Number 55 – Fall 2020

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Nyu THE INSTITUTE Published by the Alumni Association of II IOF FINE ARTS 1 Contents

Letter from the Director In Memoriam ...... 10 The Year in Pictures: New Challenges, Renewed Commitments, Alumni at the Institute ...... 16 and the Spirit of Community ...... 3 Iris Love, Trailblazing Archaeologist 10 Faculty Updates ...... 17 Conversations with Alumni ...... 4 Leatrice Mendelsohn, Alumni Updates ...... 22 The Best Way to Get Things Done: Expert on Italian Renaissance An Interview with Suzanne Deal Booth 4 Art Theory 11 Doctors of Philosophy Conferred in 2019-2020 ...... 34 The IFA as a Launching Pad for Seventy Nadia Tscherny, Years of Art-Historical Discovery: Expert in British Art 11 Master of Arts and An Interview with Jack Wasserman 6 Master of Science Dual-Degrees Dora Wiebenson, Conferred in 2019-2020 ...... 34 Zainab Bahrani Elected to the American Innovative, Infuential, and Academy of Arts and Sciences ..... 8 Prolifc Architectural Historian 14 Masters Degrees Conferred in 2019-2020 ...... 34 Carolyn C Wilson Newmark, Noted Scholar of Venetian Art 15 Donors to the Institute, 2019-2020 .36

Institute of Fine Arts Alumni Association

Offcers: Alumni Board Members: Walter S. Cook Lecture susan Galassi, Co-Chair President Martha Dunkelman [email protected] and william Ambler [email protected] Katherine A. schwab, Co-Chair [email protected] Matthew Israel [email protected] [email protected] Yvonne elet Vice President Gabriella Perez Derek Moore Kathryn Calley Galitz [email protected] Debra Pincus [email protected] Debra Pincus Gertje Utley Treasurer [email protected] Newsletter lisa schermerhorn rebecca rushfeld reva wolf, editor lisa.schermerhorn@ [email protected] [email protected] kressfoundation.org Katherine A. schwab Miquael williams, student Assistant [email protected] Secretary Janne sirén History of the Institute Johanna levy [email protected] rebecca rushfeld, Chair [email protected] [email protected] Committees: Alumni Reunion The editor extends a special Alicia lubowski-Jahn, Chair thank you to her predecessor, Student-Alumni [email protected] Martha Dunkelman, for much Gabriella Perez, Chair william Ambler valued guidance. [email protected] [email protected] Matthew Israel

2 Letter from the Director New Challenges, Renewed Commitments, and the Spirit of Community

underrepresented groups. We are grateful to over the course of the spring and summer, Graeme Whitelaw for his generous gifts that they demonstrated the power of virtual media have endowed the Harriet Grifn Fellowship. to expand our audiences to people across the Tis fellowship, named in honor of Graeme country and around the world. Many of our Whitelaw’s wife, along with the Institute of alumni have let us know how much they have Fine Arts Fellowships, have already enabled us enjoyed these and other online lectures, many of to provide full or partial tuition fellowships to which will be posted to our website. Much of our MA students. Other transformative gifts made academic year programming and the next edition during the past year, from Rachel and Jonathan of the (virtual) Great Hall Exhibition is currently Wilf for a Conservation Center Fellowship, and being planned by our students, so stay tuned for from the Helen Frankenthaler Foundation for future announcements. We hope you will join PhD fellowships, provide much appreciated us and stay connected to the Institute via our support. We are also immensely grateful for the many webinars, lectures, book launches, student- gifts of two other alumnae; one will fund student curated online exhibitions, and other events research travel to Italy, and the other will support throughout the year. Christine Poggi, detail of a photo by Louisa Raitt summer museum internships. I also want to take this opportunity to Although no school or institute can cover thank all of you who responded to our call Dear all, all art historical or conservation felds, we aspire for emergency support for our students. Your Tis past year will be remembered for the to a curriculum that engages a multiplicity of generosity, along with that of our Board of many challenges and crises it brought to our traditions and media across the globe, one that Trustees, faculty, staf, Connoisseurs Circle community, and to the entire world. Te highlights cultural and geographical exchanges, members, and several students, allowed us to give Covid-19 pandemic disrupted our lives in and new ways of conceiving curatorial work and stipends to over 60 MA and PhD students who numerous, unforeseen ways; it caused NYU to public humanities. To this end, we have joined faced serious fnancial hardship this past summer. end in-person teaching and access to libraries, the new NYU Public Humanities Initiative that Just recently, we also gave modest sums to ten of ofces, and research centers in mid-March. It will launch in fall 2020 with support from the our doctoral students who are currently studying also led to the postponement of our spring 2020 Mellon Foundation. Te Marica and Jan Vilcek for their exams so that they could buy books at events and programs, as well as the cancellation Curatorial Program, inaugurated two years ago, a time when many libraries remain closed. Te of our excavations, many summer jobs, and allows us to invite several curators each year to Alumni Association played a key role in raising internships. We all experienced a great sense of lead seminars in their areas of expertise. We are funds for the Director’s Discretionary Fund (all loss and disorientation as we found ourselves delighted to welcome Italian drawings scholar devoted to student support), and to helping us physically distanced from our friends, peers, and curator Linda Wolk-Simon, who will reach out to others in our network. Institute of colleagues, and family members, unable to make teach our Introduction to Curatorial Practice Fine Arts students have expressed their profound frm plans for the future, or to travel freely. Many seminar this fall. In the spring, we plan to ofer a gratitude for the outpouring of concern and of these changes to our normal routines led to a curatorial seminar on the art of Goya, co-taught fnancial assistance you ofered them. I would pervasive sense of anxiety and disappointment, by Professor Edward J. Sullivan and curator Mark like to acknowledge the work of Jenny Eskin, as well as to serious fnancial hardship, especially McDonald of Te Metropolitan Museum of former President of the Institute’s Alumni for our students. Nonetheless our students and Art; a seminar on medieval manuscripts taught Association Board, and of its ofcers, for their faculty were remarkably resilient and creative, by curator and IFA alumnus Roger Wieck of inspirational leadership during this period. and they found ways to continue their studies Te Morgan Library and Museum; a seminar Te challenges of this past spring and and to care for one another. We celebrated the on a selection of women artists who won the summer, and those that remain as we reopen for achievements and hard work of our students in a Anonymous Was a Woman Award, taught hybrid teaching and virtual programming this virtual graduation in May. by scholar and curator Nancy Princenthal in fall, have shown us the value of our community. Shortly thereafter, we witnessed the vicious preparation for an exhibition to be held at NYU’s Our students, faculty, staf, and alumni have murder of George Floyd in Minneapolis, an event Grey Art Gallery; and a seminar on curating remained committed to our collective welfare that sparked outrage against decades of police cross-cultural exhibitions co-taught by Professor and safety, to our belief in the importance of our brutality against unarmed people of color. Hsueh-man Shen and curator and Egyptologist educational mission, and to the work we must do Te sustained, multi-racial social protest Clare Fitzgerald of ISAW. to ensure that we provide a research and learning movement that ensued has provoked many Our programming, all virtual, will continue environment that allows each of us, and all of us important conversations, and generated a new to address important issues and a wide array of together, to thrive and contribute meaningfully sense of urgency in demands for an end to felds and topics in the coming year. Tis past to the world we live in. Tank you for sharing in police brutality and racial injustice. Cultural summer, we hosted three webinars for the NYU this mission, for the support you provide, and for institutions, museums, and universities across our Alumni Association by our faculty: Professor the sense of community you foster. nation and abroad have begun the hard work of Finbarr Barry Flood, “Healing Dust and Printed rethinking their missions and focusing on how Cures: Technologies of Protection in Medieval With warm regards to all, to make their environments more inclusive and Islam”; Professor Edward J. Sullivan, “Landscapes welcoming to all. of Construction and Extinction: Art and Ecology At the Institute, despite the current hiring in the Americas”; and Professor Tomas E. Crow, freeze, we have renewed our commitment “French Landscape at the Margins of Survival.” to recruiting a more diverse faculty, staf, Tese online lectures each attracted over 300 and student body, and to raising funds for attendees and received extremely positive reviews. Christine Poggi fellowship support for our MA students from Along with other webinars and events ofered Judy and Michael steinhardt Director

3 Conversations with Alumni

The Best Way to Get Things Done An Interview with Suzanne Deal Booth, MA in Art History and Conservation, 1984

Alumna Suzanne Deal Booth, a former Everything I did in Europe had to do with going to graduate school, I was intrigued IFA Trustee, is a philanthropist, art advisor, culture, and it fed my imagination. So when I by conservation, by the idea of preserving collector, and vintner, and generously supports came back, I transferred to Rice University. history and works of art. I had gone on two the Suzanne Deal Booth Fellowship in archaeological expeditions while at Rice, I told my dad I was going to get a part-time conservation at the IFA. She co-founded the in Italy and Israel. I really enjoyed putting job. Somehow, through my interests and Friends of Heritage Preservation in 1998 and things back together again, and the feeling networking, I met Dominique de Menil and serves as the director of the organization—a of accomplishment when you take care of she ofered me a job. I was twenty. It quickly small private group dedicated to protecting something valuable. When I was considering led from working in the campus museum and preserving cultural and artistic heritage. my options, I just thought NYU was the best. to a private study in her home, in the River She currently serves on the boards of the You have it all—some of the greatest museums Oaks area of Houston. My job was to enter Los Angeles County Museum of Art, Te in the world at your fngertips. information on these typewriters that had Menil Collection, the American Friends memory—we didn’t have computers—from Where did you live while you attended the of the Centre Pompidou, Ballroom Marfa, her late husband John de Menil’s meticulous Institute? Te Contemporary Austin, and the Calder notes into a database. Foundation. In 2003, after she spent a year When I was accepted at the Institute, I was living in Rome with her young family, the I worked for Dominique for two years after still in touch with Dominique, and she told Suzanne Deal Booth Rome Prize Fellowship I graduated. When I started thinking about me I must absolutely stay with her. for Historic Preservation and Conservation was created at the American Academy in Rome and has awarded annual fellowships ever since. Deal Booth’s current endeavors include establishing and cultivating Bella Oaks, an organic vineyard and olive orchard in Napa Valley, CA. Former Deal Booth Fellow Celeste Mahoney conducted and edited this interview. You graduated cum laude with a degree in art history from Rice University. What was it that drew you to the Institute? I had gone to the University of Texas at Austin for two years, and I had studied sociology. I decided to go to Europe, and it turned out to be a much longer trip than intended. I bought a two-month Eurail pass and it turned into a year abroad. I ended up buying a Volkswagen van, outftting it, and traveling all through Europe and Asia Minor, and when I came back, I had decided I wanted to study art history. Suzanne Deal Booth with Dominique de Menil and Walter Hopps, Houston, c. 1977 4 What was the conservation program like times, and I’m still in touch with him. Te at that time? What was it like being in the good news is he’s realizing his dream in his basement of the Duke House? lifetime. In recent years he’s had some huge I thought it was funky! We didn’t have great donations. Like Kanye West—who knew? You classrooms to work out of, and the space had couldn’t have predicted that, thirty years ago. no windows, but the lab had everything that we It feels like I’ve known him a lifetime. needed. My year was a class of eight women, What was the New York art scene like then? so we could all ft into a small space. Central What was your role in it? Park is right outside the door, and some of my It was happening in New York in the early 80s. classes were at the Met. I worked as an ofce All these clubs were beginning. I visited Te helper for the two then-directors, Norbert Baer Factory a few times. I’d bomb these parties and Larry Majewski. Te two years just few by. with my friend and classmate Judy Fox, who’s I also worked at the paintings conservation lab now an artist in New York...at one party I at the Met, with [head of the department] John met Andy Warhol, and I had him sign my Brealey, and loved that experience too. arm. Why didn’t I have him sign a shirt, or You also met James Turrell. How were you something I could have saved? He took a Dominique de Menil’s townhouse in NYC introduced to him? Polaroid of me looking a little tired, with his She wasn’t in New York very much. My room Trough Dominique, I met another former signature on my arm, and gave it to me. at Dominique’s house, at 111 E 73rd Street, protégé of hers, architect Glenn Heim. was in the basement, but it had windows that He invited me to a cocktail party at his looked out onto a Max Ernst garden. I had a loft on Church Street, where I met Helen tiny little kitchenette, a bathroom, a big desk, Winkler, one of the cofounders of Dia [Art and a bed. Tat was it, but I loved it. I lived Foundation] along with Philippa de Menil there for two years. Because of the proximity and Heiner Friedrich. I also met Fred Hughes, to the Institute, I could have a cup of cofee who was the business partner of Andy Warhol, and walk to school in twenty minutes. and I met James Turrell. I was talking to [Meeting] It sounds idyllic! James, about his work, a Skyspace at MoMA PS1. While we were talking about this It didn’t come without its restrictions. I project, Helen comes up and says to James, couldn’t have guests. She had a pet parrot who “You should hire her!” And she’s the kind of used to throw things at me. But I was living woman where you do what she says. with a great art collection, and I liked being So he said, “Okay!”? this sort of shadowy student fgure. She would always include me in dinners she held, and I Well, he said, “what can you do? Can you Andy Warhol, Polaroid photograph of Suzanne Deal met art historians, museum directors, writers, handle heavy equipment?” And I said, “what, Booth, SDB collection, © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by and artists. like, a tractor?” And he said, “no, can you Artists Rights Society (ARS), New York handle a drill?” I said I could as long as I had protective equipment—my dad is a safety engineer. So he hired me almost immediately, I met Rauschenberg and visited his studio. Tere and I would work on weekends, going out were so many artists working with young people to Queens in my worst clothes. We’d be around my age, so I connected a lot to the scene, hauling 2x4s up the side of the building, and absolutely loved it. It seemed like a lot of and using drills, and tearing up concrete. It the people who were interested in conservation was crazy, and I loved it. Every day he would were also interested in contemporary art, and take his team to lunch, and that’s how I got that brought in a lot of interesting visitors, even to know him. He asked me to work on his though we were in the basement. big Whitney show too [James Turrell: Light It sounds like you were very busy! and Space, 1980]. James has been someone When you’re busy, you’re very efcient at that made sure I got a paycheck once, and so Suzanne Deal Booth with Mark Rothko’s No. 10, fguring out how to manage your time. I’ve 1957, oil on canvas, The Menil Collection, Houston, I’ve been very instrumental in helping him always thought that having lots of interests © 1998 Kate Rothko Prizel and Christopher Rothko / out with his projects at diferent museums. was the best way to get things done. Artists Rights Society (ARS), New York I’ve been to Roden Crater probably 10 or 12 5 The IFA as a Launching Pad for Alumni Seventy Years of Art-Historical Discovery An Interview with Jack Wasserman, PhD 1963

