Alumni Association, which contributed to Architecture as Spatial Form, 1909-1941,” research also informed a chapter of my making this research trip a possibility. which I am working on with my advisor, Jean- dissertation, “Modeling Life: Studies in the Dissertation Title: “Material Difference: Louis Cohen. El Lissitzky, a canonical modern Transformation of Verrocchio’s Sculpture in Developing Architecture, Economy and artist, was also a professional architect. My Late Fifteenth and Early Sixteenth Century State in Late Francoist Spain.” Advisor: Jean project reassembles this forgotten facet of Drawing and Painting,” which I am writing Louis-Cohen. his career by re-discovering his unpublished under Professor Alexander Nagel. The funding writings and analyzing his unbuilt projects, allowed me to conduct targeted visits to Marina Kliger city plan, and realized buildings. Summer drawing and sculpture collections across the My project examines a new kind of post- travel allowed me to identify important U.K., from the Royal Collection in Windsor revolutionary history painting that rejected archival sources for my dissertation, such to the Ashmolean in Oxford to the Victoria the heroic epics and the grand manner of as Lissitzky’s sketchbooks at the Tretyakov and Albert Museum in London, as well as Neoclassicism in favor of anecdotal scenes State Gallery in Moscow and manuscripts at to the Louvre. On one noteworthy day, I from the French national past and the detailed the Russian State Archives of Literature and spent the morning in the Louvre, where a illusionism of 17th-century Dutch masters. Art. While researching in these collections, I curator opened sculpture cases for me, and the Focusing on the genre’s female patrons during formed close relationships with curators and afternoon in the British Museum’s Drawings the Empire and Restoration, I argue that staff. Subsequently, their intercession has aided and Prints study room. Thank you to the the material and narrative qualities of these my admission to other archives and private Alumni Association for an incredibly rich, pictures encouraged women to fashion their collections notoriously difficult for researchers packed, and productive two weeks of research own identities in historical and sentimental to access. abroad. terms. Professors Thomas Crow and Meredith Martin are directing my dissertation, which Johanna Sluiter Hannah is titled “Une Histoire Particulière: The I am evaluating the agency and artistic Feniak Troubadour Style and Gendered Historical license of the Atelier des Bâtisseurs’ work for Last summer, Consciousness in Early Nineteenth-Century housing projects in Casablanca and Algiers I spent two France.” amid decolonization efforts and subsequent weeks in Last summer I visited the Newberry independence at the Archives Nationales Barañáin, a Library in Chicago for two weeks in order to d’Outre-Mer in Aix-en-Provence, France. small suburb conduct research in the Spencer Napoleonica that sits atop Collection. Specifically I examined 178 a plateau on mostly unpublished letters from Hortense Los Edificos de la SEAT, de Beauharnais, Napoleon Bonaparte’s the eastern Barcelona, 1964 outskirts of step-daughter and sister-in-law, to her Pamplona, Spain. Though this Basque city brother Eugène de Beauharnais and to her

9 Student Recipients of Summer Travel Stipends CONTINUED

Madeline Murphy Turner theater to self-document their subjective theory of the female auto-archive in Mexico This past June I visited the Archivo Lafuente experiences with oppression through projects within a context that frames how this art was in Santander, Spain to conduct research that integrated text and image. For two days at developing across for my dissertation, “From the Kitchen to the Archivo Lafuente, I reviewed materials on international borders. the Theater: Women’s Collaborative Artists’ the Mexican artist Magali Lara and her mentor Books, Exhibitions, and Performance in Ulises Carrión. I uncovered large amounts Mexico City, c. 1975–1989,” which is of mail art, which gave me further insight advised by Professor Edward J. Sullivan. into the ways in which Lara was engaging My dissertation traces a network of female with the international network of artists Magali Lara, mail sent to artists, writers, and performers in 1970s and using the postal service as an experimental Ulises Carrión, June 6, 80s Mexico City who collaborated on artists’ art project. My work at the Archivo Lafuente 1979, Archivo Lafuente, books, experimental publishing circuits, and has ultimately helped me to orient the Santander, Spain

Vita Activa/Vita Contemplativa CONTINUED FROM PAGE 5 proposed visitation plan linking those sites to a series of the city’s other monumental structures, including the tomb of Itimad- ud-Daulah. The regeneration of historic environments and the improvement of social equity using the techniques of sustainability science and humanistic design is for me a particularly compelling synthesis of the historian’s sensibility, the architect’s tools, and the global citizen’s desire to enhance the future while transmitting the past.

I am immensely proud to be an alumnus of the Institute. It was a formative period in my life, an exhilarating time, and in many ways an incomparable education of its kind. The brilliance of the faculty and the pursuit of excellence animated those years and inspire me now. My Institute mentors gave generously of their time and their advice. And even if, ultimately, I did not follow it, I hope that what I have accomplished so far complements their life’s work in spirit if not in the letter. Skidmore, Owings & Merrill, Framework Plan for Enhanced Visitation Mobility, 2015, Agra, India

10 Memories of Professor James R . McCredie (1935-2018)

Andria Derstine, PhD ’04 frescoed church, an iron age excavation, or a goat roast with his family. James R. McCredie, Sherman Fairchild Professor Emeritus of Fine Arts, served as James McCredie mentored generations the director of the Institute of Fine Arts of students while contributing significantly from 1983 to 2002, having first arrived as an to an understanding of the site of one of the instructor in 1961. During his many decades most important mystery cults of antiquity, of service he showed great dedication to the publishing the important volume Samothrace welfare of the institution and to its students, Vol. 7, The Rotunda of Arsinoe (1992), in faculty, and staff both as a deft administrator which he reconstructed the largest enclosed and fund-raiser and as an inspiring teacher circular building known from ancient Greece, of the architecture of classical Greece. He James McCredie, 2004 with drawings by his friend and colleague worked closely with the Graduate Students’ John Kurtich. He put students at the heart of Association to make improvements in student dowel, and lewis holes, or cyma recta and his fieldwork, involving them in all aspects of life. His door was always open, he was always cyma reversa moldings with ease—and often excavation and study, providing innumerable willing to listen to student concerns and to be by means of one of his on-the-spot drawings opportunities for discovery and scholarship. an advocate for them. that made everything clear. On Samothrace To those who knew him, James McCredie was as at the Institute, Jim’s generosity was many things—professor, certainly, but also For more than five decades, hundreds outstanding. Morning and afternoon treats of director, advisor, dig supervisor, researcher, of Institute of Fine Arts students – including bougatsa, koulouri, loukoumades, and fresh writer, master chef, tour guide, colleague, many who went on to prestigious teaching, figs made the hours to lunch and dinner seem and most of all, teacher—and friend. James research, and scholarly appointments in shorter, and he showcased his own culinary McCredie’s energy and dedication, to both ancient art – were privileged to work with abilities as well, spending what seemed the the Institute and to the excavations on Professor McCredie in a more personal setting better part of his limited spare time whipping Samothrace—and to the students, faculty, than that of the classroom. This occurred up lentil salads, pan-fried okra, chocolate staff, and supporters of these—are to be on Samothrace, the Aegean island to which brownies, and cheese toasts for all. Not celebrated, and will be greatly missed. he traveled every summer from 1962, when satisfied merely with nourishing colleagues Institute alumna Phyllis Williams Lehmann through work and food, he also gave his For more information, see Professor appointed him field director of NYU’s time in many instances to chauffeur them McCredie’s New York Times obituary: https:// archaeological excavations at the Sanctuary of on excursions—with everyone piling into his www.legacy.com/obituaries/nytimes/obituary. the Great Gods. Professor McCredie became car, Sylvester, to head to a remote medieval aspx?n=james-mccredie&pid=189654160 director of the excavations in 1966, serving in that role until 2012 and continuing to participate in research through the 2017 season. I had the privilege of spending summers at those excavations from 1995 to 1998. Although he fulfilled numerous roles at the Institute, Jim wore even more hats on Samothrace (in addition to his ever- present pith helmet), where he remained a devoted teacher. In addition to supervising the excavations themselves and patiently explaining how to lay out a trench, record find-spots, measure levels, and catalogue finds, he cheerfully instilled in the students fortunate enough to be able to work with him a passion for finding things out, and for making discoveries. At the touch of a finger he could blithely identify what were, to many, mysterious broken bits of marble or pottery as a geison or pan tile, and could explain the intricacies of the differences between clamp, James McCredie and his beloved Sylvester

11 Memories of Irving Lavin (1927-2019)

Arthur Blumenthal, PhD ’84

Like many of his former students, when I learned in February of the death of our beloved Professor Irving Lavin, I felt a great sadness and a terrible loss. In April 2017, when we last saw each other, he was with his devoted wife Marilyn Aronberg Lavin, at Vassar College’s Frances Lehman Loeb Art Center for the opening of my exhibition “In the Light of Naples: The Art of Francesco de Mura.” That the 90-year-old sponsor of my doctoral dissertation (completed many decades before) would travel from Princeton to Poughkeepsie for this event meant so much to me, and his supremely generous remarks about the Francesco de Mura show moved me deeply. I am not the only former student for whom he showed extraordinary support, but that night it felt like I was. When I saw him, Irving Lavin in 1966 with Bernini’s busts of Antonio Cepparelli, 1622 and Antonio Coppola, 1599 suddenly the years vanished, and I was thrilled to have won my dear professor’s approval! writing was exactly how art history should art history, and my abundant inspiration. It was yet another example of the many kind be taught and presented. Professor Lavin’s Professor Lavin was one of America’s greatest gestures and acknowledgments he bestowed on formidable intellect combined with an almost art historians—an extraordinary scholar, writer, all his students. spiritual ardor for all art—ancient to modern— and lecturer in art history. Widely admired captured us. It was a vitality to which all his around the world, especially in Italy, his last As with many of his students, Professor students aspired in their own teaching, research, great honor was being posthumously knighted Lavin gave so much to me—e.g., the subject and writing. A course on “How to Look at Art” by the President of Italy as a Grand’Ufficiale of my dissertation on the Baroque theater that I taught to graduate students and others dell’Ordine al Merito della Repubblica Italiana. (something he was passionate about) and his for many years was based on Professor Lavin’s But Professor Lavin was also a mensch, a insightful critiques of it. The dissertation itself dynamic approach, a method that allowed us to good man, a man would never have been published without his experience an artwork in a profound way. He for others. I was recommendation to Garland Press. Years later, knew how much “story” there was in great art, honored to have I loved introducing him when he delivered a and how to tell those stories. him in my life. spirited lecture on Bernini at the Cornell Fine Arts Museum. His friendship, his numerous When one reads the wonderful obituary For more kind references, and his ongoing support on the Institute for Advanced Study’s website information, see deeply enriched my life in art history. which states that Professor Lavin’s “conviction Professor Lavin’s that the study of the history of art was the study Institute for If you ask his students what they of the history of ideas,” one realizes the depth Advanced Study remember most about him, they would say it and breadth of his exemplary scholarly life. obituary: https:// was his infectious enthusiasm and boundless Like so many, I am forever grateful that such an www.ias.edu/2019/ curiosity. His way of teaching, lecturing, and eminence was my professor, my guide through irving-lavin Visible Spirit, 2007

12 Memories of Willibald Sauerländer (1924-2018)

Charles Little, PhD ’77

Willibald Sauerländer only taught at the Institute of Fine Arts during three separate academic years, 1964-65, 1969-70, and 1992- 92, but he left a lasting impression.

After early training in Germany, Sauerländer worked in France and the U.S. He is best known as the director of the Zentralinstitut für Kunstgeschichte, Munich, a position he held from 1970 to 1989.

In Paris in the early 1950s he began his pioneering studies of the early Gothic sculpture on the cathedrals of Senlis and Willibald Sauerländer, 2009 Mantes. His penetrating study of the façade sculpture of Notre-Dame de Paris literally redefined how we approach Gothic Institute of Fine Arts was supplemented by and things were different. Now I had to do sculpture. His method allowed for a nuanced an important seminar on “The Year 1200” with American students—a new, extremely investigation of the interrelationships between exhibition, one that I participated in as a democratic and exciting experience that I the monuments and the circumstances of graduate student. The students treasured the enjoyed enormously. I am still in very close the sculptors and masons working at many hours in the exhibition on Mondays when contact with a number of my students from sites. He went on to pioneer so many pivotal the galleries were closed. In his element with the Institute. I’ll always remember, I taught studies on Gothic art that the field was truly the great objects assembled, Sauerländer was a seminar on medieval art and there was a transformed because of his work. He proposed ever sensitive to the objects and the aesthetic girl who didn’t recognize any New Testament no unified theory of Gothic. Instead, he often spirit these works evoked. Having lively imagery. I, this charming professor, even got looked to “Gothic” Europe as a wellspring debates and reports in front of such celebrated angry. The next day she came to my office and for capturing the past and antiquity and for works as Nicholas of Verdun’s enamels from said: ‘Oh, Doctor Sauerländer, I am from a foretelling trends of the future. the Klosterneuburg ambo or his Tournai Jewish worker background in Baltimore. I have shrine is not something one easily forgets. no Christian experience whatsoever.’ These Although sculpture became his forte, But Sauerländer’s Gothic Sculpture in France were naturally things you didn’t encounter one must also see his penetrating reviews of stands as the best testimony to his approach to in Germany. You certainly saw that there is pivotal medieval exhibitions as reflections sculpture, and clearly demonstrates the truth a totally different kind of society and even a of his wider range of interests. Indeed, of what one reviewer in the Times Literary different approach to art history in the U.S.” Sauerländer was a polymath in many areas Supplement enthused: ‘it is not too much to of artistic endeavor, from the Middle Ages say that he has been responsible for largely Willibald Sauerländer’s contributions to to Jasper Johns and beyond. rewriting its history.” art history will be long remembered, as will his contribution to the culture of the Institute. Sauerländer was a formidable intellect His New York University students and teacher. His generosity was showered on continued his work. In 1973 at the Institute, For more American students with whom he was both Sharon Jones prepared a thesis on French information supportive and engaged. At the Institute of Gothic sculpture and its influence on north see Professor Fine Arts the students often enjoyed the way Italian sculpture in the first half of the Sauerländer’s he turned German, French, Italian, or Latin thirteenth century. Then in 1978, Michael biography in the phrases into English with amusing results, such Ward prepared a dissertation on the Portico de Dictionary of as “the great apes (apse) of Cluny” or “here la Gloria at Santiago de Compostela. Art Historians: is the Qyeen of Saba (Sheba), mit de goose’s http:// fuss (feet),” or, “oh, I dropped my speakeasy Sauerländer himself described the impact arthistorians.info/ (microphone).” of the Institute on him and his teaching in sauerlanderw. an 2010 interview with Sasha Suda in the A lecture course on monumental Brooklyn Rail: “I came back to the U.S. in Gotische Skulptur in Frankreich: Gothic sculpture in the spring of 1970 at the ’64-’65 to teach at the Institute of Fine Arts 1140-1270, 1970 13 Memories of Florens Deuchler (1931 – 2018)

Joan Diamond Udovitch, PhD ’79 asked stimulating questions. Over time my husband and I became Early in the Institute of Fine Arts’ 1970 friends of the Deuchler family. Our friendship spring term, The Year 1200 was installed at enabled me to witness Florens Deuchler’s life- The Metropolitan Museum of Art, and the long engagement with and in-depth exploration Institute offered a seminar based on this of the historical context of art of many periods. stunning exhibition. His publications range from the Middle Ages to the early 20th century, i.e.. Stichjahr Two faculty members led the seminar: the 1912 (2003). Die Zukunft der Musen (1999) exhibition’s organizer and new director of the is his prescient reflection on the effects of Cloisters, Florens Deuchler, a Swiss scholar globalization on artists, art, the public, and the who had published a study of an important art market as well as its potential to undermine illuminated manuscript of the period: The cultural traditions. Recently he also enquired Ingeborg Psalter, and Willibald Sauerländer, into the traces of Quintilian’s Institutio oratoria author of Gothic Sculpture in France. Both in Cennini’s Libro dell’Arte (2017). were visiting professors at the Institute. Nonetheless he never lost interest in the Florens Deuchler, 2016 It was a thrilling opportunity for a first– Middle Ages. During our last visit with him year student hoping to focus on medieval art. in 2017, he asked whether I knew the Abbey During the exhibition’s installation the and that the probing approach Florens of Abondance in Savoie. My admission of seminar met occasionally before opening hours Deuchler brought to organizing The Year 1200 ignorance resulted in raised eyebrows and in the still dimly-lit museum galleries to study established a model for those of us who were an adventurous drive up into the French the material directly. That was an excitingly lucky enough to study with him. Alps. Our examination of the 15th century intimate introduction to the Year 1200, frescoes in the cloister confirmed Deuchler’s linking observation and inquiry concerning commitment to open eyes and mind, in this this hinge period in the history of art, Charlotte Daudon Lacaze, PhD ’78 case once again mine. questions that only began with precise dating, provenance, and workmanship. As a part-time student on leave, I missed For more information, see Professor Deuchler’s that Deuchler/Sauerländer seminar on The biography in the Dictionary of Art Historians: It was in the Institute’s seminar room, Year 1200. However, I was able to take a http://arthistorians. though, that we discussed both that art and seminar on French medieval manuscripts with info/deuchlerf traditional scholarly attitudes established well Professor Deuchler before he left New York. before 1900. Florens Deuchler emphasized That seminar inspired my dissertation topic, that students too should engage as thinking and I pursued my thesis under his guidance scholars. That seminar took place half a while he was teaching at Geneva University century ago, but the most significant lesson and I was doing research in Europe. During I absorbed was that the most vital function of consultations with him in Geneva or Rome Catalogue for the I believe Year 1200 exhibition, scholarship is to ask the right questions. where he was Director of the Swiss Institute Metropolitan Museum that this is the foundation of any scholarship, from 1988-1996, he gave generous advice and of Art, 1971

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

14 The Year in Pictures

Walter W. S. Cook Annual Lecture, October 16, 2018 Photo credits: Nita Lee Roberts

Alumni Association Board Member Susan Galassi, Institute Director Christine Poggi Introducing Dorothy Kosinski Dorothy Kosinski delivering lecture speaker Dorothy Kosinski, Alumni Association Board Member Katherine Schwab, and Alumni Association Board President Jennifer Eskin

Alumni Weekend, October 27, 2018 Photo credits: Leo Amiri

Alumni Association Board Member Katherine Calley Galitz Speaking to Alumni Association Board Member Katherine Calley Galitz and NYU Alumni Professor Colin Eisler

Alumni Weekend Audience Lecture in Progress 15 The Year in Pictures CONTINUED

College Art Association Alumni Reunion, February 15, 2019 Photo credits: Louisa Raitt

Institute Director Christine Poggi Welcoming Alumni Da Hyung Jeong, Eana Kim, English Cook, Ksenia Soboleva

Heather Horton, Peter de Staebler, Steven Paganelli, Jongwoo Kim, Karen Leader Nancy Scott, Kathryn Heleniak, Peter Kalb, Eugene Heath, Reva Wolf

New Alumni Toast, May 20, 2019 Photo credits: Nita Lee Roberts

Alumni Association Board President Jennifer Eskin Juan Gabriel Ramírez Bolivar celebrating Professor Alexander Nagel with alumni Peter de Staebler Welcoming New Alums with his mother Luz Aida Bolivar and his and Stephanie Caruso sister Ayda Lucia Ramirez 16 Alumni Careers Panel, April 29, 2019 Photo credits: Nita Lee Roberts

Alumni Association Board President Jennifer Eskin, Lisa Schermerhorn, Intense Discussions Gabriella Perez, Matthew Hayes, and Susan Hapgood

Alumni Matthew Hayes and Susan Hapgood Alumni Lisa Schermerhorn and Gabriella Perez

Where to find the Institute Online Institute Website: http://www.ifa.nyu.edu

On the website: 1 Click Community, and then Alumni and find further links to update your contact information, Alumni Achievements, Alumni in the News, and the Alumni Mapping Project.

2 Click About, and then “The Institute on Social Media” to see the wide variety of social media outlets used by the Institute including, Facebook, Twitter, LinkedIn, Tumblr, Vimeo, and Instagram.

Sign up for the Institute email list at: https://www.nyu.edu/gsas/dept/fineart/mailinglist.htm

Explore the extensive library of videos of lectures and events at the Institute at: https://vimeo.com/ifa

Subscribe to the Duke House Diaries: Email [email protected] with “Duke House Diaries” in the subject line and request to be added to the list.

17 Faculty Updates

Matthew Adams the structural restoration of paintings on canvas, Matosinhos, 2018; Organization of Architectures Senior Research Scholar in preparation for the upcoming Conserving de la politique, politiques de l’architecture, Paris, Canvas symposium in the fall. Here my research 2018; “Bauhaus East, Bauhaus West: Reception and writing will be on the history of suction in Moscow and Paris,” Cracow, 2019; “La table design and use in the conservation of Butte Rouge, paysage urbain d’exception,” paintings. Châtenay-Malabry, 2019; Art x Architecture: Russian Intersections 1917-37: 1. “Cubofuturism, Jean-Louis Cohen Zhivskulptarkh et al.: Designing Utopia;” Sheldon H. Solow Professor in the History of 2. “Constructivism: giving Shape to the Architecture Everyday;” 3. “Realism and the Shadow of the Publications: Ein neues Mainz? Kontroversen um Avant-Garde,” New York, 2019; “NER, or the die Gestalt der Stadt nach 1945, with Hartmut Architecture of Optimism,” keynote address, Publications: “The Origins of Sacredness at Frank and Volker Ziegler (2019); Le Corbusier: NER, Tracing the Future City, Moscow, 2018, Abydos,” in Abydos: The Sacred Land at the The Built Work, photographs by Richard Pare “L’Invention de Frank Gehry,” Montreal, Western Horizon (2019); “Abydos in Late (2018); “Taliesin-France,” introduction in 2018; “Moscou: comment régénérer une ville Antiquity: A View from the Shunet el-Zebib,” Anne-Laure Sol, ed., Hervé Baley & Dominique tentaculaire ?” Paris, 2018; Conversation with in Late Antique Abydos (2019); ed., Egypt at Its Zimbacca, architectes: pour une autre modernité Kenneth Frampton, Venice, 2018; “L’invenzione Origins 4: Proceedings of the Fourth International (2018); “À qui sert l’histoire de l’architecture,” di Frank Gehry 1: un’architettura ‘senza Conference on Predynastic and Early Dynastic in Richard Klein, ed., À quoi sert l›histoire de regole’,” et “L’invenzione di Frank Gehry 2: una Egypt (2016). l›architecture aujourd›hui? resistenza al postmodernismo,” Venice, 2018; Special Lectures: “The Shunet el-Zebib and the (2018); “Le Corbusier’s Modulor and the “L’invention de Frank Gehry,” Strasbourg, 2018; Legacy of Egypt’s First Kings at Abydos,” Sohag, Debate on Proportion in France,” in Matthew A. Conversation on Agadir with Yto Barrada, 2019; “Challenges in the Practice of Archaeology Cohen and Maarten Delbeke, eds., Proportional London, 2018; “1968, or the Magic Cataclysm,” in Egypt Today,” Seattle, 2016; “Abydos, Egypt: Systems in the History of Architecture; A Critical Delft, 2018. Landscape of Kings—Landscape of Myth,” Reconsideration (2018); “Fragments of History Recent Honors & Awards: Doctorate honoris Princeton, 2016. and Memory,” in Sasha Gutnova and Masha causa from the Université de Montréal. Current Research: My research continues to Panteleyeva, eds., NER - City of the Future News: Invited expert on Notre Dame de Paris focus primarily on the nature of royal activity (2018); “Memory Erased/Regained: Marseille at and its reconstruction, France 24, i24, Fox at Abydos at the beginning of Egyptian history, War,” in Marina Engel, ed., Fragments (2018); News, the BBC, et al., April 15-22, 2019; Main when much of the site’s vast desert landscape was “Autour de la notion de ‘mémoire collective’ de contributor, Tout Le Corbusier dans une cabane, reserved for royal monumental construction and Maurice Halbwachs, et son appropriation par television program, Arte, March 25, 2019. ritual, as well as how in later times the patterns les urbanistes et architectes,” in Alain Berthoz of use of the landscape was a response to this and John Scheid, eds., Les arts de la mémoire Thomas Crow earlier history. In addition, I am engaged in a et les images mentales (2018); “The Exhibition Rosalie Solow Professor of Modern Art number of related initiatives focused on heritage Pavilion for Theodor Ahrenberg, or Le Corbusier Publications: Restoration: The Fall of Napoleon preservation, site management, and community Between the Collection and the Museum,” in in the Course of European Art (2018); “The outreach as integral to the practice of modern Carrie Pilto, ed., Living with Matisse, Picasso and Roots of Mike Kelley’s Realism: Subterranean archaeology. Christo: Theodor Ahrenberg and His Collections Homesick Blues,” in Andrew Hemingway (2018); “Yannis Tsiomis, toujours sur le front de and Malcolm Baker, eds., Art as Worldmaking: Jonathan Brown la ville,” Archiscopie (2019). Critical Essays on Realism and Naturalism (2018); Carroll and Milton Petrie Professor Emeritus of Special Lectures: Organization of the “Bearing Witness in the Art of the Vietnam Era,” Fine Arts symposium Patientes recherches : redécouvertes in Melissa Ho, ed., Artists Respond: American Publications: Los mundos de Murillo (2019). de Le Corbusier, Paris, 2018; “Frankreich Art and the Vietnam War, 1965-1975 (2018); News: Co-curator, Cristobal de Villalpando: und USSR,” Mythen Bauhäuser Dogmen, “Illuminations Past and Present in the Painting Mexican Painter of the Baroque, Mexico City and Berlin, 2019; Moderation of the roundtable, of Mark Rothko,” in Jasper Sharp, ed., Mark Metropolitan Museum of Art, 2017. A Gardener’s Journey: Pascal Cribier, New Rothko (2019); “Turn It Up: The Sounds of the York, 2019; Moderation of the roundtable Young Ed Ruscha,” in Ed Ruscha: ACE, RADIO, James Coddington “Architecture: formation, recherche et pratique, HONK, Boss (2018). Fine Arts Honorary Fellow quels nouveaux liens ?” Paris, 2018; “Casablanca Special Lectures: Introduction and moderating, News: I have been principally working on la juive: Private and Public Architecture Artists Respond: American Art and the Vietnam the topic of my course at the Institute of Fine 1912-1960,” keynote, From the Other Shore: War, 1965-1975, Washington DC, 2019; “The Arts, “Materials and Meaning in Abstract Transcontinental Jewish Journeys along Africa’s Hidden Mod in the New Art History: Another Expressionism.” This has been focused on tying Shores, Stanford, 2018; Organization of How Origin Story,” Ann Arbor, 2019. key art historical readings on Ab-Ex to close to See Architecture: Bruno Zevi (March ’42) and Recent Honors & Awards: Best book of the examination of particular works to judge the conclusive address, Cambridge MA, 2018; year for No Idols: The Missing Theology of Art, Art validity of the texts. I am returning to a topic Organization of Conserver la ville moderne, Association of Australia and New Zealand, 2018. from much earlier in my conservation career, Casablanca, 2018; roundtable Sud-Express,

18 Colin Eisler Rembrandt’s Papers,” Ithaca, 2017; “Real Fake: Kathryn Howley Robert Lehman Professor of Fine Arts The Rise and Fall of Art Scammers,” New York, Lila Acheson Wallace Assistant Professor of Special Lectures: “French Renaissance 2017; “Applying Measures of Texture Similarity Ancient Egyptian Art and Archaeology Drawing,” New York, 2018; “Mantegna’s Saint to Wove Paper,” San Francisco, 2016; “Paper Is Publications: “Return to Taharqo’s Temple Luke Altar,” London, 2019. Part of the Picture,” New York, 2016. at Sanam: the Inaugural Field Season of the Current Research: “Durer der Musiker” is the Current Research: The migration of optical Sanam Temple Project,” Sudan & Nubia (2018); subject of an exploratory seminar at the Institute brightening agents during paper conservation “Power Relations and the Adoption of Foreign of Fine Arts. I am completing an article “Culture treatments; computational mapping of paper Material Culture: a Different Perspective from and Conspiracy: Secret Insights of Panofsky topography. First-Millennium BC Nubia,” Journal of Ancient and Lowinsky.” Institute alumna Sarah Harris Egyptian Interconnections (2018); “All Gods are Weiss and I are preparing a monograph on John Hopkins Our Gods: Religious Interaction. Egypt and Titian’s Flaying of Marsyas. I am also working on Assistant Professor of Nubia,” in Pharaoh’s Land and Beyond: Ancient ecumenical aspects of the Ghent Altar and on Ancient Mediterranean Egypt and its Neighbors (2017). the “Photographic American Madonna of the Art Special Lectures: “Taharq-who? Preceding Future.” Publications: Palaces, Secondary Squatters and Colonial “Roman Republican Cast-offs from the 2019 Sanam Temple Project Margaret Holben Ellis Architecture,” in Oxford Fieldwork Season,” New Haven, 2019; “The Chair of the Conservation Center; Eugene Thaw Bibliographies (2019); Modern Values of Foreign Art in the Ancient Professor of Paper Conservation “A Collaborative Path World: Interpreting the Use of Egyptian Style Publications: “Computational Connoisseurship: for Research into in First Millennium BC Nubia,” New York, Enhanced Examination Using Automated Ancient Art and Heritage Objects,” Selected 2019; “New Work at the Temple of Sanam,” Image Analysis,” with C. Richard Johnson Jr., Papers on Ancient Art and Architecture (2018); London, 2018; “Return to Taharqa’s Temple Visual Resources (2018); “Environment and “Tarquins, Romans and Architecture at the at Sanam,” Oxford, 2018; “The Materiality of the Care of Prints and Drawings,” AASLH Threshold of Republic,” in The Age of Tarquinius Shabtis: the Continuing Appeal of Egyptian Technical Leaflet(2017); “Drawing for Superbus: Central Italy in the Late 6th Century Funerary Figurines,” Cambridge, 2017; “Foreign Printing: An Expanded Fabrication Narrative (2017); The Genesis of Roman Architecture Exchange: the Currency of Egyptian Objects for Dürer’s Adam and Eve of 1504,” with (2016). in the Nubian Royal Cemetery of Nuri,” Marjorie B. Cohn, Master Drawings (2017); Special Lectures: “Collapsing Time and Culture: Cambridge, 2017 and Oxford, 2016. “The Application of Automated Chain Line the Ficoroni Cista and the Multivalence of Recent Honors & Awards: Egypt Exploration Pattern (CLiP) Matching to Identify Paper Early Italic Art,” New York, 2019. “Early Rome Society Fieldwork and Research Grants, 2019; Mouldmate Candidates in Rembrandt’s Prints,” and the Significance of Accreting Urbanism,” Rolex Explorers Club Grant, 2019; Egypt co-author, in New Directions in the Study of Cleveland, 2018; “Toward Massive, Online, Exploration Society Fieldwork and Research Rembrandt and His Circle (2017); The Care of Collaborative Virtual Reconstruction,” Leiden, Grants, 2018; Shelby White and Leon Levy Prints and Drawings (revised edition) (2017); 2017. Program for Archaeological Publications Grant, “Myth and Manipulation: Deconstructing and Recent Honors & Awards: Spiro Kostoff Award 2017. Reconstructing Dubuffet’s Imprints and their in the History of Architecture and Urbanism, Current Research: Sanam Temple Project Assemblages,” with Lindsey Tyne, in Dubuffet Society of Architectural Historians, 2018; excavations, Sudan; monograph on the first Drawings (2016); “Perilous Message, Precarious Southeast Society of Architectural Historians millennium BC Kushite Royal Pyramid Tombs Medium—The Pastel Drawings of Lucas Publications Award for Books, 2018; Gustave at Nuri, Sudan; various articles concerned with Samaras,” with Lindsey Tyne, in Dreams in Dust: O. Arlt Award in the Humanities, Council of concepts of the body in ancient Egyptian art. The Pastels of Lucas Samaras(2016). Graduate Schools, 2017. Special Lectures: Panelist, “The Watermark Current Research: Monograph: The Robert Lubar Identification in Rembrandt’s Etchings (WIRE),” Connective Experience of Early Roman Art Associate Professor of Fine Arts New York, 2018; co-organizer, “ART BIO and Architecture. Essays: “Decapitated: The Publications: “Joan Miró and the Death of MATTERS 2018,” New York, 2018; “The Care Reassembled Biographies of Two Sculpted Painting,” (2019); “Joan Miró: Peinture Poésie,” of Prints and Drawings: A Western Perspective,” Heads”; “Introduction to Collaborative Research ed. with Remi Labrusse, forthcoming. Beijing, 2018; “Scientific Approaches to Paper on Antiquities Collections and Provenance”; Special Lectures: “Joan Miró: Peinture Poésie,” and Photograph Conservation,” Beijing, “Architectural Accretions and the Connective with Remi Labrusse, Paris, 2018. 2018; conference, “Unexpected FAME Evidence for Early Roman Urbanism.” Edited Recent Honors & Awards: Trustee, Fundació & unFORTUNE,” Oxford, 2018; “The volumes: Biographies of Ancient Objects: Arts Joan Miró, Barcelona (2019-2023) Computational Analysis of Watermarks - Setting of the Ancient World in the Menil Collection; the Stage,” Princeton, 2018; conference, “Now Beyond Deceit: Valuing Forgery and Longing for Clemente Marconi You See It, Now You Don’t—Documenting Ancient Rome. Other archaeological research James R. McCredie Professor of Greek Art and Day-Glo,” Los Angeles, 2018; “Studies in project: Roofs and Decoration of the Forum and Archaeology and University Professor; Director, Technical and Computational Connoisseurship: Palatine. Institute of Fine Arts Excavations at Selinunte Dürer and Rembrandt,” Wilmington, Publications: “Modernism in Three 2017; “Computational Connoisseurship of Dimensions: Picasso’s Sculpture vis-à-vis Ancient