Jack Wasserman is Emeritus Professor of Art accepted. My frst courses in art history did supervised we uncovered a huge kiln in which History at Temple University, Philadelphia. not impress me, because the instructors were many marbles from the site had been burned, In this interview, Dr. Wasserman discusses not particularly inspirational. probably in the seventh century. his interactions with IFA faculty from the But you remained with art history. late 1940s forward with his daughter, Shara From Greece, I went to Italy and spent some Who guided this decision? Wasserman, herself an IFA alumna, receiving time in Rome and Florence. Rome in 1949 her MA in 1985, and currently Director of I took a course with Dan Woods in ancient was wonderful, because there wasn’t much Exhibitions and on the Art History faculty at art and his lectures were brilliant and exciting. trafc and there were almost no tourists, so Temple University Rome (and the leader of He had been a student of Karl Lehmann, it was easy to get around. My days in Rome the NYU Alumni Club in Italy). Wasserman and he ofered to introduce me to him at the were devoted to exploring architecture and the is the author of Ottaviano Mascarino and His Institute. I met with Lehmann, we chatted interiors of churches. In Florence I stayed at Drawings in the Accademia di San Luca (Rome, briefy, and he said that if I were accepted at the Pensione Costantino (which still exists!), 1966), Leonardo da Vinci (Abrams, 1975), and the IFA I should come to see him, so, after near Giotto’s Campanile and the Duomo with Michelangelo’s Florence Pietà I was accepted and before classes began I Brunelleschi’s dome. I adored what I saw in (Princeton University Press, met with Lehmann and he invited me to these Italian cities, but I was still committed to 2003), and many articles take a seminar with him on mystery cults in ancient art. ancient Greece. When I expressed my doubts on Renaissance art and Besides Karl Lehmann, who were the about taking a seminar in my frst semester, architecture. He was elected noteworthy infuences during your years at he responded, take it “sink or swim!” Te Accademico Benemerito of the IFA? the Accademia di San Luca frst session was an intimidating experience. in 1997. In attendance were advanced and brilliant Karl Lehmann was probably the greatest students, including Phyllis Bober and Elsbeth lecturer at the Institute during my time there, Dusenbery. Lehmann came in and greeted and a renowned scholar. He was exciting in the us, and asked who would do a report on the classroom; he could make it seem as if a plain mystery cults at Tebes (and, by the way, the piece of marble had come to life. He delivered entire literature was in German). Nobody his lectures without pause, his ideas quickly volunteered. He turned to me and said, “Jack, available to him, the words to communicate you take it.” I gave the report, and at the them ready at his lips. One day in class I flled conclusion he called me into his ofce. “I have in as a substitute for the slide projector operator sunk,” I thought. To my surprise, instead, and at one point I failed to show the slide he What brought you to art history? he invited me to participate in his annual had requested, so absorbed was I in his lecture. archeological excavation on the island of His was the sort of delivery I tried to emulate as Well, it was all a matter of chance, as Samothrace. Tis was 1949. a teacher. important moments in life often are. In my I know that this trip to Samothrace was Lehmann’s archaeological methodology likewise late teens, I was taking voice lessons and transformative. Did you think you would was a model for my own research. He taught attending night classes at Brooklyn College. have a career in archaeology? me that in the absence of documents, the World War II interrupted my studies and I physical and historical contexts of works of was drafted into the army in 1942. I served Samothrace was an amazing experience. We art could be reconstructed and interpreted three years in the Pacifc war zone, where sailed on the Veendam, an old wood-paneled with close observation of details. Tis, and his I contracted hepatitis, was hospitalized, ship, and on the way to the island we stopped archaeological method of preparing excavation and then was sent home. I had a special in Athens, where Lehmann discussed the reports guided the preparation of my book on educational GI Bill grant because of this acoustics of the Teater of Dionysus on a Michelangelo’s Florence Pietà: details and tool disability. One of the requirements was to take slope of the Acropolis and invited us to go marks are closely observed, the way broken an aptitude test, followed by an interview with to the top of the ruins while he stood down parts were assembled are revealed with scientifc a professor at Columbia University. He began below reciting passages from Greek drama. instruments, and the height at which the statue the interview by asking me what I would like At the excavation, he gave each of us the was best to be observed is demonstrated with a to do. I replied that I might study history. He responsibility for a particular area to supervise. CD-ROM produced by IBM. suggested that I consider art history, since I Our hope was that we might fnd the head of had done well in the liberal arts section of the the Nike of Samothrace. Instead, we found I took a seminar with Walter Friedländer (like exam. In 1945, I applied to NYU and was what turned out to be her hand. We also Lehmann, a German refugee) on Mannerism. found two other Nikes, and in the area I Important experiences with Friedländer were 6 the one-on-one meetings in his ofce. We Your long relationship with Italy involves would discuss quality in works of art and the an important romantic chance meeting. principles of connoisseurship. Just to hear this Yes. One day I was sitting at a bar on the great art historian talk about sixteenth- and Corso, drinking cofee and reading a paper, seventeenth-century painting was invigorating. when a person I knew casually named Ten there was Richard Ofner. I took his Dan Scarlett joined me and invited me to a course on Giotto to Masaccio. We never got party hosted by people from the American past Giotto. Ofner sat when delivering his Consulate. Te apartment was on Via lectures with his hands clasped to his chin and Margutta. I was sitting on the terrace talking spoke slowly and deliberately. It was almost as to several young ladies when an Italian woman if he were seeing the painting for the frst time in a full billowy skirt came onto the balcony and carefully fnding the right words to express and said, admiringly, “this is quite a dump.” what he saw so deeply under the surface. Ofner I was hooked. I courted Ambra the next few divided each year between teaching in New days and soon proposed. She invited me to York and doing research in Florence. In time, lunch with the family—her mother was dead, I modeled my life on this pattern, teaching in but present were her father and two brothers. Philadelphia with Rome as my research base. Sergio, the older brother, but a year younger I had the privilege of taking a riveting course than Ambra, kept staring at me, perhaps with Erwin Panofsky (the most famous of the concerned that I might be taking his sister cadre of German refugees then at the IFA) away to America. We were married about on Flemish art. On a personal note, when I three months later, on July 6, 1952. asked him to write a recommendation on my Talk about your research. You have behalf for a Fulbright to complete my MA, published on Mascarino and Michelangelo, he agreed to do it, but reluctantly, thinking you have worked on many diferent topics in it might hinder my chance of being awarded Renaissance painting, including Leonardo, the scholarship because he was, as he put it, a you have moved between painting and persona non grata with the FBI. He was often sculpture, and you have worked between involved in left-leaning cultural organizations. time periods. My application was successful, however. At frst, my career had been oriented toward I was lucky to have Richard Krautheimer architecture. One day, out of the blue, I (another German refugee) as a mentor in received a letter from the editor of Abrams architectural history, a feld I pursued for many asking me write a book on Leonardo da Vinci. years. In fact, my contact with Krautheimer I knew little of his life and art, but I took the changed my interests from the antique to opportunity and the book was published in ffteenth- and sixteenth-century architecture. 1975. Tis experience led me to specialize on Jack and Ambretta Krautheimer was also my dissertation advisor. Leonardo. But much later, I began to write My topic was to analyze the 240 drawings that on various other painters, including Raphael the lectures, a slide of a detail of the church Ottaviano Mascarino, a late sixteenth-century and Pontormo, and on sculpture, including captured my interest and stimulated me to architect, had left to the Academy of St. Luke in Michelangelo’s Florence Pietà. pursue it further. I wrote an article about Rome. Upon arriving in Rome in the summer it and I sent the manuscript to Marvin Maybe now all these interesting things of 1959, on a grant from the IFA, I went to Trachtenberg, who liked it. It was published you have been telling us about have come the Accademia and received permission from in a volume with the lectures delivered at together: your work on architecture, and on the director to photograph all the drawings. the Villa I Tatti conference. I am currently painting—in a church, in a chapel, in situ— But he alerted me to the imminent closing of preparing a second article on the church led you perhaps to move on to your current the institution for the entire month of August. of San Lorenzo, for which, again, I have San Lorenzo project. In other words, would Te drawings were placed on a table close to Dr. Trachtenberg to thank. We have been you say that what you are doing now is a a window and I photographed them all in a engaged in frequent email discussions on synthesis of a lifetime of scholarship? week. After completing my dissertation, it was the architecture of the church and on that published in Rome under the auspices of the Well, I have recently returned to architectural of the Duomo. I am fortunate to have had Accademia di San Luca. history. A few years back, I attended a some seventy years of fruitful intellectual conference at the Villa I Tatti in Florence engagement, for which I am grateful to the on the church of San Lorenzo. In one of IFA and its faculty. 7 Zainab Bahrani Elected to the American Academy of Arts and Sciences

Zainab Bahrani at Darbandi Gawr, Iraqi Kurdistan, 2017

Distinguished alumna, Zainab Bahrani, who A prolifc writer and researcher, Dr. Bahrani’s of undergraduate and graduate seminars and earned her MA and PhD in a joint program outstanding career covers several disciplines. lecture courses in Near Eastern art history and in Ancient Near Eastern and Greek Art and Born and raised in Baghdad, Zainab completed theory. Her engaging manner in the classroom Archaeology, was inducted into the American her undergraduate degree in Art History earned her the Lenfest Distinguished Columbia Academy of Arts and Sciences in May 2020. and Archaeology at Indiana University at Faculty Prize for excellence in teaching in She joins more than 250 newly-elected Bloomington. She continued her studies 2008. She previously taught at the University members of the Academy, one of the nation’s at the Institute of Fine Arts because, as she of Vienna and the State University of New most prestigious honorary societies. Te noted, it was one of few graduate schools York at Stony Brook, and she served as curator Academy, which dates back to the founding that taught ancient Near Eastern art and in the Department of Ancient Near Eastern of the country, recognizes and celebrates the archaeology alongside such felds as ancient Art at the Metropolitan Museum of Art from excellence of its members and serves as an Greek, Roman, Aegean and Egyptian art. She is 1989 to 1992. Her research has been supported independent research center convening leaders currently the Edith Porada Professor of Ancient by awards and fellowships from the American from across disciplines, professions, and Near Eastern Art and Archaeology in the Schools of Oriental Research, the Metropolitan perspectives to address signifcant challenges, Department of Art History and Archaeology Museum of Art, and the Getty, Kevorkian, as noted in its mission statement. at Columbia University, teaching a wide array Mellon and Guggenheim Foundations.

8 Over the decades, Zainab has integrated a topographical survey of all of the standing her various roles as scholar, teacher, curator, monuments and architecture—ancient and archaeologist, preservationist, activist, and modern—in the region from Iraqi Kurdistan prolifc writer into her career, readily moving and southeastern Turkey to southern Iraq. across geographic regions from the East Tis database of digital images, compiled in Coast of America to the Mid-East. She has collaboration with colleagues and students, authored or edited twelve books, several of documents the extraordinary richness of the them recognized with major prizes. Among landscape of Mesopotamia and provides a the topics she has addressed are the body and much-needed record for future preservation. gender in ancient Near Eastern art, modern At the Metropolitan Museum of Art, she was and ancient theories of representation, and recently featured in the exhibition Te World archaeological preservation and politics in Iraq Between Empires: Art and Identity in the Ancient and the wider region in the light of recent wide- Middle East, in an on-screen discussion with spread destruction. other archaeologists of the massive destruction to the cultural heritage over the past few Among Zainab’s decades. major publications, Te Infnite Image: In 2019, Zainab Bahrani was selected by Art, Time and the the Cook Committee of the IFA Alumni Aesthetic Dimension Association as the speaker for the Walter in Antiquity (2014), W.S. Cook Lecture, delivered annually by derived from her a distinguished alumna or alumnus. With Slade Lectures Bahrani at Qyzqapan in Iraqi Kurdistan, at work on her most recent honor, she joins an eminent delivered at Oxford the Mapping Mesopotamian Monuments project group of IFA alumni and faculty members of University, earned the American Academy of Arts and Sciences. the Lionel Trilling Book Prize in 2015. Rituals (Please see the list below compiled by Rebecca the Wall Street Journal, Natural History, and of War: Te Body and Violence in Mesopotamia Rushfeld.) Of her election, Zainab remarked, Te Nation, and have drawn awareness to the (2008) was recognized with the James Henry “I am delighted by this great distinction and appalling destruction of the cultural heritage Breasted Book Prize in 2009 awarded by acknowledgement of my work. It is at moments of Iraq during the Gulf Wars of 1990 and the American Historical Association for the like these when I stop to refect on the time that 2003 and by ISIS, a subject of deep continuing best book in any feld of history prior to I spent as a student at the IFA, because what I concern. In the summer of 2004, she traveled 1000 CE. Earlier books include Te Graven have been able to accomplish in my career is to to Baghdad as Senior Advisor to Iraq’s Ministry Image: Representation in Babylonia and Assyria a great extent built upon what I learned there. of Culture, producing a survey of the war (2003), and Women of Babylon: Gender and I am happy because this honor will permit me damage to the archaeological site of her natal Representation in Mesopotamia (2001). to bring more attention to the importance of city and working on the rehabilitation of the the art and archaeology of the Near East in the In addition to these books, and numerous Iraqi Museum that had been looted during years to come.” scholarly essays in Zainab’s area of the US invasion. In 2012, she envisioned specialization, are her articles for a broader and founded Columbia University’s ongoing Susan Grace Galassi and Katherine Schwab, public, which have appeared in Te Guardian, project, Mapping Mesopotamian Monuments, Co-chairs of the Cook Committee

I IFA Alumni and Faculty Members of the American Academy of Arts and Sciences

Alumni: Zainab Bahrani (2020), Walter Cahn (2014), Carol Caruso Mancusi-Ungaro (2009), Anne L. Poulet (2006), Phyllis Williams Lehmann (1979), Leo Steinberg (1978), Creighton Eddy Gilbert (1964), and James Sloss Ackerman (1963) Faculty: Tomas Crow (2001), Jonathan Brown (1996), Willibald Sauerländer (1994), William Rubin (1985), and Craig Hugh Smyth (1978) Alumni and Faculty: Marvin Trachtenberg (2012), Linda Nochlin (1992), and Robert Rosenblum (1984)

9 In Memoriam

Iris Love Trailblazing Archaeologist, 1933-2020

Iris Love, an adventuresome and energetic archaeologist and the discoverer, in 1969, of the Temple of Aphrodite at Knidos in present- day Turkey, passed away on April 17, at the age of 86, after contracting Covid-19. Love’s life is a testament to her passion for discovery and trailblazing spirit. Born in 1933, Iris Love’s childhood memories include anecdotes which hint at her budding passion for excavations. Love described regularly digging in the back of her family’s property in Goshen, New York, in an attempt to discover evidence of Native American Iris Love at the settlements. In a 1971 interview with New Temple of Aphrodite York Times reporter Elisabeth Stevens, Love in 1969 stated, “I hunted for artifacts, and when I was 9 or 10, I found what I thought was an Warrior sculptures prominently displayed Knidos, was made), delightfully ftting for an Indian burial mound. Of course, it wasn’t, in the Met’s galleries. Love, in advance of archaeologist with her surname. All of this was but it was my frst excavation.” Eventually, the publication of the article, warned the accomplished in a feld in which her gender, her interest would transform from looking for Metropolitan Museum of her research. Te age, and lack of a PhD were regularly used to artifacts from Native cultures to a search for Metropolitan Museum, according to Love, call into question her expertise and presence. quickly published a notice of their own, failing Ancient Greek and Roman material. Tis shift Love would eventually cease work as an to acknowledge Love’s research. stemmed in part from the infuence of the archaeologist to focus her attention elsewhere, family governess (Love grew up in a well-to-do Despite having never gained a PhD—she including on New York’s lively social scene. family), a classicist who introduced Love to completed everything but the dissertation— She was the longtime partner of gossip Greek and Roman mythology and taught her Iris Love was able to secure a teaching position columnist Liz Smith and was mentioned in Greek and Latin when she was still a child. and funding for a major archaeological Andy Warhol’s Diaries on several occasions As a young adult, while completing graduate excavation at Knidos through Long Island and Mick Jagger was said to have visited her work at the Institute of Fine Arts, where University. From 1967 to 1977, she was at excavation at Knidos. In addition, Love would she received her MA, Love worked with the helm of this excavation, which would become well-known for her love of dogs (she her former Smith College professor, Phyllis yield what has been described as one of the often named her dogs after characters in Greek Williams Lehmann, on excavating the greatest archaeological discoveries of the mythology) and eventual professional breeding Sanctuary of the Gods at Samothrace from mid-twentieth century, of the famed Temple of Dachshunds, hosting an annual Dachshund 1955 to 1963. Today, the excavations at of Aphrodite at Knidos (and for which party at the Tavern on the Green in Central Samothrace continue to allow IFA students to Praxiteles’ artistic masterpiece, the Aphrodite of Park and competing successfully in several gain similarly formative feldwork and onsite Westminster Kennel Club shows. research experience. Love will be remembered for her passion and In addition to participating in excavations, at exuberance for excavation and her persistence the Institute of Fine Arts, Love contributed and dedication in a feld which so often to its student-run journal of the time, attempted to exclude her. Love’s excavations Marsyas: Studies in the History of Art. Love’s and research contributed signifcantly to provocative and attention-gaining article, transforming the historically male-dominated entitled, “A Stylistic Discussion Concerning and insular feld of archaeology. the Authenticity of the Tree Etruscan Miquael Williams, current MA student, Warriors in the Metropolitan Museum of Art,” class of ’21, and IFA Alumni Newsletter questioned the authenticity of three Etruscan Iris Love and Liz Smith at the Parthenon, 1976 editorial assistant 10 Leatrice Mendelsohn Expert on Italian Renaissance Art Theory, 1936-2020

Leatrice Mendelsohn, who died January 31, Professor Colin T. Eisler ofers these insights 2020 at the age of 83, attended the High on the signifcance of Dr. Mendelsohn’s School of Music and Art, Vassar College, and scholarship: “Lea’s dissertation and the Institute of Fine Arts, where she earned publications illuminated unusually challenging her PhD. Her book, Paragoni: Benedetto areas in Italian Renaissance art theory. She Varchi’s Due Lezzioni and Cinquecento Art was a pioneer in dealing with the difcult Teory (UMI Research Press, 1982), which topic of the Paragone—comparisons of the was based on her 1978 dissertation, advised varying virtues of painting, sculpture and by H.W. Janson, remains a standard resource architecture. Tis academic subject was one of in the feld. Dr. Mendelsohn also undertook obsessive interest to the great masters of the extensive research on Bronzino, resulting in High Renaissance although we today might several publications, including “Te Devil in fnd it a strange, dry source of fascination. the Details: Ornament as Emblem and Adage Lea did full justice to so arcane yet important in Two Male Portraits by Bronzino,” in Agnolo a topos, clarifed by her brilliance, patience Bronzino: Te Muse of Florence, ed. Liana and resourcefulness. All Renaissance scholars De Girolami Cheney (2014). She taught at are deeply indebted to her for bringing to McMaster University, Union College, SUNY life what could otherwise be a brittle and New Paltz, and other institutions. In recent tedious feld, reviving Paragone’s profound Leatrice Mendelsohn years, she also worked as an independent art importance for such masters as Michelangelo appraiser and consultant. and Leonardo.”

Nadia Tscherny Expert in British Art, 1953-2019

Nadia Tscherny, a beloved friend of the Institute on his own work about the dog in art (Nadia’s of Fine Arts, and of many other communities, favored pets were cats; Robert’s, dogs). died on December 21, 2019 at the age of 66 Te following remembrances are edited from of pancreatic cancer. Adored by colleagues, remarks given at a memorial service held for friends, and family, Nadia is aptly memorialized Nadia on February 29, 2020 at the IFA. in a New York Times obituary notice for her “strength of character, intelligence, wit and love -·- of family and friends.” Te obituary gives this Te Institute of Fine Arts is the place where I, overview of her professional life: like many others, became friends with Nadia Tscherny when we were graduate students so She taught art history at New York long ago. I met Nadia around 1981, almost University and the University of Wisconsin, forty years ago. As I recall, we frst met while and served in curatorial positions at the Frick sitting at the wretched tables that used to Collection, the Yale Center for British Art fll one side of the Great Hall. Tis was long and the Metropolitan Museum of Art. An before things got spifed up, and the décor accomplished writer and academic, Nadia was less Belle Epoque and more Soviet, with published numerous articles in scholarly furniture that was rundown and reused, but journals devoted to her feld of 18th century Nadia Tscherny we old-timers are sentimental about it, because British portraiture. She was also deeply this was a place where lifelong friendships interested in the history of design. Before late eighteenth-century British portraits and began. Most of the time, relationships are built earning her doctorate, Nadia attended Vassar the origins of romanticism. Generous in spirit, gradually, but my friendship with Nadia was College, where she graduated with honors in she served on the Board of Directors of the instantaneous. We immediately liked each art history and was a member of the Phi Beta IFA Alumni Association during the 1990s. In other, and we always had a good time together. Kappa society. 2006, she delivered a lively and incisive talk on Tat was true as we sat at the ratty tables in the Nadia was an active member of the IFA the cat in art at a symposium at NYU to honor Great Hall those many years ago, and it was community, both as a student and after Professor Robert Rosenblum, who had been her true over the last year of her life, when I would graduating in 1986 with a PhD dissertation on advisor; this was a playful and afectionate rif hang out with her during her chemo. 11 Nadia Tscherny CoNTINuED

It was really fun to be with Nadia and be dissertation because, as she was no longer his Life with Nadia was always unexpected and with the people she loved. Across nearly student, he could fnally be her friend and hang lots of fun, but my sweetest and most salient four decades, that world included her sister out with her. memory is seeing her tenderly giving a bottle to Carla, and it included her parents George and the infant Emma on the steps of the IFA on a Nadia always asked big questions about works Sonya who live in a wonderful townhouse balmy summer’s day. of art that we might take for granted and saw on 72nd Street that is an elegant laboratory beauty that others had overlooked, but she was Nearing the end, Nadia told me that she of modern design, whimsical curiosities, and down to earth. I miss her skepticism and her felt it was ok to leave Emma and Caroline Mitteleuropean hospitality that helps explain, wit. I miss the way she responded if I proposed now, because she had seen them through to perhaps, why home meant so much to Nadia. I some half-baked theory or told her some being happy and settled in their own lives. I met her smart and practical boyfriend Geofrey, improbable bit of gossip. She would just laugh remember her brave, open and loving spirit who became her loving husband, and, as the and say, “Oh, baloney!” with the words of Rainer Maria Rilke: years went by, I got to know her wonderful daughters Emma and Caroline. I miss the way Nadia was a ferce defender of Let everything happen to you: her friends. And we, in turn, always knew how beauty and terror I miss so many things about Nadia. I miss how much she loved her family, her cat, the joy of smart she was. Over the years, I attended some Just keep on going being at home. Tat she lived life so fully, in the of her lectures, and I remember, in particular, moment, with love—that was her greatest gift No feeling is fnal learning from her about a Hogarth painting to us. in the Frick Collection. It’s a portrait of Mary Don’t lose sight of me Edwards who, in eighteenth-century Britain, Christopher Noey, MA, ’82 Irene Ciof Whitfeld, PhD ’92 bravely repudiated her aristocratic (by which General Manager of Media Production and Jungian Analytical Psychologist; I mean spendthrift) husband Lord Hamilton, Online Features, Te Metropolitan Museum Independent Scholar preferring to have her children declared of Art (retired); Lecturer illegitimate rather than let her husband control -·- her money. It’s not a typical portrait, nor is -·- My strongest memories of Nadia are of her Mary Edwards a typical eighteenth-century As high-strung redheads, Nadia and I intensity, her brilliant mind, and her infectious woman. But of course not. Nadia always dug immediately experienced a natural afnity laughter. She somehow combined a sort of up the unexpected. when we met at the IFA in 1975. Troughout naive questioning of everything—cocking her the years, and despite living on diferent head as she asked questions—with an incredibly In my sadness following her death, I wanted continents, we stayed very close friends. Our sharp pursuit of truth and a bright smile as she to spend more time with Nadia somehow, so many shared experiences and interests cemented came to understand some new idea or fact. We I began reading things that she had written— a long-lasting friendship—our beginnings as met at the Institute soon after I arrived in 1977. admittedly, thirty years or so later than I should native New Yorkers, an intellectual passion for She was a sophisticated New Yorker, in my eyes, have! I discovered that she wrote brilliant scholarship and art history, and later on, the ups so much more comfortable in the city than so scholarly articles about art historical topics such and downs of marriage and motherhood. many of us rubes. But at the same time, she as British portraits, but also a short, quirky had a certain New York-style innocence about publication about the wonderful collecting Nadia was a warm-hearted, funny and highly the rest of the country, with no idea of what habits of her father George Tscherny. She was entertaining friend with a razor-sharp mind, it would be like to NOT come from NYC. In a beautiful writer, without a trace of the jargon and her life-book was flled with an array of others, it might have been snobbish, but in or scholarly pretension that make so much quirky adventures. While in London doing her, it was absolutely charming. I loved being art history such a chore to read. Her writing research, she had the singular experience of with her, and I am sorry that I missed so many is crystalline, and, like Martha Graham’s being escorted into Brooks’s, a men-only club years between our early friendship and our defnition of great dance, it has clarity and in Mayfair, by the soigné aristocrat Sir Richard re-connection of late. She was unique, smart, inevitability. It was wonderful to discover this Brinsley Ford, who directed her towards fashionable and lots of fun: my ideal of what simple statement she made about the British Sir Joshua Reynolds’ group portrait of the the Institute of Fine Arts should ofer. eighteenth-century portraits that she loved so Dilettanti Society. Naturally, this forbidden She also was generous to me and helped me much: “What ultimately unites the greatest feminine intrusion by a feisty New York City to get a critical internship that set me of on portraits of this period is that they capture not a redhead instantly woke up the dozing old my career path. likeness, but our imagination.” Nadia captured members who loudly insisted that she be ejected our imagination, too. from the premises immediately. We both Susan Freudenheim, MA ’79 thought this episode hilarious and, even now, I Executive Director, Jewish World Watch, As smart as she was, it was Nadia’s personality cannot think about it without hearing Nadia’s Los Angeles that shone the brightest. Her graduate advisor, laugh—that vivacious, unrestrained and joyful the great professor Robert Rosenblum, told cackle that emanated from her petite frame and me he was so happy when Nadia fnished her her big heart. 12 -·- accents of our favorite professors. Tat intensity Others benefted similarly from Nadia’s acts fostered a friendship that seemed to need no of generosity. She also got me an important explanation. And if you were a friend, you met position. When Everett Fahy, then Director of Nadia’s family, her warm and gracious parents the Te Frick Collection, called Colin Eisler George and Sonia in their beautiful New York asking for a recommendation for a curatorial townhouse, her sister Carla, and of course assistant position at Te Frick, Nadia, then another glossy-haired and handsome person, Colin’s assistant, immediately whispered my Geof Parnass, her then boyfriend and later name to Colin, who in turn gave it to Everett. husband. When Geof occasionally dropped Tus I went to Te Frick, a most marvellous by the Institute, we analyzed him, quickly experience that I owe entirely to Nadia, whose determining that he was the one. kindness was fully repaid when she was later A thread running through it all was Nadia’s hired for the same job. laughter, a beguiling mixture of giggle and In homage to Nadia, gay chortle. I remember standing with Nadia I stopped by the new decades ago, watching her very young daughter British Galleries at the Caroline from the doorway of her room Met on the day of the as she did something delightfully odd and Nadia Tscherny and Geoffrey Parnass on vacation IFA memorial service, whimsical and how it reduced Nadia to an in Florida and I thought about adoring and helpless laugh, almost stifed so as our past. Tinking not to disturb the charming antics of her little happy Emma’s regular visits made her, although back to the time and daughter. the reason for them was never discussed. place that brought us all Stoic and unsentimental, Nadia remained the Tis delight in people never deserted Nadia, together—the Institute in the 1970s—I see a indefatigable and consummate conversationalist nor did her unquenchable curiosity about glossy-haired redhead lounging on a banquette she had always been: quizzing, disagreeing, places and things. I loved that Geof and Nadia in the Oak Room during one of our many enthusiastically sharing an interest, and, of took of for Scandinavia as soon as she was lunchbreaks. Tere was something so vivid course, laughing. It is this laughter that I most done with one set of chemotherapy treatments about that sunlit moment that the memory hear as I think of my dear and vivid friend. to see things she had not seen before. Every has stayed with me all these years, of Nadia moment was to be lived. conversing and laughing with ease. Alison West, PhD ’85, ERYT, C-IAYT Last summer, in the garden of their house in Director, Yoga Union and YU Backcare & It’s hard to recapture the intensity of our days at Ridgewood, Nadia spoke of Geof’s ongoing Scoliosis Center; the Institute—the incessant studying, the side- and wonderful support, of how much joy she Executive Director and Chair, Yoga for by-side memorization of slides, and of course took in Emma and Caroline, of how glad she NY.org, NY State Association for Students, shared jokes about the teaching styles and was of their choice of husbands, and of how Teachers and Studios