19 Faculty Updates CONTINUED

Greek and Roman Art,” in Picasso: The Sculpture Special Lectures: “The Salvator Mundi by Christine Poggi (2018); “La dea del Tempio R.,” in Gli esametri Leonardo da Vinci. Some Reflections Ten Judy and Michael Steinhardt Director Getty e Selinunte (2018); “Un acroterio equestre Years after its Rediscovery”; New York, 2019; Publications: “La couleur de mes rêves: Joan da Selinunte?” in Antico e non antico: scritti “Masterpieces,” Florence, 2019; “Tre dipinti di Miró’s Peinture-Poésie and the Art of False multidisciplinari offerti a Giuseppe Pucci (2018); Tiziano,” Florence, 2019; “Il Salvator Mundi di Resemblances,” in Miró and Poetry (2019); “Contextualizing an Animal Sacrifice in the Leonardo da Vinci. Alcuni riflessioni dieci anni “Giacomo Balla’s Vortex: The Volatile Politics of Foundations of Temple R: A Preliminary Report dopo la sua riscoperta,” Modena, 2018 “Aspetti an Abstract Form,” RES: Journal of Anthropology of the Institute of Fine Arts NYU Excavations tecnici: il Salvator Mundi di Leonardo da Vinci,” and Aesthetics (2019); “Stage at the Edge of the on the Acropolis of Selinunte (2013–2015 Florence, 2018. Sea: Picasso’s Scenographic Imagination,” The Campaigns),” co-author, Mare Internum (2017); Recent Honors & Awards: Awarded the Art Bulletin (2019); “Malevich, the War, and the “Un busto in terracotta dalla fronte del Tempio honorary degree of Doctor of Humanities by Crisis in Faciality,” in World War I and Cultural R di Selinunte,” Sicilia Antiqua (2017);“Sicile Fairfield University, 2017. Change (2017); “The Paradox of the Pictorial in Ancienne:” Hittorff and the Architecture of Current Research: Technical aspects of Picasso’s Sculpture,” in Picasso. Sculptures (2017); Classical Sicily (2017); “Mycenaeans and Others Leonardo da Vinci’s Salvator Mundi in relation “Cubist Equivalents: Picasso’s Céret Sketchbook along Western Sicily: A View from Selinunte,” to other works by the artist. of 1913,” in The Cubism Seminars(2017). with Massimo Cultrato, in Hespero: the Aegean News: Under the auspices of the Samuel Special Lectures: “Miró’s Mask of 1956,” Seen from the West (2017); “An Attic White- H. Kress Foundation, the Kress Program in New York, 2019; “La couleur des mes rêves: Ground Lekythos from Temple R at Selinunte,” Paintings Conservation at the Conservation Miró’s Peinture – Poésie and the Art of False in Fragmenta Mediterranea: Contatti, tradizioni, Center is creating a website to house treatment Resemblance,” Paris, 2018; “The Face of Our e innovazioni in Grecia, Magna Grecia, Etruria and research information on the approximately Time: Kazimir Malevich’s Zaum Self-Portrait e Roma: Studi in onore di Christoph Reusser 250 paintings that have been studied and in the Context of War,” New York, 2018; “The (2017); “Picasso and the Minotaur: A Chapter in conserved from 1989 to the present. Paradox of the Pictorial in Picasso’s Sculpture,” Modern Mythmaking,” in Picasso: Minotaurs and Paris, 2016; “Picasso: Cubism, Classicism, Matadors (2017); “The Frames of Greek Painted Alexander Nagel and the Politics of Style,” Philadelphia, 2016; Pottery,” in The Frame in Classical Art(2017); “I Professor of Fine Arts “Picasso: Head of a Woman, 1929-1930,” New vasi del simposio tra rito e mito” and “Il gioco Publications: “Amerasia: European Reflections York, 2016. del kottabos nella Sicilia greca,” Engramma of an Emergent World, 1492-ca. 1700,” with Current Research: Essays: “Picasso’s The Artist (2017); “Anastilosi a Selinunte: i primi 200 anni Elizabeth Horodowich, Journal of Early Modern and His Model series of the late twenties”; (1779-1977),” in Selinunte: Restauri dell’Antico History (2019); together with his collaborator “Projections: Mona Hatoum’s Cartographic (2016); “The Goddess from Morgantina,” Antike Elizabeth Horodowich wrote over 40 entries for Practice” (final version); book: On the Other Side: Plastik (2016); “The Greek West: Temples the web portal Amerasia: An Inquiry into Early The Performance of Exile, Migration, and Labor in and their Decoration,” in A Companion to Modern Imaginative Geography (2019). This Contemporary Art. Greek Architecture (2016); Musicians in Ancient portal, designed and developed by Jason Varone, Coroplastic Art: Iconography, Ritual Contexts, also contains ten longer essays by students who Hannelore Roemich and Functions (2016); Francesco Vezzoli’s Teatro participated in Professor Nagel’s Fall 2018 Professor of Conservation Science Romano (2016); “L’alba della colonizzazione: seminar on the topic Special Lectures: “It’s about time! Tech-based art indagini sull’acropoli di Selinunte (Trapani),” Special Lectures: “Through the Slant of Night: meets art conservation,” New York, 2018; “Glass with Massimo Cultraro, in scavare documentare The Other Side of the Earth in the Sixteenth Science and Glass Degradation,” Winterthur, conservare (2016). Century,” Cambridge MA, 2018; session chair: 2019; “Time-based Media Art Conservation Recent Honors & Awards: Appointment as “Michelangelo Drawings,” Toronto, 2019; Education at NYU: Sharing First Experiences,” Full Professor of Classical Archeology at the presentation and discussion of collaborative Maastricht, 2019. Università degli Studi di Milano, 2017. video project Fugitive Mirror (with Amelia News: Organized Artist Interview Workshop, Current Research: Publication of Selinunte Saul), New York and Princeton, 2019; “Europe New York, 2019 and Art with a Plug, Brooklyn, Excavations; Kosmos: the Imagery of Archaic and its Amerasian Mirror, 1492-ca.1700,” 2019. and Classical Greek Architecture. with Elizabeth Horodowich, Cambridge MA, 2019; “Double Exile,” in From Plaza Mayor to Patricia L. Rubin Michele Marincola Washington Square: Spanish Republican Exiles and Professor of Fine Arts Sherman Fairchild Distinguished Professor of NYU, New York, 2019. Publications: Seen from Behind: Perspectives on Conservation Recent Honors & Awards: National the Male Body and Italian Renaissance Art (2018); Recent Honors & Awards: Elected Fellow, Endowment for the Humanities Collaborative “‘Pictures with a Past’: Botticelli in Boston,” in International Institute for Conservation, 2018. Fellowship, with Elizabeth Horodowich, for Botticelli: Heroes and Heroines (2019); “George Amerasia: A Renaissance Discovery, 2016-19. Eliot, Lady Eastlake, and the Humbug of Old Dianne Dwyer Modestini News: Faculty advisor, inaugural year of student- Masters,” 19. Interdisciplinary Studies in the Long Research Professor, Kress Program in Paintings led journal Lapis: The Journal of the Institute of Nineteenth Century. Conservation Fine Arts. Publications: Masterpieces (2017); Capolavori (2018).

20 Special Lectures: Interlocutor/Panel chair, Lowery Stokes Sims Recent Honors & Awards: Alpha Sigma Nu Verrocchio: Maestro di Leonardo, Florence, Visiting Professor (National Jesuit Honor Society), 2018; Private 2019; Interlocutor/Panel chair, Sculpture and Publications: “Hidden in Plain Sight: Nari Art Dealers Association award in support of The Polychromy, Florence, 2018. Ward in Conversation,” in Nari Ward: We the Holy Name for the exhibition “Art of the Gesù: Current Research: “La Divina Commedia People (2019); “Richard Pousette-Dart and Bernini and His Age,” 2018. interpretata da Botticelli,” in Iconografia di Abstract Expressionism: Critical Perspectives,” in Current Research: Raphael and his workshop; Dante, ed. Lina Bolzoni, in preparation. Richard Pousette-Dart: Beginnings (2019); “Jeffrey Giulio Romano; Perino del Vaga. Gibson: Culture, Materials, Identity, and Trade,” Hsueh-Man Shen in Jeffrey Gibson: This Is the Day (2018). Edward J. Sullivan Ehrenkranz Associate Professor in World Art Recent Honors & Awards: Distinguished Helen Gould Shepard Professor of the History of Publications: Authentic Replicas: Buddhist Art Feminist Award, College Art Association, 2018. Art, Institute of Fine Arts and Department of Art in Medieval China (2018); “Where Secular Current Research: The retrospective of Robert History; Deputy Director, Institute of Fine Arts; Death and Buddhist Nirvana Intersect: Secular Colescott to open at Contemporary Arts Center, Provostial Fellow, NYU and Religious Burials during the Tang-Song Cincinnati, in September 2019. Publications: Brazilian Modern: The Living Art of Transition,” in Fojiao meishu yuanliu guoji xueshu Roberto Burle Marx (2019); Processing: Paintings yantaohui lunwenji (2018). Robert Slifkin and Prints by Roberto Juarez (2018); Making the Special Lectures: “Art, Space, and Mobility in Associate Professor of Fine Arts Americas Modern: Hemispheric Art 1910-1960 Maritime East Asia during the Long Twelfth Publications: “Indecisive Moments: Five (2018); ed. and introductory essay, The Americas Century,” New York, 2018; “Authentic Replicas: Photographs by Ari Marcopoulos,” Racquet Revealed: Collecting Colonial and Modern Latin Buddhist Art in Medieval China,” London, (2018); “Response to ‘A Questionnaire on American Art in the United States (2018); “Trace 2018; “Where Secular Death and Buddhist Monuments’,” October (2018); “The Empty and Testimony: The Drawings of Marcelo Nirvana Intersect: Secular and Religious Burials Room and the End of Man,” in Experience Bonevardi” in Marcelo Bonevardi: Magic Made during the Tang-Song Transition,” Shanghai, (2017); “Exceptional Failure,” American Art Manifest (2019); “Black Visualities in Puerto Rico 2018; “Replication Makes Authenticity: A (2017). and the Dominican Republic: Nineteenth and Curious Paradox about the Buddhist Art Recent Honors & Awards: Hauser and Wirth Twentieth Centuries” in Henry Louis Gates, Jr. in China,” Leiden, 2019; “Shipwrecks and Institute Fellowship, 2018. and David Bindman, eds., Image of the Black in Submerged Worlds: Contesting Fields of Art, Western Art (forthcoming 2020); “Transatlantic Archaeology, and Politics,” Amsterdam, 2019. Linda Wolk-Simon Maruja Mallo: Women Artists of the American Recent Honors & Awards: EURIAS (European Visiting Professor Vanguard Movements,” in Maruja Mallo. Catálogo Institutes for Advanced Study) Senior fellowship Publications: Giulio Romano: Art and Desire razonado (2019); “José Gurvich: Between at The Netherlands Institute for Advanced Study, in the Renaissance (2019); “Raphael, Drawings, Tradition and Radicality” in José Gurvich (1927- 2019; 2019 Hulsewé-Wazniewski Foundation and Friendship,” in Raffael als Zeichner/Raffaello 1974) (2018); Tangible Ambiguities: Paintings Visiting Professor at Leiden University. disegnatore (2019); “The Church Resurgent: Art by Julio Larraz (2018);“Close Encounters with Current Research: In June 2018 I conducted a of the Gesù,” Apollo (2018); The Holy Name. Art Edouard Duval-Carrié: A Quarter Century of survey of Song-Yuan period shipwreck materials of the Gesù: Bernini and His Age (2018); “Don Friendship & collaboration,” in De-Colonizing on the Pescadores Islands in the Taiwan Strait. Gummer: The Armature of Emotion,” Venu Refinement: Contemporary Pursuits in the Art of This survey constituted the last part of the field Magazine (2016); Leonardo Cremonini, 1925- Edouard Duval-Carrié (2018). research towards my current book project, 2010: Paintings and Drawings from the William Special Lectures: “Thirty Years of Anglo- tentatively titled Art, Space, and Mobility in Louis-Dreyfus Foundation (2016). American Scholarship on Brazilian Modern and Maritime East; in July 2018 I joined my Ph.D. Special Lectures: “‘In the beginning there was Contemporary Art,” New York, 2019; respondent, student, Elizabeth Lee, in South Korea to survey the word’: Americans Writing about Raphael CAA panel on Caribbean Art, Colonialism and a number of rock-cut Buddhist statues (maebul) from the Founding Fathers to the Gilded Age,” Commodities: The Art of Edouard Duval-Carrié, on site. We were joined by Prof. Wuwei Chen, Rome, 2018; “Perino del Vaga, Antonio da New York, 2019, “Juan Soriano: Homenaje a digital humanities specialist, from NYU Sangallo the Younger, and the lost Tabernacle of personal y semblanza surrealista,” Cuernavaca, Shanghai, for this trip. Together we hiked in the Sacrament in Old St. Peter’s: Early Christian 2018 “An Inevitable Partnership: Art Museums, the tall mountains searching for remains from Revival and Preservation in Rome during the Libraries and Archives,” Phoenix, 2018; the late Silla to Goreyo periods. We collected Pontificate of Pope Paul III,” London, 2018; “Landscapes and Cityscapes of the Americas. the GPS coordinates and cardinal directions “Finding Perino,” New York, 2018; “Raphael, 1910-1960.” Houston, 2018; “Mariano Fortuny of several sites. We managed to get not only Drawings, and Friendship,” Vienna, 2017; en América,” Madrid, 2018; “Landscapes of 3D photogrammetry but also drone video “Papal Politics and Propaganda in the Decorative Desire: The Caribbean—Sugar, Enslavement and footage of a number of maebul; from May 2018 Program of the Sala dei Pontefici, 1519–1521,” Colonialism,” Ithaca NY, 2018; “Francisco Oller onwards, I have visited a significant number of Milwaukee, 2017; “Collecting ‘Raphael’ and and Maestro Rafael Cordero: Revising Questions maritime museums in Europe (esp. Scandinavia, Raphael in America,” Rome, 2017; “The Pitfalls of Black Identity and Transference in Late U.K., Germany, Italy, the Netherlands) for a of Drawing in the Practice of Raphael, Giulio Colonial Puerto Rico,” Cambridge MA, 2018. comparative study of how maritime historical Romano, and Perino del Vaga,” Boston, 2016; Recent Honors & Awards: Distinguished Teacher materials are displayed and interpreted within a “Who is that Lady with a Unicorn? The Sitter in of Art History, College Art Association, 2019 museum context. Raphael’s Portrait,” San Francisco, 2016.