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.

13 Dora Wiebenson Innovative, Infuential, and Prolifc Architectural Historian, 1926-2019

wrote extensive reports on the graduate landscape experiences and meanings varied study of architectural history in schools of from place to place. architecture (1977) and departments of art I have reread Te Picturesque Garden in history (1979). France several times over the past forty Professor Wiebenson would probably best like years...I owe Dora for her introduction to to be remembered for the remarkable impact the picturesque garden in France and to she had as a teacher and scholar. Her survey new ways of approaching supposedly fxed of modern architecture at the University of historical narratives. Virginia was particularly renowned. UVA Dora retired from UVA as professor emerita alumna Marie Frank, currently a professor at Dora Wiebenson in 1992, continuing to be a major infuence UMass Lowell, recalls: on the feld until she retired from research Dora Wiebenson, who died on August 20, Her wealth of knowledge and rigorous and writing at the age of 90. She founded 2019 at the age of 93, was a major pioneer exposition of a building’s design elements the scholarly society of the Historians of as both a scholar and a woman in the feld in the Modern survey provided the solid Eighteenth-Century Art and Architecture, of architectural history. She graduated from foundation that so many of us have drawn which honors this notable initiative with the Vassar College in 1946 with a BA and went on upon in our own work. In her seminars she Dora Wiebenson Prize, awarded each year at to graduate study in architecture at Harvard encouraged us to pick topics that again, in its annual meeting to the outstanding graduate University, receiving a MArch in 1951. retrospect, always connected to key ideas or paper presented during the previous year at a Professor Wiebenson continued her studies theories that helped us shape a narrative for scholarly conference or as a sponsored lecture. at the Institute of Fine Arts, where she edited the 19th and 20th centuries. And fnally, In her retirement, she became a pioneering the student-run scholarly journal Marsyas. She I think that behind all the images, and fgure in the study of Central and Eastern received her MA in 1958 and completed her lists, and articles, and books she wanted European architecture, launching the scholarly PhD in 1964 under the direction of Walter us to master was the essential lesson that journal Centropa in 2001 and co-editing the Friedlander. architecture mattered. I have no doubt that seminal volume Te Architecture of Historic Dora’s training as both an architect and an my own teaching and scholarship owe a Hungary with Jzsef Sisa, published by MIT architectural historian, as well perhaps as the debt to her. Press in 1998. fact that her father was a builder, gave her Professor Wiebenson’s exceptional insight into architectural design most infuential scholarly and an extraordinary eye for visual analysis. work is undoubtedly her Before beginning her career as a full-time landmark study of French academic at Columbia University in 1966, landscape architecture, Professor Wiebenson was employed in a Te Picturesque Garden number of leading architecture frms in New in France (1978). York City, including that of Marcel Breuer. Distinguished landscape After two years as a lecturer at Columbia, architect and UVA she joined the faculty of the University of faculty member, Professor Elizabeth K. Meyer, Among the over ffteen volumes on Maryland in 1968, becoming in 1972 one acknowledges this volume as having a profound architectural history Dora Wiebenson wrote, of the frst female full professors in her feld. impact on her own scholarly work and teaching. co-wrote or edited, several are landmarks in In 1977 Dora joined the Department (then She writes: their feld. Tese include her monograph division) of Architectural History at the on Tony Garnier (1969), based on her Her careful scholarship, grounded in University of Virginia. At UVA, she was the IFA MA thesis, and her study of Greek the awareness of the circulation of ideas frst woman to head a department and the Revival architecture (1969), developed from and theories from one region to another, frst to become a full professor at the School her dissertation. Trough her teaching, disassembled the simplistic historical of Architecture. A deeply committed teacher, scholarship and service, she had a profound trope that nations had garden styles. Dora she led eforts to establish the PhD program in impact on the feld of architectural history in introduced us to the ways that ideas Architectural History at UVA, where she also the United States. established a legacy of female leadership. Four transform when they travel, how they of the School’s deans have now been women are translated into new spatial types Lisa Reilly, PhD ’90 and half of the tenured faculty are now female. and practices commensurate to new Professor, Department of Architectural She also shaped the feld at large as head of geographies with particular social tensions History Joint Graduate Program in Art & the Society of Architectural Historians from and political debates. We understood that Architectural History 1974-77. For this organization, she in addition this translation impacted the reception as University of Virginia well as creation of the designed landscape; 14 Carolyn C. Wilson Newmark Noted Scholar of Venetian Art, 1946-2020

Carolyn C. wilson newmark passed away Folger shakespeare library, the renaissance on May 24, 2020 after a valiant struggle with society of America, the Gladys Krieble cancer. After receiving her undergraduate Delmas Foundation, the Fondazione roberto degree from wellesley College, graduating longhi, the national endowment for the with high honors (1968), Carolyn went on to Arts, the Getty Grants Program, and the obtain a MA (1970), a Diploma of Museum robert Vaughan Foundation. In addition training and Connoisseurship (1971), and to her scholarship and museum work, a PhD (1977) at the Institute of Fine Arts. Carolyn taught renaissance art history at the Her dissertation, “Bellini’s Pesaro Altarpiece: University of Maryland, the University of A study in Context and Meaning,” was texas at Austin, the University of Houston, written under the direction of Professor and elsewhere. Colin eisler. research for this study initiated Carolyn and I were classmates at the a lifelong interest in Venetian art, resulting IFA and during those years she happened in numerous publications and a number of to be living around the corner from me awards and fellowships. in Morningside Heights near Columbia Carolyn began her professional life as University. Often my husband would pick Assistant Curator of sculpture at the us both up by car to drive from the IFA on national Gallery of Art in washington east 78th street to the Upper west side, D.C. while there she published, in 1983, Carolyn C. Wilson Newmark taking Carolyn to her apartment building Renaissance Small Bronze Sculpture and on 119th street off Amsterdam Avenue, Associated Decorative Arts at the National Along with Carolyn’s ongoing interest in and then drop me off at 118th street before Gallery of Art. later she served as research Venetian painting, which resulted in several searching for a parking spot. the car rides Curator for renaissance Art at the Museum publications, probably her greatest passion provided opportunities to chat about our of Fine Arts, Houston, where she published was the subject of the veneration of saint courses, professors, and hopes for the future. Italian Paintings, XI-XVI Centuries, in the Joseph during the renaissance, which led we kept in touch over the years and almost Museum of Fine Arts, Houston in 1996. For to essays about its portrayal in colonial always had at least a lunch or dinner at this publication, she won the roland H. Bolivian art and in the work of Georges scholarly meetings or conferences. she was a Bainton Book Prize for Art History and de la tour, Parmigianino, Jan Gossaert, lovely person and will be very much missed. Music (the sixteenth Century studies lorenzo lotto, titian, and others, as well Anita F. Moskowitz, MA ’71, PhD ’78 Conference) and the Vasari Award for the as to her 2001 book, Saint Joseph in Italian Professor emerita, Art History outstanding publication of 1996 by a texas- Renaissance Art and Society: New Directions Department of Art based art historian (library, Dallas Museum and Interpretations. to pursue research on stony Brook University of Art) and also was a fnalist for the College this and other topics, she received several Art Association’s Alfred H. Barr, Jr. Award prestigious grants and fellowships, including for a distinguished museum catalogue. from the samuel H. Kress Foundation, the

15 The Year in Pictures: Alumni at the Institute

The Annual Walter W.S. Cook Lecture, october 29, 2019 Photo credits: Nita Lee Roberts

Speaker Zainab Bahrani, with Cook Lecture Co-Chairs Susan Galassi and Katherine Schwab Kathy introducing Zainab’s talk

Alumni Weekend, october 26, 2019 Photo credits: Louisa Raitt

WIlliam Ambler, Kathryn Calley Galitz, Nadine orenstein, Chris Poggi, and, Alicia Lubowski-Jahn in the oak Room Chris Poggi

Summer 2020 Zoom Lecture on “Landscapes of Construction and Extinction” in the Americas

Edward J. Sullivan, Alumnus and Current IFA Helen Gould Shepard Professor and Deputy Director 16 Faculty Updates