21 Alumni Updates

1960s...... 22 my retirement from full-time teaching in July Publications: “Mapping Joyce Kozloff’s 2016, I have continued to teach art history Girlhood,” in Joyce Kozloff: Girlhood (2017); 1970s...... 22 part-time (to adults over 50) in the University Painting Harlem Modern: The Art of Jacob of Oklahoma’s Osher Lifelong Learning Lawrence (reprinted 2019); Modern Art in 1980s...... 24 Institute, and I plan to continue to do so into the USA: Issues and Controversies of the 20th 1990s...... 26 the foreseeable future. Century (reprinted 2019). Lectures: “The Moral Compass of Jacob 2000s...... 27 Merribell Parsons Lawrence or, Why Black Artists Matter,” MA 1967 Savannah, 2017; “History as Symbols 2010s...... 30 Mailing Address: of Struggle: Jacob Lawrence Re-Presents 486 East Olmos Dr., San Antonio, TX 78212 a Revisionist History of America,” Email Address: [email protected] Charlottesville, 2016. Latest Position: Curator of European Art, Recent Honors and Awards: Received a 1960s San Antonio Museum of Art. Retired 2018. $186,330 grant from the Mr. and Mrs. Lectures: “Bernini and the Baroque,” San Raymond J. Horowitz Foundation for the Victor Koshkin-Youritzin Antonio, 2018. Arts in 2018 to support the Eastman Johnson MA 1967, Certificate in Museum Training, Catalogue Raisonné Project, which includes 1969 completing the database of all his artworks Primary Advisors: José Lopez-Rey and and developing a public access website that Robert Rosenblum 1970s will be completed before January 2021. The Mailing Address: William Barcham sponsoring institution is the Fenimore Art 1721 Oakwood Dr., Norman, OK 73069 PhD 1974 Museum, Cooperstown, NY. Email Address: [email protected] Primary Advisor: Upcoming Projects: Not only completing the Latest Position: Donald Posner Johnson project but also completing a book David Ross Boyd Distinguished Professor Mailing Address: on the contemporary New York artist Joyce Emeritus of Art History, University of 1 Greene St., Kozloff. Oklahoma Jersey City, NJ 07302 Publications: “Your Insider Look at the Email Address: Victoria Jenssen Museum: La Femme en Serail,” Mabee-Gerrer williambarcham@gmail. MA 1975, Certificate in Conservation 1975 Museum E-Newsletter (2018); Interview by Jay com Primary Advisor: Lawrence Majewski Price, “CIA Calendar Art Offers A Glimpse Latest Position: Mailing Address: 1668 Whiteside Road, Into The World Of Spies,” National Public Professor, Fashion Institute of Technology, Cleveland, Nova Scotia, B0E 1J0 Canada Radio (2018). SUNY Email Address: [email protected] Lectures: Radio interview, “Spotlight on the Publications: Art and Faith in the Venetian Social Media: www.caroljaneway.com Arts,” KUCO-FM, Oklahoma City, 2016. World, Venerating Christ as the Man of Latest Position: Freelance Recent Honors and Awards: I was the sole Sorrows, with Catherine Puglisi (2019); Publications: “Rediscovering Carol Janeway’s subject of a feature article/interview by Haley Tiepolo’s Pictorial Imagination: Drawings for Mid-Century Tiles Part I: Career Ascent,” Tile Harvey on the front page of the OU Daily Palazzo Clerici (2017). Heritage: A Review of American Tile History (student newspaper of The University of Upcoming Projects: Doge Alvise Mocenigo, (2019). Oklahoma): “The Art of Teaching: Retired art Patron of the Arts in 18th-century Venice. Upcoming Projects: Website on mid- history professor continues to share his passion Additional News: Visiting Professor at Ca’ century tile decoration silkscreen studios in with OU students after 46 years,” OU Daily Foscari, University of Venice, Spring 2016. Manhattan, 1942-1958; Part 2 of the Janeway (weekend edition), October 18-21, 2018. tile article in Tile Heritage. Upcoming Projects: Primarily lecturing on Patricia Hills art history and art criticism. PhD 1973 Patricia Eichenbaum Karetzky Additional News: In 2016 I was the sole Primary Advisor: PhD 1979 curator for “A Tribute to America’s Combat Robert Goldwater Primary Advisor: Alexander C. Soper Artists and Fighting Forces: Art from the Mailing Address: Mailing Address: U.S. Navy, Marines and Coast Guard,” an 60 Plaza St. East, #1H, 150 East 69th St., #10N, important, highly acclaimed exhibition at the Brooklyn, NY 11238 New York, NY 10021 Mabee-Gerrer Museum of Art in Shawnee, Email Address: Email Address: [email protected] OK (54 of the artistically finest paintings [email protected] Social Media: karetzky.com and drawings from the national collections); Latest Position: Latest Position: O. Munsterberg Chair of since 1992 I have served as Vice President of Professor, Department Asian Art, Bard College the national Koussevitzky Recordings Society of History of Art & Architecture, Boston Publications: “Yang Jinsong’s Paintings: (which absorbed the Stokowski Society); after University Touch the Possible Shape,” Yishu, Journal of 22 Chinese Contemporary Art (2018); “God Bless Primary Advisor: Robert Rosenblum Tomb Epitaphs: The Stones of History,” in: the Child: In Memory of Cui Xiuwen,” Yishu, Mailing Address: 134 South Oxford St., The Tombs of the Doges of Venice. From the Journal of Chinese Contemporary Art (2018); Brooklyn, NY 11217 Beginning of the Serenissima to 1907 (2016). “Here, There and Everywhere, the Buddhist Email Address: [email protected] Bronzes of Nagapattinam,” Kalākalpa Journal Social Media: Gallery 98 Ellen C. Schwartz of Arts (2018); “The Formation of a Daoist (www.gallery.98bowery.com); Phd 1978 Pictorial Iconography in the Tang,” Journal Insta: @onlinegallery98 Primary Advisor: Hugo Buchthal of Daoist Studies (2017); “Amazing Grace: Latest Position: Writer/curator/director, Mailing Address: Contemporary Chinese Christian Art” Yishu, Gallery 98 (online) 1805 Ivywood Dr., Ann Arbor, MI 48103 Journal of Chinese Contemporary Art (2017); Publications: “The Times Square Show (and Email Address: [email protected] Catalogues: I Have No Enemies and No Hatred Jean-Michel Basquiat) in Retrospect” (2019); Social Media: http://people.emich.edu/ Contemporary Chinese Dissident Art (2017); “Curt Hoppe’s Downtown Portraits” (2019); eschwartz Infinite Compassion: Avalokiteshvara(2017); “Guerrilla Girls: Feminist Street Posters” Lectures: “Dear Womanhouse, What Now? Cui Xiuwen, Light (2016). (2018). History & Context of the Exhibition at the Lectures: “The Discovery of Buddhist Upcoming Projects: An exhibition on Art Kettle,” Manchester, 2018. Sculptures from Yecheng City in Linzhang Philippe de Montebello’s father, Roger de Upcoming Projects: I am currently editing County Hebei, China,” Bristol, 2018; “Emily Montebello (1908–1986), and his the Oxford Handbook of Byzantine Art & Cheng, Recent Work and Alchemical Designs 40-year quest to create three-dimensional Architecture. I continue to be involved with Authority versus Authenticity,” Beijing, photographs. the “Dear Womanhouse” exhibition project, 2018; “The Bronze Buddhist Sculptures of Additional News: Curator, “Downtown as artist, lecturer, and editor of printed Nagapattinam,” Toronto, 2017; “Foreign Art Ephemera, 1970s - 1990s: Curated by materials related to the exhibition. Influences in The Creation of Hāritī,” Delhi, Marc H. Miller,” James Fuentes Gallery, Additional News: I retired from the School of 2017. New York, July 11 – July 25, 2018. Featuring Art & Design at Eastern Michigan University objects from Miller’s online site, Gallery 98, in April, 2018, after 41 years of teaching. Kathleen Matics which specializes in vintage art ephemera for MA 1970, PhD 1978 collectors and art historians; Artist (with Bettie Sheila Schwartz Primary Advisor: Ringma), “Amsterdam Polaroids,” Stigter van PhD 1975 Alexander C. Soper Doesburg Gallery, Amsterdam, January 13 – Primary Advisor: Colin Eisler Email Address: February 17, 2018. Collection purchased by Mailing Address: 75 East End Ave., #4K, kimmatics.novels@ Gemeente Archief Amsterdam. New York, NY 10028 gmail.com Email Address: [email protected] Mailing Address: Debra Pincus Latest Position: Research & Archives 5/272 Prachaniet MA 1963, PhD 1974 Director, The Saul Steinberg Foundation 2, Samakkhi Road, Primary Advisors: Additional News: Editing a series of five Pakkret, Nonthaburi H. W. Janson and Richard Krautheimer volumes with selected essays and unpublished 11120 Thailand Email Address: [email protected] lectures by Leo Steinberg (1920-2011). Latest Position: Information Specialist, Mailing Address: The first volume, on Michelangelo’s Mekong River Commission 333 East 69th St., #6C, New York, NY 10021 sculpture, appeared in 2018; the second, on Publications: Something Else Again (2016); Publications: “Ravenna’s Unlikely Michelangelo’s painting, is due in August Going Places, Letting Go (2017); Kindred Monument: The Tomb of Dante at the 2019; the third, on Renaissance and Baroque Spirits (2019) Church of S. Francesco,” in: Ravenna in the art, will be published in spring 2020, followed Upcoming Projects: Writing novels with an Imagination of Renaissance Art, forthcoming; by a volume on Picasso and a final one on art historical bent. “The Beginning of Gothic Lettering at the other modern masters. Basilica of San Marco: The Contribution of Marc H. Miller Doge Andrea Dandolo,” in: San Marco: La Marie Tanner PhD 1979 Basilica di Venezia. Arte, Storia, Conservazione MA 1970; (2019); “Calligraphy, Epigraphy and the PhD 1976 Paduan-Venetian Culture of Letters in the Primary Advisor: Early Renaissance,” in: Padua and Venice. Colin Eisler Transcultural Exchange in the Early Modern Mailing Address: Age (2018); “Dante Speaks from the Tomb: 16 East 74th St., The Epitaph on the Monument in Ravenna,” New York, NY in Encountering the Renaissance: Celebrating 10021 Gary Radke and 50 Years of the Syracuse Email Address: University Florence Graduate Program in marietanner2@gmail. Renaissance Art (2016); “Venetian Ducal com 23 Alumni Updates CONTINUED 1970s

Publications: Sublime Truth and the Senses: Facebook: @artsandbusinesspartners; website: Notable Acquisitions of European Sculpture Titian’s Poesie for King Philip II of Spain www.artsandbusinesspartners.com and Decorative Arts at the Detroit Institute of (2019). Latest Position: President, Arts + Business Arts,” Detroit, 2016. Additional News: Sublime Truth and the Partners Additional News: Curator of “Guests of Senses: Titian’s Poesie for King Philip II of Spain Lectures: “So You Want to Honor from the Musée du Louvre: Jean- (2019) is a study of Titian’s mythological Collect Photography,” New York, Antoine Houdon’s Portraits of Americans paintings for Philip II (1554-1562), known as 2016/2017/2018/2019; “Making Work: in the Age of Enlightenment,” October 6, the Poesie. New to this study is the view that Now What; How To Get Out into the 2019-May 3, 2020, Detroit Institute of these compelling images, long appreciated Photography Market,” Palm Springs, Arts; Curator of “Guests of Honor: Michael for combining sensual beauty with classical 2016/2017/2018/2019. Rysbrack’s Portrait Busts of John Barnard content, are monuments of Renaissance Additional News: Alice Sachs Zimet was Reunited,” February 2017- September 2019, statecraft that bring together themes drawn recently appointed Chair, Photography Detroit Institute of Arts; Curator of Detroit from prior Hapsburg patronage. The book’s Collections Committee at Harvard Art presentation “The Edible Monument: The publication coincides with an upcoming series Museums, and recently appointed Chair, Art of Food for Festivals,” with the Getty of museum exhibitions in which Titian’s Acquisitions Committee at International Research Institute, Los Angeles, The Detroit Poesie will be shown together, as they were Center of Photography. Institute of Arts, December 16, 2016-April intended, as a series, for the first time in 16, 2017. more than 300 years. Beginning at London’s National Gallery (16 March to 14 June 2020, 1980s Suzanne Heim Loggie the paintings will travel to Edinburgh (6 July MA 1972, PHD 1989 to 27 September 2020), Madrid (20 October Alan Darr Primary Advisor: Donald P. Hansen 2020 to 10 January 2021) and Boston (11 MA 1975, PhD 1980 Mailing Address: February to 9 May 2021). Primary Advisors: Kathleen Weil-Garris 356 Lake Ave., Bridgeport, CT 06605 Brandt; Colin Eisler; John Pope-Hennessy; Email Address: [email protected] Eric Zafran Olga Raggio Latest Position: Research Specialist and PhD 1973 Mailing Address: European Art Department, Cataloguer, Black Rock Galleries Primary Advisor: Colin Eisler Detroit Institute of Arts, 5200 Woodward Email Address: [email protected] Ave., Detroit, MI 48202 Julia P. Herzberg Latest Position: Hilles Curator of European Email Address: [email protected] MA 1987 Art at the Wadsworth Atheneum, Hartford. Latest Position: Senior Curator of the Primary Advisors: Retired 2012. European Art Department & Walter B. Jonathan Brown and Gert Schiff Publications: Masters of French Painting, Ford II Curator of European Sculpture and Mailing Address: 1290-1920 in the Wadsworth Atheneum Decorative Arts 1150 Park Ave., New York, NY 10128 (2012); “A Labor of Love: Religious Tramp Publications: “Antonio Canova’s Bust of Email Address: [email protected] Art,” in No Idle Hands: The Myth and Giuseppe Bossi, and Reflections on Canova’s Social Media: @JPHerzberg Meaning of Tramp Art (2017); “The Appleton Legacy in European Neoclassical Sculpture Publications: “A Conversation with María Museum Collection of French 19th-Century at the Detroit Institute of Arts,” Bulletin of Elena González: A Trajectory of Sound,” Paintings,” in Romantic Legacy (2017); the Detroit Institute of Arts, with Lara Lea in María Elena González: Tree Talk (2019); Michael Mazur’s Inferno of Dante,” in A Roney (forthcoming 2020); “Reconsidering “María Martínez-Cañas: Black Totems and Perspicacious Tenure: Suzanne Boorsch at Yale Pietro Torrigiani’s Three Polychromed Imágen Escrita,” in Art_Latin_America: (2018); “Bouguereau in the Museum,” in Terracotta Portrait Busts,” in Encountering the Against the Survey (2019); “Conversation with Bouguereau & America (2019); “Bouguereau’s Renaissance: Celebrating Gary M. Radke and Francisca Sutil, New York 2013,” in Mute II First Museum Picture in America,” Fine Art 50 Years of the Syracuse University Graduate (2018); “An Overview / Um perfil,” in Josely Connoisseur (2019). Program in Renaissance Art (2016); “Recent Carvalho: Diário de Imagens / Diary of Images Lectures: “Monet’s Waterlilies,” Fort Acquisitions (2007-15) of European Sculpture (2018). Lauderdale, 2016. and Decorative Arts at the Detroit Institute Additional News: Julia P. Herzberg “Papers” of Arts,” with Megan Reddicks and Yao-Fen are in the American Archives of Art (AAA), Alice Zimet You, The Burlington Magazine (2016). Smithsonian Museum, Washington DC. The MA 1974 Lectures: “The Legacy of William Valentiner Julia Ann P. Herzberg Papers are comprised of Primary Advisor: Robert Goldwater in Shaping the Display of European Sculpture both exhibition documentation (The Decade Mailing Address: in American Museums, 1900-Present: Case Show: Frameworks of Identity in the 1980s) 7 West 81st St., #5A, New York, NY 10024 Studies,” New York, 2017; “The Role of and general research files including interviews Email Address: Sculpture in French Decorative Arts: Case from roughly 1988 to 1993. [email protected] Studies of Notable Acquisitions at the Detroit Social Media: Insta: @arts_business_partners; Institute of Arts,” Paris, 2016; “A Decade of 24 Mary Tavener Holmes an exciting roster of emerging and mid-career Katherine Schwab PhD 1986 artists including Jonathan Lyndon Chase, PhD 1988 Primary Advisor: Donald Posner Heidi Hahn, Maria Berrio, Gonzalo Lebrija, Primary Advisor: Evelyn B. Harrison Email Address: [email protected] Ori Gersht, Rosa Loy, Dennis Hollingsworth, Email Address: [email protected] Upcoming Projects: Book on the Display Tom LaDuke, Enrique Martínez Celaya and Latest Position: Professor of Art History & of Painting in 18th century Europe, with Troika. Visual Culture, Fairfield University Christoph Martin Vogtherr, Getty Research Publications: Co-author, “Fishing for Clues: Institute (anticipated 2021). Lisa Kurzner Marine Creatures in the Parthenon’s East MPhil 1984 Metopes,” Excellence: Studies in Honour of Michael Kohn Primary Advisor: Kirk Varnedoe Olga Palagia (2019); Co-author, “Self and MA 1984 Email Address: [email protected] Identity,” in A Cultural History of Hair in Primary Advisors: Colin Eisler and Richard Latest Position: Curator, Front International: Antiquity (2018). Turner Cleveland Triennial for Contemporary Art Upcoming Projects: Mailing Address: Polychromy in the Parthenon Metopes. 1227 North Highland Ave., Charlotte Nichols Additional News: Exhibitions: “The Island Los Angeles, CA 90038 MA 1978, PhD 1988 of Nisyros: A Photographic Essay,” Greek Email Address: [email protected] Primary Advisor: Consulate General in New York (2019); “An Social Media: www.kohngallery.com Kathleen Weil-Garris Archaeologist’s Eye: The Parthenon Drawings Latest Position: President, Kohn Gallery, Los Brandt of Katherine A. Schwab,” The Parthenon, Angeles Email Address: Nashville (2018)/ Forsyth Galleries, Texas Additional News: Since its establishment in charlotte.nichols@shu. A&M University (2017)/Phillips Museum, 1985 by Michael Kohn, Kohn Gallery has edu Franklin & Marshall College (2016). presented historically significant exhibitions in Latest Position: Los Angeles alongside exciting contemporary Associate Professor of Harriet Senie exhibitions, creating meaningful contexts Art History, Seton Hall PhD 1981 to establish links to the greater art historical University Primary Advisor: Kathleen Weil-Garris continuum. Significant exhibitions include Publications: Co-author, with James Brandt “Andy Warhol’s Campbell’s Soup Boxes” McGregor, Renaissance Naples: A Documentary Email Address: [email protected] in December 1986, which opened just History of Art 1400-1600 (2019); Social Media: http://www.harrietfsenie.com/ weeks before the artist’s untimely death; “Ecclesiastical Architecture and the Religious Latest Position: Director of the M.A. “She: Works by Richard Prince and Wallace Orders,” in Artistic Centers of the Renaissance; program in Art History and Art Museum Berman,” which brought together—for Naples (2017). Studies, City College of New York the first time—two generations of leading Lectures: “What’s in a Line? Painted Seams in Publications: Ed., Museums and Public Art? artists from different coasts; “Bruce Conner: Renaissance Venice,” New York, 2017. (2018); Memorials to Shattered Myths (2016); Work from the 1970s,” which inspired the ed., A Companion to Public Art (2016). artist’s first solo retrospective in Europe at Catherine Puglisi Lectures: “Where is She? Public Art and the the Kunsthalle Wien and Kunsthalle Zurich PhD 1983 Absence of Women,” New York, 2019; “A (2010); “Giorgio Morandi + Robert Ryman: Primary Advisor: Donald Posner Collective Ribbon: Weaving Stories of the Object/Space,” not to be missed exhibition Mailing Address: Triangle Fire: A Participatory Community focused on each artist’s dedication of art 1 Greene St., #714, Jersey City, NJ 07302 Event,” New York, 2019; “Double practices to the investigation of object and Email Address: [email protected] Disappearance: A Symposium About the environment; and “LAND AIR SEE” in Latest Position: Professor of Art History, Undocumented Memorial of 9/11,” New 2015 which brought together artists Carl Rutgers University York, 2019; “Memorial Visions: Fifteen Andre, Larry Bell, Pier Paolo Calzolari, Joe Publications: Art and Faith in the Venetian Years After the 9-11 Competition,” New Goode, John McLaughlin, Ettore Spalletti World. Venerating Christ as the Man of York, 2018; “Public Memory and Public and Frank Stella. Exhibitions of important Sorrows, with William Barcham (2019); “Il Monuments: Where Do We Stand in 2018?” New York-based artists have included new Forestiero Innovatore: Schiavone davanti al New York, 2018; “Monuments as History, works by Christopher Wool, Richard Tuttle, Cristo Passo,” in Andrea Schiavone. Pittura, Art, Power,” New York, 2018; “Teachable Mark Tansey, Kenny Scharf, and Keith incisione, disegno nella Venezia del Cinquecento Monuments: Using Public Art to Spark Haring. Kohn Gallery represents important (2018). Dialogue and Address Controversies,” New West Coast artists with long careers and rich Lectures: “Les changements de style radicaux York, 2018. histories such as Larry Bell, Tony Berlant, Joe dans la peinture baroque,” Paris, 2019. Recent Honors and Awards: Rifkind Faculty Goode and Lita Albuquerque, as well as the Upcoming Projects: Book project: Stylistic Fellowship, 2018. Estates of Bruce Conner, Wallace Berman, Transformation in Baroque Painting. Additional News: Selection Committee: and John Altoon. Finally, Kohn Gallery boasts Intervention Tlatelolco, 68-18: 25 Alumni Updates CONTINUED 1980s

Disappearance, State Crime, Collective “The Missing Are Presumed Dead,” in Olivier Masters of Genre Painting,” Dublin, 2017. Reparations, Mexico, March 2019; Masmonteil (2018); “An Architecture of Light,” Recent Honors and Awards: Board of Monumental Women: Women’s Suffrage in Michael Taylor: Traversing Parallels (2018); Advisors, Center for the Advanced Study Memorial, Central Park, March 2018; She “Gravity’s Pull: A Conversation with Mathilde in the Visual Arts (CASVA), 2018-2019; Built NYC, 2018; The Mayoral Advisory Roussel,” Sculpture (2017); “The Dance of Institute of Fine Arts Distinguished Alumna Commission on City Art, Monuments, and Beauty and Failure: A Conversation with and Commencement Speaker, 2018; Made Markers, January 2018. Michelle Segre,” Sculpture (2017); “Making Knight in the Order of Orange-Nassau from Faces,” in Face to Face (2017); “The Ones King Willem-Alexander of The Netherlands, James Steward Who Are Left Behind: A Short History of 2017. MA 1988 Lamentation in Western Art,” in Heide Hatry, Additional News: As of May 1, 2019, I Primary Advisor: Robert Rosenblum Icons in Ash (2016); “An Empire of Signs,” in will be the Allen R Adler, Class of 1967, Mailing Address: Princeton University Pintomeira: pintura, fotografia (2016); “Esther Distinguished Curator and Lecturer at the Art Museum, McCormick Hall, Princeton Naor: The Raft of Memory,” in Esther Naor: Princeton University Art Museum. University, Princeton, NJ 08544 Aftermath (2016); “Robert Gober: Ordinary Email Address: [email protected] Ambiguity,” Sculpture (2016); “Alberto Burri: Jane Becker Latest Position: Nancy A. Nasher – David The Trauma of Painting,” caa.reviews (2017); MA 1992, PhD 1998 J. Haemisegger, Class of 1976, Director, “Picasso, Sculpture,” caa.reviews (2016); Primary Advisor: Linda Nochlin Princeton University Art Museum “Cubism, The Leonard A. Lauder Collection,” Email Address: [email protected] Additional News: I just celebrated my 10th caa.reviews (2016). Social Media: @jrlbecker anniversary as director of the Princeton Lectures: “The Artistic Patronage of Isabella Latest Position: Collections Management University Art Museum. I am working with d’Este,” Rochester, 2019; “Paintings About Associate, Department of European Paintings, architect David Adjaye on the design of a new Power,” Gettysburg, 2018; “The Introduction The Metropolitan Museum of Art museum building for Princeton to be built of Modern Design into 20th and 21st Publications: “Marie Bracquemond, on the present location and double the size Century European and American Art,” Impressionist Innovator: Escaping the Fury,” of the Museum, and working to complete Ferrara, 2017; “Alberto Burri: Reinventing in Women Artists in Paris, 1850–1900 (2017); fundraising for this project. Painting,” Rochester, 2017; “Paintings within 12 entries on modern sculpture in Unfinished: Italian Baroque Paintings,” Rochester, 2016; Thoughts Left Visible (2016). “Cubism: Making History,” Rochester, Lectures: “Camille Claudel, Auguste Rodin, 1990s 2016; “Jeff Koons, Sculpture: 1979-1992,” and Influence Undone,” Darien and New Brighton, 2016. York, 2018; “Rivalry and Resolve: Marie Michaël Amy Recent Honors and Awards: Contributing Bashkirtseff and Louise Breslau in Late MA 1989, PhD 1997 Editor of Sculpture since August 2017. Nineteenth-Century Paris,” New York, 2018; Primary Advisor: Kathleen Weil-Garris Upcoming Projects: Essays on Sarah Lucas, “Rodin, Steichen, and the Pursuit of Creative Brandt Johan Tahon, and Bruce Nauman; interview Genius,” New York, 2017. Mailing Address: College of Art and Design, with Li Hongwei. Upcoming Projects: Lecture, “The Rochester Institute of Technology, 73 Lomb Bouguereaus and the Académie Julian,” Memorial Dr., Rochester, NY 14623 Ronni Baer Memphis, July 2019. Email Address: michael_Amy35@hotmail. PhD 1990 com Primary Advisors: Egbert Haverkamp- Caroline Goldberg Igra Social Media: https://rit.academia.edu/ Begemann and Jonathan Brown PhD 1995 MAmy Mailing Address: Princeton University Art Primary Advisor: Robert Rosenblum Latest Position: Professor of Art History Museum, Princeton, NJ 08544 Mailing Address: Publications: “Cathy Wilkes: Ugly Email Address: [email protected] 3 Almog St., Box 5401, Caesarea 30889, Israel Archetypes,” Sculpture (2019); “Li Hongwei: Latest Position: Senior Curator of European Email Address: [email protected] Tradition and Change,” in Beyond Reflection: Painting, Museum of Fine Arts, Boston Social Media: twitter@cvwgigra; insta@ The Art of Li Hongwei (2018); “Critical Publications: “In Search of Major Masters: cvwgigra; intagram@count_to_a_thousand Thinking in Art,” in Critical Thinking to Boston’s History of Collecting Flemish Latest Position: Guest Curator Making (2018); “Context Adds Meaning,” in Baroque Painting,” in America and the Art Publications: “Framing the Shtetl: The Johan Tahon: Wir überleben das Licht (2018); of Flanders (2019); “A Painter’s Painter: El Manifestation of a Cubist Style in the “Interiors,” in Nostalgia: A Guide to Collective Greco and Boston,” in El Greco Comes to work of early Modern Eastern European Melancholie (2018); “Horror and Hope,” in America: The Discovery of a Modern Old Master Jewish artists,” in Cubism, its idioms and Lee Bul (2018); “Forms of Proliferation: A (2017); “Herring Seller and Boy,” in The revisions “out of the center” (2019); Count to a Conversation with Sofi Żezmer,” Sculpture Leiden Collection Catalogue (2017). Thousand (2018); “The Restoration of Loss: (2018); “Double-Takes: A Conversation Lectures: “The Dutch Gift, 2017 Edition,” J.D. Kirszenbaum’s exploration of personal with Alisa Baremboym,” Sculpture (2018); Richmond, 2017; “Gerrit Dou and the displacement,” in Ars Judaica (2014). 26 Laura Hoptman Email Address: [email protected] War,” in Told and Untold: The Photo Stories of PhD 1991 Social Media: ManshipArtists.org; https:// Kati Horna in the Illustrated Press (2016). Primary Advisors: Robert Lubar and Gert www.facebook.com/ManshipArtists/ Lectures: “Lincoln Kirstein and Latin Schiff Latest Position: Founder and Board American Art,” New York, 2019; “Staging Email Address: [email protected] President, Manship Artists Residency + the Reconquest: The 1940 Exposicion de la Latest Position: Studios Hispanidad,” New York, 2018; Lecture and Executive Director, The Drawing Center Recent Honors and Awards: conversation, “Generaciones: Genealogías del Publications: Joe Bradley: Abstraction’s 2019 Finalist, The Commonwealth Award, arte y del poder,” Santiago de Compostela, Moustache (2019); Piero Manzoni: Achromes Massachusetts Cultural Council. 2018; Artist talk, “Parlem de…Francesc (2018). Upcoming Projects: Piloting the first two Torres La campana hermètica. Espai per una Lectures: “Isa Genzken,” Dallas, 2018; years of programming at the Manship Artists antropologia intransferible,” Barcelona, 2018; “Contemporary Drawing,” Toronto, 2019; Residency + Studios (MARS) “Spanish Dynasties: Portraits, Copies, and “Contemporary Drawing,” Paris, 2019. Additional News: Over the past seven Controversy,” New York, 2018; “Evolving Upcoming Projects: “The Pencil is a Key: years, my efforts to galvanize a grassroots, Taxonomies at The Museum of Modern Art Drawings by Incarcerated Artists,” an community effort to preserve an historic, in the 1930s and ‘40s and the Definitions exhibition opening at The Drawing Center in cultural and environmentally significant 15- of the ‘Latin American Collection,’” Buenos October 2019. acre, quarried site on Boston’s North Shore Aires, 2018; “Elaine Johnson en el Museum have been recognized by staff at the National of Modern Art: Recuperando una comisaria Erik Inglis Trust of Historic Preservation as a model for y conservadora en los archivos (Elaine L. MA 1991, PhD 1998 how to activate and protect an historic place in Johnson at The Museum of Modern Art: Primary Advisor: Jonathan J.G. Alexander a creative and sustainable way. Located at the Recuperating a Curator in the Archives),” Mailing Address: Art Department, Oberlin former estate of Paul Manship, sculptor of the Madrid, 2018; “Evolving Taxonomies at College, 91 North Main St., Oberlin, OH Prometheus Fountain at Rockefeller Center, The Museum of Modern Art in the 1930s 44074 MARS connects Cape Ann’s cultural heritage and 40s and the Definitions of the ‘Latin Email Address: [email protected] with visiting artists, scholars, innovators, and American Collection,’” Barcelona, 2016; Latest Position: writers at its artists residency, providing an Panelist, “Art and Propaganda,” New York, Professor of Art History, Oberlin College inspiring space dedicated to self-discovery and 2016; “Royal Portraits in Spain Today: Publications: “Media lost and found: the creative exploration. Tradition, Transgression, and Scandal,” medieval understanding of the history of New York, 2016; “Archives and the History artistic techniques/ Técnicas perdidas y of Exhibitions and Collections: The 1937 halladas: La concepción medieval de la historia 2000s Exhibition of Government Posters at The de las ténicas artísticas,” Quintana Revista do Museum of Modern Art,” Rome, 2016. Departamento de Historia de Art Universidade Miriam Margarita Basilio Gaztambide Upcoming Projects: Latin American Art de Santiago de Compostela (2017); “Expertise, PhD 2002 at The Museum of Modern Art: The Power Artifacts, and Time in the 1534 Inventory of Primary Advisors: of the Canon; Retratos Hablados/Spoken the Saint-Denis Treasury,” The Art Bulletin Robert Lubar and Edward J. Sullivan Portraits. (2016). Email Address: [email protected] Lectures: “Saints, Founders and Ancestors: Latest Position: Associate Professor of Art Rosina Buckland The Later Medieval Reception of Early History and Museum Studies, New York PhD 2008 Medieval Books,” Houston, 2017. University Primary Advisor: Melanie Trede Recent Honors and Awards: Publications: “Recuperando a Elaine L. Email Address: rosina.buckland@googlemail. NEH Fellowship 2018. Johnson, comisaria entre campos enfrentados com Upcoming Projects: I am researching the en The Museum of Modern Art durante Latest Position: Bishop White Committee medieval art historical imagination. la Guerra Fría,” in Atlántico frío: historias Curator of Japanese Art and Culture, Royal transnacionales del arte y la política en los Ontario Museum, Toronto Rebecca Reynolds tiempos del telón de acero (2019); “Evolving Publications: Two handscrolls by Furuyama MA 1992 Taxonomies at The Museum of Modern Art Moromasa, Kokka 1466 (in Japanese) (2017). in the 1930s and ‘40s and the Definitions Additional News: Taking up a new position of the ‘Latin American Collection,’” in at the Royal Ontario Museum. The Americas Revealed: Collecting Colonial and Latin American Art in the United States (2018); Visual Propaganda, Exhibitions, and the Spanish Civil War (2017); “First Win the War!” Kati Horna, Gendered Images, and Political Discord During the Spanish Civil 27 Alumni Updates CONTINUED 2000s