Matthew Adams exploring fourteen mysterious boat graves—each Beauty,” in Shukhov, Formula of Architecture Senior Research containing the burial of a complete 20–25 meter (2019); “Charlotte Perriand dans le champ de Scholar; Director, long wooden boat—discovered accompanying la politique,” in Le Monde nouveau de Charlotte Abydos Project the 3000-year old funerary temple of one of Perriand (2019); “Opus 2: Robert Venturi’s Social Media: Egypt’s early kings; since 2019, the Abydos Metamorphosis of Duke House,” in Complexity web, abydos.org; Project has developed a signifcant presence and Contradiction at Fifty; On Robert Venturi’s blog, abydos.org/ on the web, through its website (abydos.org), “Gentle Manifesto” (2019); “L’architecture des blog; Instagram, @ which includes the project blog (abydos.org/ ‘condensateurs sociaux,’” and “La participation digabydos; Facebook, blog); in addition to written pieces, the blog de l’URSS à l’Exposition des arts décoratifs Abydos Archaeology includes an ongoing video series flmed on-site at de Paris, 1925,” in Rouge; art et utopie au pays Publications: Abydos and presenting a variety of perspectives des Soviets (2019); Le Corbusier: Te Built “Abydos in Late on the project’s work and the experience of Work (2018); L’architecture entre pratique et Antiquity: doing archaeology in Egypt; in tandem with connaissance scientifque (2018); Zevi’s Architects: A View from the Shunet el-Zebib” (2020); the website and blog, the project also shares History and Counter-History of Italian Architecture “Te Origins of Sacredness at Abydos” (2019). substantial content via Instagram, “@digabydos,” 1944-2000 (2018); “Designing within and Special Lectures: “History, Myth, and Egypt’s and Facebook, “Abydos Archaeology.” for War Zones,” in War Zones (2018); “À qui Early Kings at Abydos,” Sohag, 2020; “Abydos: sert l’histoire de l’architecture,” in À quoi sert An Introduction to the Great Land,” Sohag, Jonathan Brown l’histoire de l’architecture aujourd’hui? (2018); “Le 2020; “Te Shunet el-Zebib and the Legacy of Carroll and Milton Corbusier’s Modulor and Debate on Proportion Egypt’s First Kings at Abydos,” Sohag, 2019. Petrie Professor in France,” in Proportional Systems in the History Current Research: Dr. Adams continued to Emeritus of Fine of Architecture; A Critical Reconsideration (2018); oversee a range of research, conservation, and Arts “Fragments of History and Memory,” in NER - outreach initiatives as part of the longstanding Publications: City of the Future (2018); “Autour de la notion IFA feldwork program at Abydos. Tese No solo Velázquez de ‘mémoire collective’ de Maurice Halbwachs, include the systematic investigation of a series (2020); “Preface,” et son appropriation par les urbanistes et of monumental cultic complexes built by in Alonso Berruguete: architectes,” in Les arts de la mémoire et les images Egypt’s frst kings, ca. 3000–2700 BCE. A First Sculptor of mentales (2018); “Te Exhibition Pavilion for related initiative since 2018 is the exploration Renaissance Spain Teodor Ahrenberg,” in Living with Matisse, of Egypt’s—and the world’s—oldest known (2019); Los mundos Picasso and Christo: Teodor Ahrenberg and industrial-scale brewery, built to produce the de Murillo (2018). His Collections (2018); Architecture, modernité, huge volume of beer used in rituals conducted Additional News: Co-curator, with IFA alum modernisation (2017); Architecture de l’avant- in the nearby early royal monuments. Isolated Ronda Kasl, of “Cristobal de Villalpando: garde russe; dessins de la collection Serguéï Tchoban at Abydos during the COVID-19 pandemic Mexican Painter of the Baroque,” Metropolitan (2017); “Le Corbusier’s Architectural Oeuvre, after the regular excavations had ended, Dr. Museum of Art, 2017. or Surprise as a Strategy,” in Le Corbusier, the Adams had the opportunity to collaborate Paths to Creation (2017); “A Lost Vanguard with Egyptian team members—and fellow Jean-Louis Cohen Discovered,” in Architecture as Movement; strandees—in the archaeological exploration Sheldon H. Solow Professor Modern Architecture in South Korea, 1987-1997 of the unpopulated desert west of the site. Te in the History of Architecture (2017); “Verso una storia transurbana delle group identifed caves modifed in late antiquity Publications: Building a New New World: città,” in Historia Rerum. Scritti in onore di to serve as Christian monastic hermitages, desert Amerikanizm in Russian Architecture (2020); Benedetto Gravagnuolo (2017); “L’encyclopédie camps of the Ptolemaic and Roman periods, Architecture et urbanisme dans la France de Vichy et le palimpseste,” in Laboratoire d’Europe, extensive evidence of paleolithic activity, and a (2020); Frank Gehry; Catalogue Raisonné of the Strasbourg 1880-1930 (2017). mysterious series of rock-cut chambers high in Drawings; Volume One, 1954-1978 (2020); Special Lectures: “History and the Future the clif of the side of a canyon. All these places “Kenneth Frampton’s Elusive Constructivism,” of Design Education,” Shanghai, 2019; warrant extensive further investigation and, in Modern Architecture and the Lifeworld: “Americanized Bolshevism and its New New along with the results of the excavations, well Essays in Honor of Kenneth Frampton (2020); Worlds,” Ann Arbor, 2019; “Te Culture illustrate how, even after more than 160 years of “L’invention dans le sang,” in Massimo / Maxime of Reform from Europe to North America scholarly exploration, a major site like Abydos Ketof; parcours entre architecture, art et technique (1880-1914): Strategies and Poetics,” Saaleck- continues to generate completely new and even avec Marie Petit (2020); “Les Champs de la an-der Saale, 2019; colloquium chair, Patientes transformative fndings. modernité,” in Champs-Élysées, histoire & recherches: redécouvertes de Le Corbusier, Paris, Additional News: In 2019, distinguished perspectives (2020); “Le Corbusier et les Juifs : 2019; “Casablanca la juive: Private and Public author Peter Hessler published Te Buried: An propos privés et retenue publique” and “Le Front Architecture 1912-1960,” Stanford, CA, 2018; Archaeology of the Egyptian Revolution, which Populaire de Le Corbusier,” in Le Corbusier concluding lecture in the symposium, How to See features Dr. Adams and the Abydos Project 1930-2020: polémiques, mémoire et histoire Architecture: Bruno Zevi (March ’42),Cambridge, extensively, particularly with reference to the (2020); Ein neues Mainz? Kontroversen um die MA, 2018; colloquium chair, Architectures de response to looting at the site during the uprising Gestalt der Stadt nach 1945, with Hartmut la politique, politiques de l’architecture, Paris, of 2011 and its aftermath; Dr. Adams and the Frank and Volker Ziegler (2019); “L’Atelier 2018; “Cities’ Futures: Seven Questions,” Abydos project were featured in a National Chantorel de Frantz Jourdain: l’architecte and concluding symposium remarks, Ben Geographic Channel documentary, “Egypt’s comme romancier et protagonist,” in L’architecte Guerir, Morocco, 2018; “Le futur des villes,” Lost Wonders,” flmed on-site at Abydos and à la plume (2019); “Networks of Modern Moscow, 2017; “L’héritage de la Révolution,” 17 Faculty Updates CoNTINuED

St. Petersburg, 2017; “Te Cold War City: Publications: Co-author, with William Finbarr Barry Flood Functionality or Community?” Berlin, 2017; A. Sethares and C. Richard Johnson, Jr., William R. Kenan, Jr., Professor of the Humanities; “Figures of the Architext,” Canberra, 2017; “Computational Watermark Enhancement founder and director of the research center colloquium chair, Le musée contemporain: in Leonardo’s Codex Leicester,” Journal of the Silsila: Center for Material Histories, NYU stratégies, espaces, esthétiques, Paris, 2017. American Institute for Conservation (2020); Social Media: https://nyu.academia.edu/ Recent Honors and Awards: Louis Kahn “Unexpected FAME & unFORTUNE,” in FinbarrBarryFlood Scholar in Residence, American Academy in Unexpected Fame: Conservation Approaches Publications: Technologies de dévotion dans les Rome, 2017. to the Preparatory Object, proceedings of the Arts de l’Islam: pèlerins, reliques et copies (2019); Current Research: Te catalogue raisonné of International Conference of the Icon Book and “Introduction,” in Finbarr Barry Flood, ed., Frank Gehry’s drawings; Architecture in Vichy Paper Group, 2018 (2020); “Going beyond Tere Where You Are Not: Selected Writings of France; Paris Moderne, 1914-1945. the Bench: Te Paper Conservator Today,” Kamal Boullata (2019); “Before the Mughals: Restaurator (2019). Material Culture of Pre-Mughal North India,” Tomas Crow Special Lectures: Invited speaker, with William Muqarnas (2019); “Signs of Silence: Epigraphic Rosalie Solow Professor A. Sethares and C. Richard Johnson, Jr., “Te Erasure and the Image of the Word,” in Publications: Te Computational Characterization of Leonardo’s Christiane Gruber, ed., Te Image Debate: Hidden Mod in Modern Papers,” Florence, 2019; invited speaker, “Te Figural Representation in Islam and Across the Art: London 1957-1969 Computational Connoisseurship of Rembrandt’s World (2019); “Iconoclasm,” Encyclopaedia of (2020); “Illuminations Papers,” Cambridge, MA, 2019; “Expanding the Islam 3 (2019); “Picasso the Muslim. Or, How Past and Present in Toolbox, Making Reference Collections Relevant the Bilderverbot Became Modern (Part 2),” Res: the Painting of Mark to Conservation Practice,” Uncasville, CT, 2019. Anthropology and Aesthetics (2018); “Genealogies Rothko,” in Jasper Sharp, Honors and Awards: President, American of Whitewash: ‘Muhammedan Churches,’ ed., Mark Rothko (2019); Institute for Conservation (AIC), 2017-present. Reformation Polemics and the Aesthetics of “Bearing Witness in the Current Research: “Te Computational Modernism,” in Diana Sorensen, ed., Territories Portrait by Luca Del Baldo Art of the Vietnam Era,” Characterization of Leonardo’s Papers,” and Trajectories: Cultures in Circulation (2018); in Melissa Ho, ed., Artists Respond: American Mitteilungen des Kunsthistorischen Institutes in “Bodies, Books and Buildings: Economies Art and the Vietnam War, 1965-1975 (2019); Florenz, publication forthcoming. of Ornament in Juridical Islam,” in David Restoration: Te Fall of Napoleon in the Course Additional News: Member, Association of Ganz and Barbara Schellewald, eds., Clothing of European Art (2018); No Idols: Te Missing North American Graduate Programs in Art Sacred Scripture (2018); contribution to “A Teology of Art (2017). Conservation (ANAGPIC); invited “Museums Questionnaire on Monuments,” October (2018); Special Lectures: Paul Mellon Lecturer in in America” grant review panelist, Institute “Picasso the Muslim. Or, How the Bilderverbot British Art, National Gallery, London, and Yale for Museum and Library Services (IMLS); Became Modern (Part 1),” Res: Anthropology Center for British Art, 2017. invited publication prize juror, Association and Aesthetics (2018); co-editor, with Glru Current Research: Artists in the California of Print Scholars (APS); Advisory Council Necipoğlu, A Companion to Islamic Art and counterculture; the Ancient member, International Foundation for Art Architecture, a two-volume survey of Islamic American Southwest. ,i :::~-:·- Research (IFAR); invited member, Conservation art containing 50 specially commissioned new . ~ 11 Additional News: In 2020, "1, Committee, Te Morgan Library & Museum; essays on Islamic art written by 70 authors with h OI a Chinese translation of ~~ Getty Foundation/Cornell University grant for topics ranging from the time of the Prophet u " Professor Crow’s book, Te ~t f; student work on “Coding Leonardo’s Papers,” Muhammad to the present, and from the Rise of the Sixties: American ! 