Andria Derstine Latest Position: Assistant Professor of Art between the Wars (2018); Art Museums of Latin MA 1996, PhD 2004 History, St. Joseph’s University America: Structuring Representation (2018); Primary Advisor: Donald Posner Publications: “Gender and Sexuality,” in “An International Proving Ground: Latin Mailing Address: Allen Memorial Art A Cultural History of Hair in the Middle American Artists at the Paris Salons,” Mundo Museum, 87 North Main St., Oberlin, OH Ages (2019); “Integrated Pasts: Glencairn Nuevo Nuevos Mundos (2017); “Andean 44074 Museum and Hammond Castle,” Gesta Abstraction as Displayed at the OAS,” in New Email Address: [email protected] (2018); “Feminist Art History and Medieval Geographies of Abstract Art in Postwar Latin Latest Position: John G. W. Cowles Director, Iconography,” in Routledge Companion to America (2018). Allen Memorial Art Museum Medieval Iconography (2017); “The Dinner Lectures: “Where Do We Go from Here?” Publications: “Academic Art Museum and Party: Invitations Long Overdue,” Material Washington, 2019; “Constructing Categories: Library Collaborations: Current Practices Collective (2017); “Gender and Art in the ‘Latin American Art’ as Curatorial Strategy” and Future Directions,” 2018 Academic Middle Ages,” in Oxford Bibliographies in Art and “Art History Across the Americas: Key Art Museums and Libraries Summit (2019); History (2016); “‘If Everyone is Special, Then Terms, Debates, and Places of Knowledge,” “Foreword,” Ukiyo-e Prints from the Mary No One Is’: Medieval Manuscripts for the Williamstown, 2019; “The Afterlife of Ainsworth Collection (2019); “Foreword,” Masses,” Material Collective (2016). Indigenism in the Andes” and “Why the Eva Hesse Oberlin Drawings (2019); “A Lectures: “Gender and Sexuality: Hair in the Indigenous Today?,” New York, 2019; “Latin Collection Built on a Solid Foundation: The Middle Ages,” Kalamazoo, 2019; “Hairiness, American Art in Circulation: A Discussion Bissett Collection at the Allen Memorial Art Hairlessness, and Gender in Medieval Art,” with Lori Cole, Michele Greet, and Harper Museum,” Oberlin (2017); “Secret Sanctuary: Princeton, 2019; “Collecting Pieces of Montgomery Moderated by Michelle The Allen Memorial Art Museum as Art the Past: The Acquisition and Display of Clayton,” New York, 2018; “Transatlantic Refuge during World War II,” with Stephanie Architectural Fragments at The Cloisters,” Encounters: Latin American Artists in Paris Wiles, in Lines of Inquiry: Learning from New York, 2019; “‘The Most Extraordinary between the Wars,” Mexico City, 2018; Rembrandt’s Etchings (2017). Art Museum in the World’: Inventing “The Afterlife of Indigenism in the Andes” Lectures: Panelist, “The GLAMorous Life: Medievalism at the Hammond Castle and “Coloquio Internacional: Idiosincrasia Maximizing the Potentialities and the Museum in Gloucester, Massachusetts,” del Indigenismo en América Latina. Potency of Gallery-Library-Archive-Museum New York, 2017. “A Medieval Castle in Pluralidad de fuentes y apropiaciones extra- Collaborations across our Campuses,” Coral Massachusetts: Hammond Castle and the latinoamericanas,” Mexico City, 2018; “‘Walls Gables, 2018; “Maidenform to Modernism: Reuse of the Past,” Providence, 2017; “Artists Like Damp Sheets’: Roberto Matta’s Project The Bissett Collection,” Oberlin, 2017; Co- and Autonomy: Written Instructions and for an Apartment,” Lewisburg, 2018; “Vicente organizer and panelist, “Teach Visual: Sharing Preliminary Drawings for the Illuminator in do Rego Monteiro’s Quelques Visages de Object-Based Teaching Tools,” Eugene, 2017. the Huntington Library Legenda aurea (HM Paris: A Cultural Parody” and “Border Recent Honors and Awards: Received 3027),” Kalamazoo, 2017; “A Crowning Crossings: A Symposium Celebrating the Samuel H. Kress Foundation and Association Glory: The Cultural Meanings of Hair in Career of Professor Allen Wells,” Brunswick, of Art Museum Directors Affiliated Fellowship the Middle Ages,” South Orange, 2017; 2018; “Presenting Rivera’s SEP Murals in at the American Academy in Rome, 2018. “‘If Everyone Is Special, Then No One Is:’ the French Press” and “Nuevas miradas a Additional News: Co-organized Academic Manuscripts for the Masses,” New York, los murales de la Secretaría de Educación Art Museum and Library Summit, Oberlin, 2017. Pública,” Mexico City, 2018; “Intercultural 2018; Co-organized, with Erik Inglis, Recent Honors and Awards: Researcher of Exchange in Pan-American and Atlantic Centennial Symposium, Allen Memorial the Year, College of Communication and the Worlds” and “Atlantic World Forum: Digital Art Museum, Oberlin, 2017; Curated the Arts, Seton Hall University, 2016. Scholarly Dialogues About Atlantic World exhibition “Maidenform to Modernism: Cultural Histories,” Middlebury, 2018; The Bissett Collection,” Allen Memorial Art Michele Greet “Artistas Latinoamericanos en París” and Museum, Oberlin, 2017-18; co-organized, PhD 2004 “Encuentro de Historia del Arte: Diálogos with artist Fred Wilson and Denise Birkhofer, Primary Advisor: Edward J. Sullivan en torno al arte modern ecuatoriano,” the exhibition Wildfire Test Pit, Oberlin, Mailing Address: Quito, 2017; “Conversation with Jennifer 2016-17; organized the installation “Piet 3825 Jancie Rd., Fairfax, VA 22030 Stager: ‘Modernism and Classicism, Picasso Mondrian: Realism and Abstraction, Email Address: [email protected] and Rivera’,” Los Angeles, 2017; “Latin Oberlin,” 2016-17. Latest Position: Professor of Art History, American Artists at the Académie Lhote” George Mason University and “Correlating Cultural and Ideological Martha Easton Publications: “Para Francês Ver: Tarsila do Positions: André Lhote, Paris, and His PhD 2001 Amaral’s Brazilian Landscapes,” in Tarsila Former International Students,” Turkey, Primary Advisor: Jonathan J.G. Alexander do Amaral (2019); “Looking South: Lincoln 2017; “Vicente do Rego Monteiro’s Quelques Mailing Address: Kirstein and Latin American Art,” in Lincoln visages de Paris: A Cultural Parody” 31 Pardoe Rd., Princeton, NJ 08540 Kirstein’s Modern (2019); Transatlantic and “Beyond Anthropophagy: Cultural Email Address: [email protected] Encounters: Latin American Artists in Paris Modernities between Brazil and France,” 28 Evanston, 2017; “Structuring Representation: of the best art books of 2017, and received Cobra,” Copenhagen, 2019; “Reframing Art Museums of Latin America” and “The multiple awards, including Association of Art African Representation in Variétés,” Ghent, Birth of the Museum in Latin America,” Los Museum Curators 2018 Award for Excellence; 2018; “Nordic Surrealism, From Linien Angeles, 2017. Margaret Arvey Book Award, Honorable to Cobra: New Perspectives on Cultural Recent Honors and Awards: Best Book Mention, 2018; Eleanor Tufts Book Award, Liberation,” Oslo, 2018; “Do-ho Suh and in Latin American Visual Culture Studies, Honorable Mention, 2018; Global Fine Art the Spectral Body,” Northampton, 2018; Honorable Mention, for Transatlantic Award – Honorable Mention, 2018. “Cobra Itineraries: Comparative Perspectives Encounters, 2019; Choice “Outstanding Upcoming Projects: Various exhibitions in on Ferlov, Mancoba, and Tajiri,” Humlebæk, Academic Title” award for Transatlantic planning stages on viceregal and modern and 2017; “The Legacy of Cobra,” Amherst, 2016. Encounters, 2018. contemporary art, including one on LACMA’s Recent Honors and Awards: Fulbright Upcoming Projects: Research project: permanent collection of viceregal art, the Scholar Grant to Ghent, 2018. Abstraction in the Andes, 1950-1970. 1960s in Latin America, Julio Le Parc, and Upcoming Projects: The Cobra Movement in Francis Alÿs. Postwar Europe: Reanimating Art (Routledge, Ilona Katzew Additional News: Co-taught early modern forthcoming 2020). PhD 2000 seminar at UCLA on 18th-century Mexican Primary Advisors: painting (2018); organized two international Elizabeth Pergam Robert Lubar and Edward J. Sullivan symposiums: “Painted in Mexico, 1700-1790: PhD 2001 Mailing Address: Pinxit Mexico: Bilingual Scholar’s Day,” Primary Advisors: Colin Eisler, Linda 5905 Wilshire Blvd., Los Angeles, CA 90036 LACMA, 2018; “Tornaviaje España/Nueva Nochlin, and Robert Rosenblum Email Address: [email protected] España,” co-organized by the Universidad Mailing Address: Latest Position: Department Head and Pablo de Olavide, Seville, and LACMA, 2019. 105 East 63rd St., #5A, New York, NY 10065 Curator of Latin America Art, Los Angeles Email Address: [email protected] County Museum of Art Emy Kim Latest Position: Faculty, Sotheby’s Institute Publications: “Emilia Azcárate’s Theory of Advanced Certificate in Conservation 2008 of Art Race and Color: A Conversation,” in Emilia Email Address: [email protected] Publications: “An Ephemeral Display within Azcárate: The Genealogy of Color(2019); ed., Latest Position: an Ephemeral Museum: The East India Painted in Mexico, 1700–1790: Pinxit Mexici Objects Conservator in private practice Company Contribution to the Manchester Art (2017); “The Radiating Image: The Mobility Additional News: I just accepted a position Treasures Exhibition of 1857” for Dominique of Painting in Eighteenth-Century Mexico,” as the new tenure-track Assistant Professor of Bauer ed., Ephemeral Exhibition Spaces in Painted in Mexico, 1700–1790: Pinxit Artifacts Conservation at Queen’s University (forthcoming); “Sir John Charles Robinson in Mexico (2017); “White or Black? Albinismo in Kingston, Ontario, in their Master of Art 1868: A Victorian Curator’s Collection on the and Spotted Blacks in the Eighteenth-Century Conservation Program. Block,” Journal of Art Historiography (2018). Atlantic World,” in Envisioning Others: Race, Lectures: “Decline and Fall: The Fate of the Color, and the Visual in Iberia and Latin Karen Kurczynski Orléans Pictures in Britain,” New Orleans, America (2016). PhD 2005 2019; “Paris over London: Victorian Curator Lectures: “The Invention of Casta Primary Advisor: J. C. Robinson’s Collection at Auction,” Painting: Race and Science in the Age of Robert Lubar London, 2018; “An Ephemeral Display Enlightenment,” New Haven, 2019; “Painted Email Address: within an Ephemeral Museum: the East India in Mexico, 1700-1790: Pinxit Mexico,” New kurczynski@arthist. Company Contribution to the Manchester York, 2018; Conference, “Trastoques y elipsis umass.edu Art Treasures Exhibition of 1857,” Geneva, en los lienzos de tornaviaje: la ductilidad de Social Media: 2018; “Expanding the Definition of British los mensajes” and “Tornaviaje España/Nueva https://www.umass. Art: American Importation of British Taste,” España,” Seville, 2019; “Shaping a New Art edu/arthistory/ New York, 2017. History: LACMA’s Collection of Spanish member/karen- Upcoming Projects: “America and the Re- Colonial Art,” Austin, 2018; “The Legacy kurczynski centering of the International Art Market: of History and the State of the Field,” Los Latest Position: Associate Professor, History From Dealers to Collectors to Museums, Angeles, 2018; Chair, “The Evolving Canon: of Art and Architecture, University of 1880-1930,” Getty Research Institute. Collecting and Displaying Spanish Colonial Massachusetts, Amherst Additional News: Steering Committee of Art,” New York, 2017. Publications: “Human Animals: The Art of the Americas Chapter of the Society for Recent Honors and Awards: Project Cobra,” in Golda and Meyer Marks Cobra the History of Collecting, which has just director, editor, and co-curator of “Painted Collection: NSU Art Museum Fort Lauderdale received Affiliated Society status at College Art in Mexico, 1700-1790: Pinxit Mexico” (2017); “The ‘International Spirit’ of Cobra,” Association. (LACMA, Fomento Cultural Banamex, in The Avant-Garde Won’t Give Up: Cobra and and Metropolitan Museum). The catalogue Its Legacy (2017). was selected by the New York Times as one Lectures: “Else Alfelt, Within and Beyond 29 Alumni Updates CONTINUED 2000s

Kyunghee Pyun History & Fine Arts, American University of EAST ASIAN POPULAR CULTURE 2010s MA 1999, PhD 2004 Paris Primary Advisor: Publications: Imagining the Miraculous: Indira Abiskaroon Jonathan J. G. Miraculous Images of the Virgin Mary in French MA 2018 Alexander Illuminated Manuscripts, ca. 1250-ca. 1450 Primary Advisor: Clemente Marconi Email Address: (2019). Email Address: [email protected] [email protected] )DVKLRQ,GHQWLW\DQG Social Media: Mailing Address: Jovana Stokic 3RZHULQ0RGHUQ$VLD https://www.instagram.com/i_abiskaroon/ 249 East 48th St., PhD 2009 Latest Position: Curatorial Assistant, EDITED BY KYUNGHEE PYUN #8B, New York, NY & AIDA YUEN WONG Primary Advisor: Linda Nochlin Collections at the Solomon R. Guggenheim 10017 Email Address: [email protected] Foundation Social Media: http:// Latest Position: Adjunct Faculty, New York www.fitnyc.edu/art-history/faculty/kyunghee- University Steinhardt Department of Art and Abigail Abric pyun.php Art Professions; Faculty, MFA Art Practice, MA 2018 Latest Position: Associate Professor, Fashion School of Visual Arts Primary Advisor: Kent Minturn Institute of Technology, New York Upcoming Projects: The Bloomsbury Mailing Address: Publications: Fashion, Identity, and Power in Handbook to Performance Art (Bloomsbury 29 Cornelia St., #12, New York, NY 10014 Modern Asia (2018). Companions), forthcoming 2020. Email Address: [email protected] Lectures: “Addressing Identity Politics in Latest Position: Modern Asia: Hybrid Fashion and Cultural Cristin Tierney Sales Assistant to a Senior Partner, David Cross-dressing,” San Francisco, 2018. MA 2001 Zwirner Upcoming Projects: Korean Dress History: Primary Advisors: Critical Perspectives on the Primary Sources Robert Lubar and Linda Nochlin Willam Ambler (2021); “Asian Physiques of Mannequins in Mailing Address: Cristin Tierney Gallery, PhD 2014 American Art Museums, “in Nearly Human: 219 Bowery, Second Floor, New York, NY Primary Advisor: Jonathan Brown Mannequins and Museums (2020); Interpreting 10002 Mailing Address: Modernism in Korean Art: Fluidity and Email Address: [email protected] 131 East 93rd St., #9-D, New York, NY Fragmentation (2022). Social Media: www.cristintierney.com; 10128 Additional News: I received a SUNY facebook.com/cristintierneygallery; @ Email Address: [email protected] Chancellor’s Award for Excellence in cristintierneygallery; @cristintierney; @ Social Media: https://www.linkedin.com/in/ Scholarship and Creative Activities. This is cristin_tierney william-ambler-b98457b6/ a lifetime achievement award. I also have a Latest Position: Gallery Owner Latest Position: Museum Educator, Morgan three-year NEH project, “Teaching Business Publications: Recent gallery publications Library & Museum and Labor History to Art and Design include Malia Jensen: Out West (Back Publications: “Portraits of Philip III,” in Students.” This is a project stemming from East) (2018); Hard Edges: Lorser Feitelson, Spanish Royal Patronage 1412-1804: Portraits Professor Jonathan Alexander’s commitment Elise Ferguson, Alois Kronschlaeger (2018); as Propaganda, (2017). to working-class artists and designers. He MARMCO (2018). Lectures: “Arts and Etiquetas: Titles, taught at University of Manchester for many Upcoming Projects: Solo exhibitions Functions, and the Position of Portraitists at years. I think my journey at FIT is reminiscent featuring Janet Biggs, MK Guth and T. Kelly the Court of Philip III,” Cambridge, 2019. of his in Manchester. Mason. Additional News: The Gallery has moved Antonia Bartoli Anna Russakoff to 219 Bowery, Second Floor, north of MA 2015 MA 1999, PhD 2006 Rivington St. Primary Advisor: Jonathan Hay Primary Advisor: Email Address: [email protected] Jonathan J. G. Mark Trowbridge Latest Position: Spoliation Curator, The Alexander MA 1988, PHD 2000 British Library, London Email Address: Primary Advisor: Colin Eisler Publications: “Flagging a Red Flag: annadrussakoff@gmail. Email Address: [email protected] Contextualizing the Activities of Dr. com Latest Position: Professor and Department Alessandro (Sandro) Morandotti (1939-1945) Social Media: Chair, Marymount University in light of the Art Looting Investigation Unit https://aup.academia. Upcoming Projects: Art and Theater in Report (1946-1947),” Studi di Memofonte edu/AnnaRussakoff Bruges. (forthcoming 2019). Latest Position: Associate Professor and Lectures: “The Jean Furstenberg Collection: A Department Chair, Department of Art Case Study in the Nazi Looting of Libraries,”

30 Poznan, 2019 (forthcoming); “Findings Elizabeth Eisenberg for the best new article on a drawings topic by from the Bindings: Lessons in Spoliation MA 2010 a young scholar under 40. Research from the Henry Davis Collection,” Primary Advisor: Alexander Nagel London, 2019; “Le Défi des Bibliothèques Mailing Address: Blair Fowlkes Childs Spoliées,” Paris, 2019; “Spoliation Research 250 West 89th St., #4K, New York, NY MA 2001, PhD 2012 at the British Library: Nazi Looted Libraries 10024 Primary Advisor: and Restitution in the 21st Century,” Zadar Email Address: [email protected] Clemente Marconi and Aberdeen, 2019; “Nazi Looted Libraries: Latest Position: Research Associate, The Email Address: an International Perspective on Provenance Metropolitan Museum of Art, “Jerusalem blair.fowlkes.childs@ Research and Restitution in the 21st 1000-1400: Every People Under Heaven” gmail.com Century,” Prague, 2018. (2014-2017) Latest Position: Publications: “A Verrocchio Sculpture as Research Associate, Elizabeth Buhe a Source for Leonardo and Raphael: the The Metropolitan Museum of Art PhD 2018 Evidence of Drawings,” Master Drawings Additional News: I co-curated “The World Primary Advisor: Thomas Crow (2019); “Cosmic Creatures: Animals in between Empires: Art and Identity in the Email Address: [email protected] Hebew Illuminated Manuscripts,” in The Book Ancient Middle East” at The Metropolitan Social Media: Insta:elizabethbuhe of Beasts: The Bestiary in the Medieval World Museum of Art with Michael Seymour, and Recent Honors and Awards: Smithsonian (2019); “Getting from Here to There: the Call we co-authored the exhibition catalogue. Postdoctoral Fellowship 2019-2020. to Travel in Medieval Hebrew Manuscripts,” in Toward a Global Middle Ages: Encountering Marc Hajjar Marina Daiman the World through Illuminated Manuscripts MA 2014 PhD 2016 (2019); 24 catalogue entries in Jerusalem Primary Advisor: Jonathan Brown Primary Advisor: Mariët Westermann 1000-1400: Every People Under Heaven Email Address: [email protected] Email Address: [email protected] (2016). Latest Position: Business Manager, Phillips Latest Position: Centrum Rubenianum Lectures: “A Verrocchio Sculpture as a Source Auctioneers Fellow, 2019-2020 for Leonardo and Raphael: the Evidence of Lectures: “Rubens, Vegetarianism, and the Drawings,” “Master Drawings Third Annual Jessica Hong Golden Age,” Toronto, 2019, “Boundless Symposium,” New York, 2019; “Artist and MA 2014 Invention and Confines of Support in the Advisor: Hebrew Inscriptions in Sixteenth Email Address: Jessica.s.hong@dartmouth. Work of Rubens,” Los Angeles, 2018. Century Italian Painting,” New Orleans, edu Upcoming Projects: Essay on Rubens and 2018. Social Media: Inst: Jessica.s.hong Italian art theory for a volume of conference Recent Honors and Awards: Winner of Latest Position: Associate Curator of Global proceedings. Master Drawings’ first annual Ricciardi Prize Contemporary Art, Hood Museum of Art

Alumni Opportunity Do you enjoy reading this newsletter? Would you like to make an important contribution to the Alumni Association? Then consider becoming the new editor of the Institute’s Alumni Newsletter. The newsletter is published once a year in the fall. The editor collects news updates from alumni and faculty, and commissions and edits the articles, obituaries, photo spreads and other materials included each year. The Development Office is an endless source of help and the Alumni Association provides some student assistance. You will be compensated with many appreciative new friends and immeasurable gratitude. If interested, contact Martha Dunkelman at [email protected] with a copy to Sarah Higby at [email protected].

31 Alumni Updates CONTINUED 2010s

Qing Huang Abstract Painting and the Minimalist Critiques: Susanna Temkin MA 2017 Robert Mangold, David Novros, and Jo Baer MA 2010, PhD 2016 Primary Advisor: Jonathan Hay in the 1960s, was published by Routledge in Primary Advisor: Edward J. Sullivan Email Address: [email protected] May. Mailing Address: Social Media: Insta: sooocte 415 East 80th St., #2E, New York, NY 10085 Latest Position: Gallery Manager Louisa Raitt Email Address: [email protected] MA 2018 Social Media: Svtemkin Matthew Levy ABSTRACT PAINTING AND THE MINIMALIST CRITIQUES Primary Advisor: Edward J. Sullivan Latest Position: Curator, El Museo del PhD 2013 Email Address: [email protected] Barrio, New York (as of July 2018) Primary Advisor: Recent Honors and Awards: Recipient of Robert Storr MA thesis distinction, 2018; Student speaker, Evan D. Williams Mailing Address: ROUTLEDGE ADVANCES IN ART AND VISUAL STUDIES Fellowship Donor Luncheon, 2019. MA 2012 ABSTRACT PAINTING

Penn State Behrend, MATTHEW L. LEVY AND THE MINIMALIST Upcoming Projects: Website Content Editor Mailing Address: Box 856, Ithaca, NY 14851 CRITIQUES ROBERT MANGOLD, DAVID NOVROS, 4951 College Dr., AND JO BAER IN THE 1960s and Contributing Author for Dr. Alexander Email Address: [email protected]

MATTHEW L. LEVY Erie, PA16563 ISBN: 978-1-138-31458-0 Nagel’s Amerasia portal (forthcoming digital Latest Position: Principal, Evan D. Williams www.routledge.com Email Address:Routledge titles are available as eBook editions in a range of digital formats 9 781138 314580 publication in summer 2019). Fine Art Appraiser & Consultant, LLC [email protected] Lectures: “Brought Into The Light: The Latest Position: Associate Professor of Art Blanca Serrano Ortiz de Solórzano Museum and the Photograph 1850-1900,” History, Penn State Behrend PhD 2017 Rochester NY, 2018; “The Sea Vast and Publications: Abstract Painting and the Primary Advisor: Edward J. Sullivan Empty: Erasing Van Anthonissen’s Whale,” Minimalist Critiques: Robert Mangold, David Email Address: [email protected] Richmond KY, 2017. Novros, and Jo Baer in the 1960s (2019). Latest Position: Recent Honors and Awards: Certified Additional News: In 2019, I earned tenure Project Director, Institute for Studies on Latin Member, Appraiser’s Association of America. at Penn State Behrend and was promoted to American Art (ISLAA) Associate Professor of Art History. My book,

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

32 33 Degrees Conferred in 2018-2019

Doctor of Philosophy Edina Kata Adam Alexis Evelyn Lowry Antonia Jasmine Pocock “Jacopo Ligozzi ‘Come Forestiero’ and the “‘A Study of Line and Its Possibilities’: Michael “The Heartland of Pop: Claes Oldenberg and Notion of Foreignness in His Art” Heizer’s Nine Nevada Depressions” Jeff Koons in Chicago” Advisor: Patricia Rubin Advisor: Jeffrey Weiss Advisor: Thomas Crow

Stephanie Rose Mary Caruso Elizabeth Feery McGovern Fatima Quraishi “Redirecting Gazes: The Design and “Fashioning Identity in Eighteenth-Dynasty “Necropolis as Palimpsest: The Cemetery of Reception of a Late Antique Pictorial Motif” Egypt: Costume, Communication, and Self- Makli in Sindh, Pakistan” Advisor: Thelma Thomas Presentation in the Tombs of the Nobles” Advisors: Finbarr Barry Flood and Dipti Advisor: David O’Connor Khera Benjamin Carlos Clifford “Painting After Modernism: Rethinking Andrea Jean Nitsche-Krupp Francisco Javier Rodríguez Chaparro Historical Change” “Material Proposition: The Early Work of “Victimhood in Goya. Rhetorics and Anti- Advisor: Robert Slifkin Matthew Barney” Rhetorics on the Threshold of Photography” Advisor: Jeffrey Weiss Advisors: Robert Slifkin and Jonathan Brown

Master of Arts and Master of Science Dual-Degree

Lydia Gallup Aikenhead Bryanna Kristen Knotts “‘As True as the Sun’: William Griggs’ “The Photography of Lewis Carroll and the Soon Kai Poh Embossed Chromolithographs and the Art of Victorian Child” “Asian-Inspired Interiors at Villa La Pietra” the Fascimile” Advisor: Robert Slifkin Advisor: Jonathan Hay Advisor: Margaret Holben Ellis (Institute of Fine Arts, MA in Art History & Archaeology, 2013) Chantal Stein Kimberly Ann Frost “Medieval Naturalia: Identification, “Changing Compositions: Economic and Lia Marie Kramer Iconography, and Iconology of Natural Social Influences on the Studio Practices of “Ethical Complications of the Objects in the Late Middle Ages” Jacob Jordaens” Stewardship and Exhibition of Conceptual Advisor: Michele Marincola Advisor: Margaret Holben Ellis Installation Art” Advisor: Glenn Wharton