2019; Samuel H. Kress Foundation Program in Americas to South-East Asia (2017); co-author, and European Art in the " Paintings Conservation grant, 2019. with Glru Necipoğlu, “Frameworks of Islamic Era of Dissent (1996), was Art and Architectural History: Concepts, published by Jiangsu ii Colin Eisler Approaches, and Historiographies,” in vol. 1 of Fenghuang Fine Arts Press. Robert Lehman Professor A Companion to Islamic Art and Architecture; “A In connection with this publication, on July 11 Publications: “Michelangelo’s Pieta Inscription,” Turk in the Dukhang? Comparative Perspectives an online symposium was held, organized by the (2020); “Bringing Artists to Life” (on Vasari and on Elite Dress in Medieval Ladakh and the publisher and Surplus Space, in collaboration Cellini), Wall Street Journal (2019). Caucasus,” in Eva Allinger, Frantz Grenet, with Fudan University in Shanghai, entitled Current Research: Review of a Dutch Christian Jahoda, Maria-Katharina Lang, and “Te Rise, Fall, and ‘Return’ of the Sixties.” publication on a Neapolitan topic, forthcoming Anne Vergat, eds., Interaction in the Himalayas Te event attracted an impressive audience of in Renaissance Quarterly (2021); Roger van and Central Asia: Processes of Transfer, Translation over 4,500. Te co-translators of the book are der Weyden reconstruction; Roger Fry the and Transformation in Art, Archaeology, Tianyuan Deng, a current PhD student under stage designer; American nineteenth-century Religion and Polity (proceedings of the Tird Professor Crow at the IFA, and Wei Jiang, a superimposed photographs; Colonel Higginson’s International Conference of the Société former visiting scholar at the IFA, now a lecturer character as contributing to his art collecting. Européenne pour l’Etude des Civilisations de at Huadong Ligong University in Shanghai. Additional News: Teaching on Zoom proved l’Himalaya et de l’Asie Centrale (2017). a challenging novelty, yielding a welcome new Special Lectures: Invited cycle of lectures, Margaret Holben Ellis sense of intimacy and freedom of exchange Chaire du Louvre, Technologies de devotion Chair of the Conservation Center; Eugene Taw without students’ fear of “being wrong” or dans les arts de l’Islam, Paris, 2019; “Économies Professor of Paper Conservation; Conservation of revealing “ignorance.” Tese negative de la copie et énigmes de la chronologie: le Consultant, Villa La Pietra characteristics, too readily inhibiting learning in problème des bols magico médicinales islamiques the usual face-to-face classroom ambience, are ‘médiévaux,’” Paris, 2019; “Architecture as happily absent from Zoom. 18 Archive: India, Ethiopia and a 12th-century John Hopkins Current Research: Early Italic artistic World System,” New York, 2019; “Connected Associate Professor assemblages; fuzzy urbanism, ornament and Histories? Arabia, India and the Architecture Publications: Editor, architectural accretion; diversity and non- of Medieval Ethiopia,” Oxford, 2019; “A Objects Biographies: elite daily practice in early Roman artistic and Seljuk horizon and pre-Mongol ‘globalism,’” Collaborative architectural production; approaches to heritage York, 2019; Slade Professor lectures, Islam Approaches to Ancient and object biography. and Image: Beyond Aniconism and Iconoclasm, Mediterranean Art Oxford, 2019; CUNY Graduate Center Rewald (2020); “Introduction: Robert Lubar Messeri lecture, “Other Statue Histories: Jacquemart’s Te Long Lives of Associate Professor of Fine Arts Lions and Iconoclasm as Anti-Colonialism in Ancient Objects” MA 1981, PhD 1988 Khedival Egypt,” New York, 2018; Medieval and “Decapitated: Publications: Co-editor with Rémi Labrusse, Academy of America Annual Meeting keynote Reassembling and Mir and Poetry (2020); Mir and the Language of speech, “Materials from the Margins: Islamic Reassessing the Lives of Two Sculpted Heads,” Signs (2020). Connections as Pre-Mongol Globalism,” in Objects Biographies: Collaborative Approaches Additional News: New Administrative Atlanta, 2018; Empires of Faith conference to Ancient Mediterranean Art (2020); “Decoding Appointment as Director of Masters Studies at keynote speech, “Materiality, Sacrality and the the Regia,” Journal of Roman Archaeology (2019); the IFA. Legacies of Late Antiquity,” Oxford, 2018; “Roman Republican Architecture,” in Oxford “Globalism before Europe? Arabia, India and the Bibliographies (2019); “A Collaborative Path for Clemente Marconi Architecture of Medieval Ethiopia,” Cambridge, Research into Ancient Art and Heritage Objects,” James R. McCredie Professor of Greek Art and MA, 2017; “Turning Turk? Elite Dress and in Selected Papers on Ancient Art and Architecture Archaeology and University Professor Islamic Textiles in Medieval Georgia,” Bern, (2018); “Tarquins, Romans, and Architecture Publications: “War and the Life of a Sacred CH, 2017; “Islamic Textiles from Medieval at the Treshold of Republic,” in Te Age of Structure: Weapons from the NYU-UniMi Svaneti,” Svaneti, Republic of Georgia, 2017; Tarquinius Superbus (2017). Excavations in the Main Urban Sanctuary of Popular Cultures of the Middle East and North Special Lectures: “Practicing Diversity in Selinunte” (2020); “New Architectural Work Africa conference keynote speech, “In Search Seven Iugera,” Lund, 2020; “Decapitated: on the Akropolis of Selinous, Sicily: Towards a of Ephemera: Prophetic Sandals, Popular Reassembling the Biographies of Ancient Digital Platform for Cultural Heritage” (2020); Prints, and Transtemporal Flows,” Tbilisi, Mediterranean Objects,” New York, 2020; Selinunte (2019); “Te New Investigations of Republic of Georgia, 2017; “Te Relic as “Te Archaic Legacy of Roman Public Space,” the Institute of Fine Arts–NYU in the Main Image: Prophet Aura in an Age of Technological Sydney, 2020; “Dissolving Boundaries: A Study Urban Sanctuary of Selinunte” (2019); “Te Reproducibility,” London, 2017; “Islam’s ‘Image in Artistic Production Between Rome, Etruria Raw and the Cooked: Scenes of Animal Fights Problem’: A European History,” Milan, 2017; and Latium,”Auckland, 2020; “Architectural on Archaic Greek Sacred Architecture” (2019); Not at Home symposium keynote lecture, Production in Rome: A New Assessment of “Archeologia in Sicilia al tempo dei Borbone: una “Not at Home? Object Lessons from Anomaly,” Evidence for the Long Fifth Century,” Dunedin, revisione” (2019); “New Evidence for Early Greek San Francisco, 2017; “Amplifying Aura? Te 2020; “Sculptural Encrustation, Architectural Settlement on the Acropolis of Selinunte” (2019); Prophetic Sandal in the Ages of Its Technological Accretion and the Visual Semantics of the “Prolegomena to the Study of Sculpture in Sicily Reproducibility,” Portland, OR, 2017; “From Early Roman Cityscape,” New York, 2019; in the Archaic and Classical Periods” (2019); “La the Champs-Élysées to Cairo: Jacquemart’s “Collapsing Time and Culture: the Ficoroni dea del Tempio R” (2018); “Un acroterio equestre Lions and Iconoclasm as Anti-Colonialism,” Cista and the Multivalence of Early Italic Art,” da Selinunte?” (2018); “Modernism in Tree Paris, 2017; “Architecture as Archive: Indian New York, 2019; “Assembling the Multivalence Dimensions: Picasso’s Sculpture vis-à-vis Ancient and Islamic Connections in Medieval Ethiopian of Provincial Emulation: A First Century Greek and Roman Art”(2018); “Sicile Ancienne”: Architecture,” London, 2017; “Does Islam Have Polykleitan Head from Aquitania,” San Diego, Hittorf and the Architecture of Classical Sicily an ‘Image Problem’? Perspectives from European 2019; “Early Rome and the Signifcance of (2017); “Un busto in terracotta dalla fronte del History,” Mumbai, 2017; co-speaker, with Irina Accreting Urbanism,” Cleveland, 2018; “Escaping Tempio R di Selinunte” (2017); “Contextualizing Koshoridze, “Turning Turk? Islamic Textiles Winkelmann’s Rut: Connecting Time and an Animal Sacrifce in the Foundations of and Islamicate Dress in Medieval Georgia Culture in Early Roman Architecture,” Oxford, Temple R: A Preliminary Report of the Institute and Ladakh,” Mumbai, 2017; “A Forgotten 2018; “A Question of Continuity: Te Creation of Fine Arts-NYU Excavations on the Acropolis Cosmopolis: Art and Identity in ‘Arab’ Sind and Experience of Roman Architecture in the of Selinunte (2013–2015 Campaigns)” (2017); (800-1000),” Karachi, 2017. Classical Mediterranean World,” Philadelphia, “Mycenaeans and Others along Western Sicily: A Honors and Awards: Chaire du Louvre, Musée 2017; “Response: Nuovi Studi sulla Regia di View from Selinunte” (2017); “An Attic White- du Louvre, Paris, 2019-20; Slade Professor Roma,” Rome, 2017; “Toward Massive, Online, Ground Lekythos from Temple R at Selinunte” of Fine Art, University of Oxford, 2018-19; Collaborative Virtual Reconstruction,” Leiden, (2017); “Picasso and the Minotaur: A Chapter in Stephen E. Ostrow Distinguished Visitor in the 2017; “Turning on the Lights: Provenance and Modern Mythmaking” (2017); “Te Frames of Visual Arts, Reed College, Portland, OR, 2017. Collections Research between Museums and the Greek Painted Pottery” (2017). Current Research: ACLS-supported book Academy,” Chicago, 2017. Special Lectures: Visiting Professor for the project with Professor Beate Fricke, University of Honors and Awards: Spiro Kostof Award in the Australian Archaeological Institute at Athens Bern, Object Lessons: Artifacts as Archives of pre- History of Architecture and Urbanism, Society of (series of public lectures at various academic Modern Globalism (Princeton University Press); Architectural Historians, 2018; Southeast Society institutions and museums in Sydney, Canberra, book project, Islam and Image—Paradoxical of Architectural Historians Publications Award Armidale, Newcastle, Brisbane, Hobart, Histories (Reaktion Books). for Books, 2018; Gustave O. Arlt Award in the Melbourne, Adelaide, and Perth), August Humanities, Council of Graduate Schools, 2017. 4-September 12, 2019. 19 Faculty Updates CoNTINuED