Master of Arts Michael Stephen Agnew Alice Boadicea Bertherat Sarah Frances Cohen “The Ornaments of Authority and the “The Shape of Time: Analyzing the “Now/Not Yet: Recontextualizing the (In) Authority of Ornament: Diego de Sagredo’s Incorporation of Contemporary Art in definite Temporality of the Monumental Neo-Vitruvian Architectural Treatise, Medidas Historical Museums” Last Judgment Scenes at Torcello’s Eleventh- del romano (Toledo, 1526)” Advisor: Christine Poggi Century Cathedral of Santa Maria Assunta & Advisor: Marvin Trachtenberg Chora’s Fourteenth-Century Church of the Jennifer Lynne Boggs Holy Saviour” Viola Angiolini “Blood in the Art of Magna Graecia: The Case Advisors: Thelma Thomas and Robert Maxwell “The Artist, the Worker, the Architect, the of Paestan Tomb Paintings” Scientist: The Rhetoric of Labor in Francesco Advisor: Clemente Marconi Fangjie Deng Lo Savio’s Work” “Returning to the Site: Huang Gongwang’s Advisor: Robert Slifkin Chaochi Chiu River and Hills Before Rain” “Reinventing Conventions: An Interpretation Advisor: Jonathan Hay Maite Basaguren of the Prints of Paul Jacoulet and its “Poetry, Drawings, Sculpture and the Utilization of Traditions” Catherine G. Gause Ignatian Spiritual Exercises” Advisor: Thomas Crow “Novy Byt: Popova, Stepanova, and the Advisor: Colin Eisler Constructivist Idea” Advisor: Christine Poggi 34 YangPiaoPiao Gong Kathryn C. McCrum Amelia Frances Russo “Beyond the Classroom: The Naoxue “Animated Geometries: The Formal “Judd’s Objects are Like These Ideas of Theme in Late-Ming and Qing Paintings, Complexity of Gordon Matta-Clark’s Later Quantum Mechanics: Contingency and Illustrations, and Prints” Building Cuts” Uncertainty in the Three-Dimensional Advisor: Jonathan Hay Advisor: Thomas Crow Artworks of Donald Judd” Advisor: Robert Slifkin Hongzheng Han Sarah Myers “Apolitical Voyeurism: Chinese Queer Bodies “Shattering the ‘Glass Eye’: Thoughts on the Emily Rose Shoyer Through the Lens of Ren Hang” ‘Infinite Camera’ and Its Conceptual Roots” “How Do You Picture Something That Advisor: Edward J. Sullivan Advisor: Robert Slifkin Has Never Been Pictured? The Photograph Upended in the Work of Owanto and Aida Phoebe Stewart Herland Alexandra Nordin Silvestri” “Site-Specific: Three Artists from Los Angeles “Paris in New York: Urban Palimpsests and Advisor: Prita Meier at the Tate Gallery in 1970” Transtextuality” Advisor: Thomas Crow Advisor: Jean-Louis Cohen Jiajing Sun “Writing Japan’s Modernity in Classical Suzanne FitzGerald Heskin Rie ShihWei Ong Chinese Calligraphy: Nakamura Fusetsu’s “The Artwork of Sibylla von Bondorf – Poor “Translation and Intermediality in the Ryūminjyō and the Six Dynasties School in Clare from the Convent at Freiburg im Pictorial Designs of Yongle Blue-and-White Late Meiji” Breisgau” Porcelains” Advisor: Jonathan Hay Advisor: Robert Maxwell Advisor: Jonathan Hay Emily Margot Sussman Jennifer Nadia Houdrouge Larimore Hampton Pivar “Turning my laptop off now, I am very tired: “Becoming-Other: The Non-Human in the “The Replication of Terracotta and Stucco Grosse Fatigue as Definitive New Media Art” Work of Philippe Parreno” Marian Reliefs in Early Renaissance Florence: Advisor: Robert Slifkin Advisor: Kent Minturn Function, Materials, Meaning” Advisor: Michele Marincola Jasmine Wahi Ayse Irem Ikizler “Who is Wrong and Who is White? What is “Emin Interviewing Emin: Reframing Allyson June Pockrass Black and What is Right?” the Video Work of Tracey Emin within “A Beard Without a Jew: Balancing Art and Advisor: Edward J. Sullivan Theories and Methods of Interview-based Judaism at The Jewish Museum” Documentary Filmmaking” Advisor: Robert Slifkin Peiyue Wu Advisor: Robert Slifkin “A Celebration of Femininity: Pan Yuliang’s Xingyi Qi Female Nudes Done in Republican China and Dashiell J. Jordan “China’s Role in the Design, Production and Paris” “The Dawn of Immorality? A Symbolic Circulation of Ko-sometsuke Porcelains” Advisor: Jonathan Hay Interpretation of Pink Polychromy in Advisor: Jonathan Hay Centuripe Ware” Fupeng Xie Advisor: Clemente Marconi Juan Gabriel Ramírez Bolívar “Mountings and Boundaries: Major “Between France and Columbia, the Color Changes in Chinese Hanging Scroll Jiwoo Kim Sculptural Practice of Marco Tobón Mejía, Mountings from the Thirteenth to the “Reading Photographs: Imagining Lives (1910 – 1925)” Eighteenth Century” Beyond Borders” Advisor: Edward J. Sullivan Advisor: Jonathan Hay Advisor: Thomas Crow Vittoria Riccio Alaina Zemanick Kolleen Alexandra Ku “Jesuit identity in Latin America: Architectural “‘A Form to these Spirits’: Reevaluating Pablo “Broader Than Sense: Zaum and the Russian Citation between Rome and Jerusalem” Picasso’s Relationship to his Colonial Postcard Avant-Garde Artists’ Book” Advisor: Alexander Nagel Collection” Advisor: Christine Poggi Advisor: Christine Poggi Mallory Jane Roark Yizhuo Li “Beyond Reflection: The Multivalence of “Liu Tao: A Photographer Untying” Stainless Steel in the Work of Isamu Noguchi” Advisor: Thomas Crow Advisor: Lowery Sims 35 Donors to the Institute

Philanthropy plays an essential role in fulfilling the Institute’s mission to educate future generations of art historians, conservators, and archaeologists. We gratefully acknowledge the generosity of our supporters. This list includes commitments received from July 1, 2018 to July 1, 2019.

$1,000,000-$6,000,000 $10,000-$24,999 Meeker Rom Family Foundation Samuel H. Kress Foundation Allston Chapman Anne Rorimer* Judy and Michael H. Steinhardt Estate of Joseph Merle Dye, III Patricia A. Ross Jan T. Vilcek and Marica Vilcek The Pietro Edwards Society for Jennifer Russell* Graeme Whitelaw Art Conservation Bonnie Sacerdote Nancy B. Fessenden* Fredric T. Schneider $100,000-$999,999 Georgia Riley de Havenon and Virginia St. George Smith Anne* and Joel Ehrenkranz Michael de Havenon Eliot B. Stewart Institute for Studies on Latin American Gertrude M. Helms* Mariët Westermann* and Art (ISLAA) Julie E. Herzig* and Robert J. Desnick Charles H. Pardoe, II Nancy Chang Lee* Colleen Ritzau Leth* Anonymous Leon Levy Foundation Victoria Newhouse The Andrew W. Mellon Foundation Eliot C. Nolen $1,000-$4,999 Maddalena Paggi-Mincione* and Mary Ellen Oldenburg Meg A. Armstrong* Raffaele Mincione Janice Carlson Oresman* Marianne Begemann Valeria and Gregorio Napoleone Cynthia Hazen Polsky and Leon Polsky David Berg Foundation Rachel* and Jonathan Wilf Jonathan D. Rabinowitz Karl D. Buchberg* Anonymous (2) Elizabeth B. Richards Thomas A. Buser* Per J. Skarstedt Laura Isabel Uppercu Collier* $50,000-$99,999 Alice M. and Thomas J. Tisch Joseph C. Cuttone Rachel Davidson and Mark Fisch Julie and David Tobey Philippe de Montebello* Lauren Berkley Saunders* Paula J. Volent* Carol S. Eliel* and F. Thomas Muller, Jr. Lisa and Bernard T. Selz Alicia and Norman Volk Shelley Fletcher* Malcolm Hewitt Wiener Foundation Anonymous (4) Elisabeth Hackspiel-Mikosch* Charles K. Williams, II Kathryn Moore Heleniak* $5,000-$9,999 Christine and Sanford Heller $25,000-$49,999 Mary Lee Baranger* The Hagop Kevorkian Fund Patricia and Stephen Beckwith Gini and Randy Barbato Michael Bundy Kohn* Catherine Coleman Brawer* and John Begemann Guenter H. Kopcke Robert Brawer William L. Bernhard Jan Lynn Leja* Dedalus Foundation Lois Earl Blumka Dorothy Robinson Mahon* and Roberta and Richard Huber Suzanne Deal Booth* Terrence S. Mahon* Stephen S. Lash T. Kimball Brooker Michele Marincola* The Pierre and Tana Matisse Foundation Ildiko and Gilbert Butler Beth Merfish* Alexandra Munroe* Janet Hester Gerrish Mary Oey* Ida and William Rosenthal Foundation Loretta E. Howard* Francesco Pellizzi Lise Scott and D. Ronald Daniel The Cynthia & George Mitchell Paul N. Perrot* Lois Severini* and Enrique Foster Gittes Foundation Christine Poggi Sheldon H. Solow Lucio A. Noto Anne L. Poulet* Harriet K. Stratis* Alice Pacthod Leslie J. Ransick Gat* Carl & Marilynn Thoma Art Foundation Barbara Pine Deborah* and David Rothschild Anonymous The Rockefeller Foundation Shelley K. Sass*

* Institute alumnus/a

36 Sarah W. Schroth* Konstanze Bachmann* Katherine A. Schwab* Mary Schuette and Jay A. Levenson* Su-Kyung Bang Kent John Severson* Robert Simon Linda Freeman Bauer* Jack Soultanian, Jr.* Michele Cohn Tocci Olga G. Bequillard* Aron Y. Stavisky Reva June Wolf* Elizabeth Buhe* and Ross Andrese Edward J. Sullivan* Dale* and Rafael Zaklad Andrea Y. Chevalier* Lindsey Tyne* Alice M. Zrebiec* Stephen Paul Crenshaw* Anne W. Umland* Anonymous (5) Emily Salas Crowley* Stefanie Walker* Rachel L. Danzing* Deborah N. Wilde* $500-$999 Peter Daniel De Staebler* Roberta May-Hwa Wue* Dita G. Amory* Carmen Dubroc and Lewis I. Haber Eric Zafran* Mary W. Ballard* Martha L. Dunkelman* Orestes H. Zervos* Alan D. Chong* Sharon H. Ferguson* Arlene Kurlander Zimny Wanda Marie Corn* Suki Fredericks* Shelley E. Zuraw* Andria Derstine* Leslie M.* and Tom L. Freudenheim* Hester Diamond Kathryn Calley Galitz* $100-$199 Jennifer Eskin* Susan Tagliabue Hapgood* Mark B. Abbe* Tami Dawn Hausman* Pamela B. Hatchfield* John Brooks Adams* Ariel H. Herrmann* Julia P. Herzberg* Morgan Simms Adams* Stephanie E. Hornbeck* Anna D. Kartsonis* American Securities Foundation Penelope Hunter-Stiebel* Lucie L. Kinsolving* Patrick Amsellem* Michael Jacoff* Evelyn Monroe Koehnline* Michael J. Amy* Victoria M. Jenssen* Dorothy Kosinski* Norbert S. Baer Roberta R. and Charles J. Katz* Masako Koyano* Beryl Barr-Sharrar* Suzannah* and Karl M. Kellner Ruthann R. Lehrer* Kenneth Bé* Norman L. Kleeblatt* Roger W. Lipsey* Daniel M. Belasco* Lynda Klich* Elizabeth J. Lytton* Pepi Brooks Deborah Ann La Camera* Vivian B. Mann* Amy Lynn Brost* Yulin Lee* Susan D. Marcus* Marian Burleigh-Motley* Judith Levinson* and Geoffrey E. Martin Ruth Butler* John R. Oppenheimer Christa C. Mayer Thurman Sala* Anne Palms Chalmers* Charles T. Little* Lys McLaughlin Pike Richard J. Channin Caroline and Anthony Lukaszewski Margaret M. Miles Sue Ann Chui* Anne* and James Morganstern* Jaime L. Neary* Ronny H. Cohen* Cynthia Wolk Nachmani* Robert S. Nelson* Judith Colton* Ann Wood Norton* Jo Anne C. Olian* Lucy A. Commoner Janko Rasic Architects PLLC Stephen E. Ostrow* Hope Davis Braddick* Marjorie N. Shelley* Ronald Y. Otsuka* Isabelle Duvernois* Catherine Sweeney Singer* Joan H. Pachner* Arlene Hirsch Elkind Paul Stanwick* Joan A. Perez Kathryn Falato Mary Stofflet* Debra Pincus* Priscilla Farah* Joan* and Robert Troccoli Barbara E. Pollard Stein* and Deborah Feller* Deborah Lee Trupin* Mitchell Stein Eric M. Frank* Karyn Leslie Zieve* Beatrice C. Rehl* Susan G. Galassi* Nancy R. Reinish* Jorge A. Garcia-Tuduri* $200-$499 Rebecca A. Rushfield-Wittert* Lisa A. Goldberg* William Nash Ambler* Polly J. Sartori* Carol Hass Goldman Susan Staples Arms* and Stephen K. Scher* Lois R. Granato* Richard G. Arms, Jr.* Patricia Schulze Hills* Alison de Lima Greene*

37 Donors to the Institute CONTINUED

Michele M. Greet* Deborah A. Lyons* Sheila Schwartz* Gerald B. Guest, II* Meghan Thumm Mackey* Ann Seibert* Steven R. Haas* Carol C. Mancusi-Ungaro* J. William Shank* Ashley Etter Hagwell and Kevin Hagwell Ira S. Mark* Deborah S. Shinn* Susan A. Harris* Deborah Markow* Suzanna B. Simor* Andrée M. Hayum Jerry D. Meyer* Sharon Dunlap Smith* Sharon R. Herson* and Daniel Fleckles Eugenie Milroy Eliza Robinson Spaulding* Paula Rand Hornbostel* Denyse L. Montegut* Donna Michele Stein Korn* Anne C. Hrychuk Kontokosta* and Frances Land Moore* Elizabeth Rosen Stone* Constantine Kontokosta Anita* and Martin Moskowitz Joyce Hill Stoner* Sophie Hager Hume* Rachel A. Mustalish* Virginia Stotz* Maile Sophia Hutterer* Won Y. Ng* Suzanne L. Stratton-Pruitt* Grace Jan* Christopher A. Noey* James W. Sykes, Jr.* Rebecca Jones* Andrea Spaulding Norris* William S. Talbot* Anna Jozefacka* Jessica Lian Pace* Marie C. Tanner* Elizabeth Ann Kihara* Elizabeth C. Parker* Thelma K. Thomas* Linda Konheim Kramer* Philip M. Pearlstein* Marcia R. Toledano* Carol Herselle Krinsky* and Robert D. Gabriella Susana Perez* Cybele Tom* Krinsky Ruth Perlin* Phyllis R. Tuchman* Peter Ian Kuniholm Jennifer Perry* Emily Trevor Van Vleck* Marsa Laird* Laurie-Ann J. Porstner* Patricia Waddy* Richard S. Lanier* William L. Pressly* Helen D. Wall A. Floyd Lattin* Stuart W. Pyhrr* Marina D. Whitman* Dene A. Leopold* Bridget J. Quinn* Daniel Scott Williamson* Susana T. Leval* and Pierre Leval Emma Rose Rainville* Peter M. Wolf* Johanna Elizabeth Levy* Linda Jones Roccos* Rachel Arlene Wonder* William A. Lieber* Allen Rosenbaum* Christine Elaine Wraga* Deborah Lipton* Stanley C. Rottell Ellen J. Yasumura Jane Fox Lloyd* Amy Incornata Russo* Bonnie E. Yochelson* Carla Lord Joseph T. Ruzicka* Kirsten J. Younger*

* Institute alumnus/a

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

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

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

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

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

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

The Institute is part of the Graduate School of Arts & Science at New York University, a not-for-profit 501(c)(3) organization. All gifts to NYU, including the Institute of Fine Arts, are tax-deductible to the full extent of the law. The Alumni Association 1 East 78th Street New York, NY 10075