Honors and Awards: Full Professor of Classical Alexander Nagel Hannelore Roemich Archaeology, University of Milan. Professor Professor Current Research: Greek Temple Decoration; Publications: Co-editor, with Jonathan T.D. Publications: Co-author, with K. Wittstadt Selinunte; Ancient Sicily; Modern Reception of Neil, Bending Concepts: Te Held Essays on Visual and G. Mass-Diegeler, “Accelerated Weathering Classical Art. Art (2019); “Shared Ground (Marie Denise and Long-term Experiments–Conclusions for Villers’ portrait of Marie Joséphine Charlotte Preventive Conservation of Glass Objects,” in Prita Meier du Val d’Ognes at the Metropolitan Museum),” Isabelle Biron, Fanny Alloteau, Odile Majérus, Associate Professor 4Columns (2020); “Raphael: Renaissance Patrice Lehuédé and Daniel Caurant, eds., Publications: “Beyond Underdog,” Air Mail, 2020; “Art in Time,” in Proceedings of the International Symposium on Glass Multiple Modernities: East Adam Lowe, Elizabeth Mitchell, Nicolas Béliard, Degradation in Atmospheric Conditions (2020); co- African Port Cities as the Giulia Fornaciari, Tess Tomassini, Blanca Nieto author, with F. Baldry, “Preventive Conservation Space Between” (2020); and Guendalina Damone, eds., Te Aura in the at Villa La Pietra: Management, Collaboration, “Subjects and Subjugation: Age of Digital Materiality: Rethinking Preservation Education,” in Preventive Conservation in Swahili Coast Studio in the Shadow of an Uncertain Future (2020); Historic Houses and Palace Museums: Assessment Photography in Global “Fugitive Mirror: Art Neither Dead Nor Alive,” in Methodologies and Applications (2020); co-author, Circulation” (2019); Gunhild Borggreen, Maria Fabricius Hansen and with Christine Frohnert, “Time-based Media “Te Surface of Tings: A Rosanna Tindbæk, eds., Dead or Alive! Tracing Art Conservation Education Program at NYU: History of Photography the Animation of Matter in Art and Visual Culture Concept and Perspectives,” Electronic Media from the Swahili Coast” P. V. Parekh, photograph (2020); “Introduction,” in Sheila Schwartz, ed., Review (2017-18). (2019); “Toward an of a young man, Leo Steinberg, Michelangelo’s Paintings: Selected Current Research: “Time-based Media Art Mombasa, Kenya, 1966 Itinerant Art History: (private collection) Essays (2019); “Te Stripping of Art,” “Abstraction Conservation Education and Training Program,” Te Swahili Coast of and Sublimation,” and “Tere Is No Such Ting funded by the Andrew W. Mellon Foundation, Eastern Africa” (2018); co-editor, World on the as the Global,” in Jean-François Charnier, ed., 2018-22 (see https://www.nyu.edu/gsas/dept/ Horizon: Swahili Arts across the Indian Ocean Louvre Abu Dhabi: A World Vision of Art, part fneart/conservation/time-based-media.htm). (2017); “Provocations from the Coast: Toward 1, Time, History, Memory (2019); “Amerasia: a Networked History of Swahili Coast Arts” European Refections of an Emergent World, Patricia Rubin (2017); “Curators’ Notes: Swahili Arts across 1492-ca. 1700,” Journal of Early Modern History Professor Emerita the Indian Ocean” (2017); “Unmoored: On (2019). Publications: “Poetic Design: Sandro Botticelli’s Oceanic Objects in Coastal Eastern Africa, 1700- Special Lectures: “Double Exile,” in the Illustrations to Dante’s Divina Commedia,” 1900” (2017); “Te Swahili House: A Historical symposium “From Plaza Mayor to Washington in Lina Bolzoni, ed., L’iconografa di Dante Ethnography of Modernity” (2017). Square: Spanish Republican Exiles and NYU,” (2020); “Art and the Masquerade of History,” in Recent Honors and Awards: Co-Principal New York, 2019; “Parmigianino’s Cosmos,” Nicholas Chare and Mitchell Frank, eds., History Investigator, NEH Implementation Grant for Cambridge, MA, 2019; presentation and and Art History (2020); foreword to Carlo “World on the Horizon: Swahili Arts Across the discussion of collaborative video project Fugitive Falciani, Vasari, Michelangelo & the Allegory of Indian Ocean” exhibition and book project, 2017. Mirror (with Amelia Saul) at the “Works in Patience (2020); ‘“Pictures with a Past’: Botticelli Current Research: Professor Meier’s current Progress” forum, New York, 2019 and at the in Boston,” in Nathaniel Silver, ed., Botticelli: research focuses on the material technologies European Cultural Studies Program, Princeton, Heroes and Heroines (2019); “George Eliot, Lady and image cultures of travel and transportation. 2019; “Trough the Slant of Night: Te Other Eastlake, and the Humbug of Old Masters,” She is completing a manuscript on Swahili coast Side of the Earth in the Sixteenth Century,” Interdisciplinary Studies in the Long Nineteenth photography, provisionally titled Sea of Tings: Cambridge, MA, 2018. Century (2019); Seen from Behind: Perspectives on A History of Photography from the Swahili Coast Honors and Awards: Collaborative NEH grant the Male Body and Italian Renaissance Art (2018). (under contract with Princeton University Press), for Amerasia: An Inquiry into Imaginative Special Lectures: Discussant, “Verrocchio: il which frames the photograph not as a static Geography, 2016-19 (see http://ifaresearch.org/ maestro di Leonardo” study day, Florence, 2019; image, but as a material artifact constituted amerasia/#). discussant, “Te Renaissance Nude” study day, by mobility, and explores the everyday uses of Current Research: Te role of images and objects London, 2019; “Art and the Masquerade of photographs. Relatedly, she has begun to research in the formation of European worldviews, 1300- History,” Tel Aviv, 2019; “Invention and Design the pre-colonial era and the cultural connections 1700. in Laurentian Florence,” New York, 2019; “‘Te between the Swahili coast and mainland Africa in reverence for old masters is not all humbug a project tentatively titled Ivory in Motion: Shared Rosalia Pumo and superstition’: George Eliot, Lady Eastlake, Object Cultures in Central Africa and the Swahili Field Director, Coordinator and Consulting and the Humbug of Old Masters,” paper in the Coast, which will reveal the ways the Swahili coast Archaeologist, IFA Excavations at Selinunte; conference “‘Knowing as much about art as is part of a larger African history of ivory arts. adjunct professor of Italian Language for Art the cat’: Nineteenth-century Women Writers Professor Meier is also part of an interdisciplinary Historians on Art,” London, 2017; conference session research project called Highway Africa, which Current Research: Two monographs, chair, “Filippino Lippi: Beauty, Invention and focuses on Africa’s postcolonial engineering Architectural Terracottas from Selinunte, and Temple Intelligence,” Florence, 2017. megaprojects; the group’s aim is to reorient the B, IFA Excavations 2007-2010. Recent Honors and Awards: Kunsthistorisches study of infrastructure from the geopolitical to Institut in Florenz/Max-Planck Gesellschaft, the cultural by asking questions about the kinds Visiting Scholar and chair of the MPG KhI of modes of being and seeing such material Scientifc Advisory Committee, 2017-20; interventions engender. 20 Honorary Research Fellow, Courtauld Institute Ambiguities: Paintings by Julio Larraz” (2018); siglos XX, XXI” Montevideo, 2017; “On Luis of Art, 2018. “Close Encounters with Edouard Duval-Carrié: A Buuel’s ‘Exterminating Angel’ in a Mexican Current Research: Preparation of two papers: Quarter Century of Friendship & Collaboration,” Context,” New York, 2017; “Samba as Metaphor: “Sense and Sensibility in Italian Renaissance in De-Colonizing Refnement: Contemporary Performativity in Brazilian Art, 1960s-1990s,” Sculpture,” keynote address for the conference, Pursuits in the Art of Edouard Duval-Carrié Gainesville, FL, 2017; “Between Toledo and “Sculpter à la Renaissance: un art pour (é) (2018); exhibition review, “Tamayo: Te New Buenos Aires: Radical Modernity and the Mystic mouvoir,” Louvre, Paris, connected with the York Years,” Te Burlington Magazine (2018); Cosmovision of Esteban Lisa (1895-1983),” exhibition, “Le corps et l’âme. Sculptures book review, “Abstraction in Reverse: Te Re- New York, 2017; “Esteban Lisa: El Gabinete italiennes de Donatello à Michel-Ange (1460- confgured Spectator in Mid-Twentieth Century Abstracto,” Cuenca, 2017; “Lygia Pape: Past & 1520)” (date tbd); and, “Masks, Monsters, and Latin American Art by Alexander Alberro,” Te Present,” New York, 2017; “Making the Americas Monkey-business in Sixteenth-century Italian Burlington Magazine (2018); “Esteban Lisa: from Modern: Images of Nationhood in the Caribbean Art,” international workshop, “Disturbing Bodies: Margin to Mainstream,” in Esteban Lisa: Te and Central America, 1920-1950,” Boston, Images and Imaginary during Early Modern Abstract Cabinet (2017); “Portuguese Art History: 2017; “Philippine Modern Art: A Historical Period,” organized by the Académie de France A View from North America and Observations Perspective,” New York, 2017; “Frida Kahlo à Rome, the Centre André Chastel-CNRS/ on the Portuguese Baroque,” Journal of Art as Subject and Object in Contemporary Art,” Sorbonne Université (Paris), the Università IUAV Historiography (2017); “Francisco Toledo: the Tucson, 2017. in Venice, at Villa Medici in Rome, 2020. 1970s–Creativity and Consolidation,” in Francisco Recent Honors and Awards: CAA Award for Toledo Catalogue Raisonné, vol. 2 (2017); book Distinguished Teaching of Art History, 2019. Robert Slifkin review, “Picturing the Proletariat: Artists and Current Research: Landscape art and ecological Associate Professor of Fine Arts Labor in Revolutionary Mexico, 1908-1940,” activism in the Americas from Alexander von Publications: Te New Monuments and the End of Te Burlington Magazine (2018); “Adis Utopia: Humboldt to Roberto Burle Marx; artists and Man: U.S. Sculpture between War and Peace, 1945- Dreams and Deception in Cuban Art since 1950,” choreographers in the Americas, c.1910-60. 1975 (2019). Te Burlington Magazine (2017); exhibition review, “Lygia Pape: A Multitude of Forms,” Te Telma K. Tomas Edward Sullivan Burlington Magazine (2017); exhibition review, Associate Professor Helen Gould “Painting the Revolution: Mexican Modernism MA 1982, PhD 1990 Shepard Professor 1910-1950” and “Mexique,” Te Burlington Publications: “Te Honorifc Mantle as in the History of Magazine (2017); exhibition review, “Hélio Furnishing for the Household Memory Teater in Art and Deputy Oiticica,” Te Burlington Magazine (2017); Late Antiquity: A Case Study from the Monastery Director exhibition review, “Catalina Chervín. Cecilia de of Apa Apollo at Bawit” (2019); “Portraits of Apa PhD 1979 Torres Ltd. New York,” in Art Nexus (2017). Jeremias at His Monastery in Memphis (Saqqara) Publications: Special Lectures: “Roberto Burle Marx: as Prophet, Holy Man, and Philosopher” (2019); “Black Visualities Landscape as Activism,” Chicago, 2020; “Mexican “Monumental Remnants: Gail Rothschild in Puerto Photography: Modern to Contemporary Interprets Late Antique Textiles” (2018); Rico and the Practices,” Cork, 2019; “Caribbean: Temes “Perspectives on the Wide World of Luxury: Late Dominican Republic: Nineteenth and Twentieth and Variations,” Cork, 2019; “Frida Kahlo and Antique Silk Finds from Syria and Egypt” (2017). Centuries,” in Henry Louis Gates Jr. and David Contemporary Art,” Dublin, 2019; “Roberto Lectures: “New Territory, New Challenges” for Bindman, eds., Image of the Black in Western Art Burle Marx at the New York Botanical Garden,” the panel discussion, “ICMA and Expanding (forthcoming, fall 2020); “Transatlantic Maruja New York, 2019; “Spanish Exile Artists and the Medieval World,” Chicago, 2020; “Monastic Mallo: Women Artists of the American Vanguard Scholars at New York University During the Lessons in Cloth from Late Antique Egypt: Movements,” in Maruja Mallo. Catálogo razonado Spanish Civil War 1936-39,” New York, 2019; Worn, Embodied, and Remembered,” Princeton, (2020); “Border Crossings—Vida Americana moderator, “Estridentismo in Mexican art of the 2020, and Berkeley, 2019; “Wool as a Medium at the Whitney, Reviewed” (2020); Brazilian 1920s,” New York, 2019; “Tirty Years of Anglo- for Prestige Goods along the Silk Road (First to Modern: Te Living Art of Roberto Burle Marx American Scholarship on Brazilian Modern and Sixth Centuries CE),” Washington DC, 2019; (2019); “El arte brasileo en el extranjero: Contemporary Art,” New York, 2019; respondent, “Te Heraclius Silk in Liège: Musings on Motifs, exposiciones y adquisiciones desde 1940 hasta Caribbean Art, Colonialism and Commodities: Te Patterning, and the Ornamented World,” Bern, hoy,” in María Sánchez Llorens and Manuel Art of Edouard Duval-Carrié, New York, 2019; 2019. Fontan del Junco, eds., Lina Bo Bardi: Tupi or “Juan Soriano: Homenaje personal y semblanza Additional News: Dr. Tomas has just completed Not Tupi (2019); “Trace and Testimony: Te surrealista,” Cuernavaca, 2018; “An Inevitable her frst year as Director of Graduate Studies at Drawings of Marcelo Bonevardi,” in Marcelo Partnership: Museums, Libraries and Archives,” the Institute; she has contributed an account of Bonevardi. Magic Made Manifest (2019); “New Phoenix, 2018; “Landscapes and Cityscapes of the her work in this position to the Institute’s 2019- MoMA Ofers Pleasures & Possibilities for Americas, 1910-1960,” Houston, 2018; “Mariano 2020 Annual. Learning More,” Art News (2019); Making the Fortuny en América,” Madrid, 2018; “Landscapes Americas Modern: Hemispheric Art 1910-1960 of Desire: Te Caribbean–Sugar, Enslavement (2018); editor, Processing: Paintings and Prints and Colonialism,” Ithaca, NY, 2018; “Francisco by Roberto Juarez (2018); editor, Te Americas Oller and Maestro Rafael Cordero: Revising Revealed: Collecting Colonial and Modern Latin Questions of Black Identity and Transference in American Art in the United States (2018); “José Late Colonial Puerto Rico,” Cambridge, MA, Gurvich: Between Tradition and Radicality,” 2018; “Pasin por el coleccionismo: Mecenazgo in José Gurvich (1927-1974) (2018); “Tangible norteamericano del arte latino-americano, 21 Alumni Updates

Editor’s note: Tis year the listing of alumni updates is organized alphabetically by last name, without the traditional division by decade. We think this new arrangement will make it easier to locate friends and colleagues. Your feedback is welcome. Abigail Abric “Double-Takes: A Conversation with Alisa in the Visual Arts (CASVA), 2018-2019; MA 2018 Baremboym,” Sculpture (2018) “Interiors,” in Institute of Fine Arts Distinguished Alumna Primary Advisor: Kent Minturn Nostalgia: A Guide to Collective Melancholie and Commencement Speaker, 2018; Knight Email Address: [email protected] (2018); “Horror and Hope,” in Lee Bul in the Order of Orange-Nassau from King Latest Position: Sales Assistant to a Senior (2018); “Te Missing Are Presumed Dead,” in Willem-Alexander of Te Netherlands, 2017. Partner at David Zwirner Olivier Masmonteil (2018); “An Architecture Additional News: After nearly twenty years of Light,” in Michael Taylor: Traversing Parallels as senior curator of European painting at the Candace Adelson (2018); “Gravity’s Pull: A Conversation with MFA in Boston, Dr. Baer began her present MA 1974, PhD 1989 Mathilde Roussel,” Sculpture (2017); “Alberto position at the Princeton University Art Primary Advisors: Sir John Pope-Hennessy, Burri: Te Trauma of Painting,” caa.reviews Museum in May 2019. Olga Raggio, and Horst Janson (2017); “Te Dance of Beauty and Failure: A Mailing Address: 916 General George Patton Conversation with Michelle Segre,” Sculpture William Barcham Road, Nashville, TN 37221 (2017). PhD 1974 Email Address: [email protected] Lectures: “Te Artistic Patronage of Isabella Primary Advisor: Donald Posner Latest Position: Senior Curator of Fashion & d’Este,” Rochester, NY, 2019; “Paintings Mailing Address: 1 Greene Street, Textiles, Tennessee State Museum, about Power,” Gettysburg, 2018; “Te Jersey City, NJ 07302 Nashville, TN Introduction of Modern Design into 20th and Email Address: [email protected] Publications: “Between the Layers: Art & 21st Century European and American Art,” Latest Position: Professor of the History of Story in Tennessee Quilts” (2019). Ferrara, 2017; “Alberto Burri: Reinventing Art, Fashion Institute of Technology, SUNY Additional News: Retired from the Tennessee Painting,” Rochester, NY, 2017. Publications: Co-author with Catherine State Museum in June 2019. Upcoming Projects: Rachel Harrison; Puglisi, Art and Faith in the Venetian World: Cimabue. Venerating Christ as the Man of Sorrows (2019); Michaël Amy Additional News: Contributing Editor, “Jacopo da Montagnana, the ‘Man of Sorrows’ MA 1989, PhD 1997 Sculpture, since August 2017. and the Bellini,” Artibus et Historiae (2019); Primary Advisor: Tiepolo’s Pictorial Imagination, Drawings for Kathleen Weil-Garris Ronni Baer Palazzo Clerici (2017). Brandt PhD 1990 Lectures: “Il ‘Carro del Sole’ di Giambattista Mailing Address: Primary Advisor: Tiepolo in Palazzo Clerici, Milano: Disegni School of Art, College Egbert Haverkamp- Preparatori,” Genoa, 2019; “‘L’uomo of Art and Design, Begemann dei dolori’ nell’arte veneziana, Storia e Rochester Institute of Email Address: Metamorfosi del Cristo passo,” Genoa, 2019; Technology, 73 Lomb [email protected] “Tiepolo’s First Giant Footsteps: Frescoes for Memorial Drive, Rochester, NY 14623 Latest Position: the Milanese Aristocracy in the 1730s,” New Email Address: Allen R. Adler, Class York, 2019. [email protected] of 1967, Distinguished Curator and Lecturer, Upcoming Projects: Doge Alvise IV Social Media: https://rit.academia.edu/ Princeton University Art Museum Mocenigo of Venice as Collector; the MAmy Publications: “In Search of Major Masters: Drawings of Gian Antonio Guardi. Latest Position: Professor of Art History, RIT Boston’s History of Collecting Flemish Publications: “Sarah Lucas: Naked Honesty,” Baroque Painting,” in America and the Art of Beryl Barr-Sharrar Sculpture (2020); “Cathy Wilkes: Ugly Flanders (2020); “Image of Repentance: Dou’s MA 1972, PhD 1980 Archetypes,” Sculpture (2019); “Cultivating Magdalen in Princeton,” in Connoisseurship: Primary Advisor: P. H. von Blanckenhagen Dualities: A Conversation with Li Hongwei,” Essays in Honour of Fred G. Meijer (2020); “A Mailing Address: 311 E 72nd St., Apt 14B, Sculpture (2019); “Florentiner Malerei: Alte Painter’s Painter: El Greco and Boston,” in New York, NY 10021 Pinakothek: Die Gemälde des 14. bis 16. El Greco Comes to America: Te Discovery of a Email Address: [email protected] Jahrhunderts,” Renaissance Quarterly (2019); Modern Old Master (2017); “Herring Seller Social Media: http://berylbarr-sharrar.com/ “Li Hongwei: Tradition and Change,” in and Boy,” in Te Leiden Collection Catalogue (website as painter) Beyond Refection: Te Art of Li Hongwei (2017). Latest Position: Adjunct Professor of Fine (2018); “Critical Tinking in Art,” in Lectures: “Te Making of Class Distinctions,” Arts, IFA, NYU Applied Critical Tinking: Critical Tinking Princeton, 2019; “Te Dutch Gift: 2017 Publications: Review, “Chiara Tarditi, to Making (2018); “Forms of Proliferation: Edition,” Richmond, 2017; “Gerrit Dou and Bronze Vessels from the Acropolis: Style and A Conversation with Sof Żezmer,” Sculpture the Masters of Genre Painting,” Dublin, 2017. Decoration in Athenian Production Between (2018); “Context Adds Meaning,” in Johan Recent Honors and Awards: Board of the Sixth and Fifth Centuries BC,” Gnomon Tahon: Wir berleben das Licht (2018); Advisors, Center for the Advanced Study (2019); Abstract, “Toughts on the Artistic 22 Legacy of Fourth-Century BC Macedonia Franco’s Victory As Reconquest: Te 1940 1939,” “Ral Anguiano, 1 de mayo de to the Roman Republic” in 120th Annual Exposicin de la Hispanidad,” New York, 1939: salvamos el mundo del fascismo (First Meeting Abstracts, Archaeological Institute of 2018; “Evolving Taxonomies at Te Museum of May 1939: let’s save the world from America (2019); Review, “William Childs, of Modern Art in the 1930s and ’40s and fascism), 1939,” “Ester Hernández, Sun Art and Aesthetics of the Fourth Century BCE,” the Defnitions of the “Latin American Mad, 1982,” in Art Latin America: Against American Journal of Archaeology (2019); Collection,” Buenos Aires, 2018; “Elaine the Survey (2019); “Identity Tourism: Staging “Suggestions for an Athenian Origin of the Johnson (17/12/1928-1979) en el Museum Studio Photography in the 19th Century,” Silver Calyx Cup of the Macedonian Type,” of Modern Art: Recuperando una comisaria y in A Companion to Nineteenth Century Art in Τιμητικός τόμος (2017); Review, “Jens M. conservadora en los archivos,” Madrid, 2017. (2018); Book Review: “‘All Museums are Sex Daehner and Kenneth Lapatin, eds., Power Upcoming Projects: An exhibition at Museums’: Jennifer Tyburczy, Sex Museums: and Pathos: Bronze Sculpture of the Hellenistic NYU’s Kimmel Windows that I curated with Te Politics and Performance of Display,” World,” (2017); Abstract, “Te Mahdia and undergraduate students (currently postponed Women’s Review of Books (2018); “Responding J. Paul Getty Museum Bronze Herms of until next year): “Fighting Fascism: Visual to Modern Sensibilities: Emma and Edvard Dionysus: New Observations” in Abstracts, Culture of the Spanish Civil War From New Entangled,” Text Matters (2017); “Edvard the Archaeological Institute of America 118th York University’s Tamiment Library Abraham Munch’s Topographic Codes,” Venezia Arti Annual Meeting (2017). Lincoln Brigade Archives.” (2017); “Te Business of Being Edvard Upcoming Projects: A book, Shapes of Additional News: Miriam Basilio’s frst artist’s Munch,” in Edvard Munch: Between the Hellenistic Luxury. Gold, Silver and Bronze book, Retratos Hablados/Spoken Portraits, was Clock and the Bed (2017); “Scratching the Banquet Vessels from Philip II of Macedon to published (2020). Surface: On and In Self Portrait (1895),” the End of the Roman Republic (supported by a Kunst og Kultur (2017); “Baroque Modernism: Guggenheim Foundation Fellowship, awarded Joshua Bell Willumsen Viewed through the Fold,” in in 2015). MA 2016 J. F. Willumsen: Den vilde, vovede og sene Additional News: Since August 2018, Primary Advisor: Colin Eisler Willumsen, ed. Jeanne Rank Schelde (2017). Visiting Scholar, Institute of Fine Arts, NYU. Email Address: [email protected] Lectures: “L.A. Ring, Denmark, and the Latest Position: Senior Major Gifts Ofcer, Treshold of Modernity,” Greenwich, CT, Miriam Margarita Basilio Gaztambide Te Studio Museum in Harlem 2020; “Self and Selfe,” Stockholm, 2020; MA 1995, “Whose Golden Age?” Helsinki, 2020; PhD 2002 Pamela Berger “Edvard Munch’s Interruptions: Image, Primary PhD 1974 Matter, and the Self,” London, 2019; “Edvard Advisors: Primary Advisor: Hugo Buchthal Munch’s Science,” Oslo, 2019; “Danh Robert Lubar Mailing Address: 9 Merrill St., Cambridge, Vo’s Walls of Memory,” Providence, R.I., and Edward J. MA 02139 2019; “Edvard Munch’s Vitalist Bodies,” Sullivan Email Address: [email protected] Brighton, UK, 2019; “Artists-Images-Action, Email Address: Latest Position: Professor, Boston College 1960s-1980s,” Boston, 2019; conference [email protected] Publications: Hebrew Psalms and the Utrecht respondent, “Symbolist Art in the Baltic Sea Latest Position: Associate Professor of Art Psalter: Veiled Origins (2020). Region,” Tallinn, Estonia, 2019; symposium History and Museum Studies, New York Lectures: “Hidden in Plain Sight: Changing introduction and response, “Visionary: University Perceptions of the Dome of the Rock,” On Hilma af Klint and the Spirit of Her Publications: “Recuperando a Elaine L. Chestnut Hill, MA, 2019; “Te Dome of the Time,” New York, 2018; “Identity Tourism Johnson, comisaria entre campos enfrentados Rock as Image of the Ancient Jewish Temple and the Painted Surface,” Joplin, Missouri, en Te Museum of Modern Art durante in Christian, Muslim, and Jewish Art,” Mainz, 2018; “Te Spanish Flu, Te Artist’s Body, la Guerra Fría,” in Atlántico frío: historias 2018; “Te Dome of the Rock as Image of and Disease as Autofction,” Oslo, 2018; transnacionales del arte y la política en los the Ancient Jewish Temple,” Cambridge, MA, “Te Vienna Secession,” Boston, 2018; tiempos del teln de acero (2019); “Evolving 2017. “Making a Landscape, Inventing a People,” Taxonomies at Te Museum of Modern Art in Berlin, 2018; “Te Experimental Self: the 1930s and ‘40s and the Defnitions of the Patricia G. Berman Contemporary Perspectives,” New York, 2018; ‘Latin American Collection,’” in Te Americas PhD 1989 “Whitewashing Whiteness in Vitalist Art,” Revealed: Collecting Colonial and Latin Primary Advisor: Kirk Varnedoe Los Angeles, 2018; “Dreaming Vertically: American Art in the United States (2018). Email Address: [email protected] Mountainscapes and Nation Building,” Lectures: “En un lugar preferente y de Latest Position: Teodora L. and Stanley H. Hartford, CT, 2017; “Modern Sensibilities,” honor,” Barcelona 2020; “Michelle Vaughan’s Feldberg Professor, Wellesley College Oslo, 2017. Generaciones: Genealogías del arte y del Publications: “Edvard Munch og det Additional News: Dr. Berman’s exhibition poder,” Santiago de Compostela, 2019; fotografske avbruddets kunst,” in Edvard “Te Experimental Self: Edvard Munch’s “Spanish Dynasties: Portraits, Copies, and Munch: I Oss er det Verdener (2019); “Sergio Photography” opened in 2020 at the Munch Controversy,” New York, 2018; “Staging Sergi, El anonimo (Te Anonymous One), Museum in Oslo and also as a parallel online 23 Alumni Updates CoNTINuED exhibition, https://the-experimental-self. Upcoming Projects: Infrastructure Aesthetics. Lectures: “Ecocriticism and the Anthropocene munchmuseet.no/. Te exhibition opened at in 19th century Art and Visual Culture,” Scandinavia House in NY in 2016, traveled Wanda Corn Davis, CA, 2019; “Deep Sea Visual Culture in to Joplin, Missouri, Bergen, Norway, and MA 1965, PhD Fin-de-Siècle France,” Kansas City, 2019; “Te Stockholm, Sweden, and is scheduled to open 1974 Last Fish: An Ecomaterialist Visual Culture in Seattle in Fall 2020. Primary Advisors: of Ocean Commons, 1600-1900,” New York, Robert Goldwater 2019; “Confuence: Painting Seawater Across Rosina Buckland and H.W. Janson the Nineteenth-century Atlantic,” Princeton, PhD 2008 Mailing Address: 2018; “Coastal Visual Culture and Postcolonial Primary Advisor: Melanie Trede PO Box 1299, Ecocriticism in Brittany,” St. Andrews, 2018; Mailing Address: Dept of Asia, British Sagamore Beach, “Tide Line Gleaners,” Victoria (Canada), Museum, London WC1B 3DG, United MA 02562 2018;“‘Tings are partial, yet organic’: An Kingdom Email Address: [email protected] Ecomaterialist Reading of Paul Géniaux’s Salt Email Address: [email protected] Latest Position: Robert and Ruth Halperin Harvester,” Rochester, 2018. Position: Curator, Japanese Collections, Professor in Art History Emerita, Stanford Recent Honors and Awards: Nineteenth- British Museum University Century Studies Association (NCSA) Publications: Review of Te Tale of Genji Publications: Georgia O’Keefe, Living Modern President’s Award “for sustained service to the Impressions (2020); “A Pair of Handscrolls of (2017). association and signifcant contributions to Edo’s Teatre District and Pleasure Quarter” Recent Honors and Awards: Georgia nineteenth-century studies,” 2017. (2018). O’Keefe, Living Modern won Honorable Additional News: Guest curator for special Mention, Alfred H. Barr Jr. Award, College Andria Derstine exhibition of Japanese drawings, “Drawing on Art Association, and Dedalus Foundation MA 1996, PhD 2004 Nature: Taki Katei’s Japan,” World Museum, Exhibition Catalogue Award, 2017; Honorary Primary Advisor: Donald Posner Liverpool, October 2019-March 2020; Doctor of Fine Arts Degree, Bates College, Mailing Address: Allen Memorial Art appointed curator of the Japanese collections 2017. Museum, 87 N. Main St., Oberlin, at the British Museum [permanent position], Upcoming Projects: A book on Grant Wood’s OH 44074 from April 2020. painting, American Gothic. Email Address: [email protected] Additional News: Te exhibition Dr. Corn Latest Position: John G. W. Cowles Director, Elizabeth Buhe guest-curated, “Georgia O’Keefe, Living Allen Memorial Art Museum PhD 2018 Modern,” originated at the Brooklyn Museum Publications: “Te Allen Memorial Art Primary Advisor: Tomas Crow in 2017 and travelled to six other museums: Museum: Artworks and Music of the Email Address: [email protected] Reynolda House, Peabody-Essex Museum, Baroque,” Newsletter of the Westfeld Center for Latest Position: Terra Postdoctoral Fellow, Cleveland Museum of Art, Wichita Museum Historical Keyboard Studies (2019). Centre for American Art, Courtauld Institute of Art, Reno Museum of Art, and the Norton Lectures: Panelist, “Singular Collections of Art Museum of Art. Brought to Light, Part 1: Ukiyo-e Prints from Additional News: Recently appointed to a the Mary Ainsworth Collection,” New York three-year term as Field Editor for Northeast Maura Coughlin (via Zoom), 2020; “Topics in Curating and Exhibitions for caa.reviews (2020-2023). PhD 2001 Directing at the Allen Memorial Museum, Primary Advisor: Oberlin College,” Hong Kong (via Zoom), Liam Considine Linda Nochlin 2020; “Colors, Sounds, Emotions: A PhD 2012 Email Address: Promenade Trough Paintings at the Allen Primary Advisor: Tomas Crow [email protected] Memorial Art Museum,” with keyboardist AND THE Mailing Address: 551 Myrtle Ave 4R, Social Media: https:// ANTHROPOCENE IN Edoardo Bellotti, Oberlin, 2019. NINETEENTH CENTURY Brooklyn NY 11205 mla.hcommons.org/ ART AND VISUAL CULTURE Email Address: [email protected] members/mcoughli/ Eleni Drakaki Social Media: https://sva.academia.edu/ Latest Position: MA 2000, PhD 2008 LiamConsidine Professor of Visual Primary Advisor: Guenter Kopcke Latest Position: Lecturer, SVA, Te New Studies, Bryant University Email Address: [email protected]; School Publications: Ecocriticism and the Anthropocene [email protected] Publications: American Pop Art in France: in Nineteenth Century Art and Visual Culture Latest Position: Faculty, Te American Politics of the Transatlantic Image (2020). (2019); “Elodie La Villette’s Ecocritical College of Greece Lectures: “Aesthetics of Resistance,” New Painting” (2019); “La Paludière de Billiers,” York, 2019; “Te Political Unconscious of “Le Garçon de Ploubazlanec,” and “La Pop,” New York, 2019; “Te Pop Tableaux,” Sardinerie,’’ in Charles et Paul Géniaux: La New York, 2017. photographie, un destin (2019). 24 Martha Easton Latest Position: Senior Curator of Modern “Barbara Swan: Literary Figures,” in PhD 2001 Art, LACMA (Los Angeles County Museum connection with the publication of Te Primary Advisor: Jonathan J.G. Alexander of Art) Equivalents by Maggie Doherty. Email Address: [email protected] Publications: Betye Saar: Call and Response Latest Position: Assistant Professor, (2019); “Te Spirit of Experimentation: Holly Flora Department of Art and Art History, Saint Barbara Kasten and Lászl Moholy- PhD 2005 Joseph’s University Nagy” (2017; translated into German and Primary Advisor: Publications: “Lost and Found: Te Missing republished, 2020). Jonathan J.G. Flamboyant Gothic Door from the Château Lectures: “Lászl Moholy-Nagy,” Los Angeles, Alexander de Varaignes,” Perspectives Médiévales: Revue 2017. Email Address: d’épistémologie des langues et littératures du Recent Honors and Awards: Association of [email protected] Moyen Âge (2020); “Gender and Sexuality,” in Art Museum Curators (AAMC) Publication Latest Position: A Cultural History of Hair in the Middle Ages Award for Excellence for Betye Saar: Call Professor of Art (2019); “Integrated Pasts: Glencairn Museum and Response catalogue, 2020; Association of History and Associate and Hammond Castle” (2018); “Feminist Art Museum Curators (AAMC) Publication Dean for Faculty Afairs in the School of Art History and Medieval Iconography,” in Award for Excellence (honorable mention) for Liberal Arts, Tulane University Routledge Companion to Medieval Iconography Moholy-Nagy: Future Present catalogue, 2017. Publications: Cimabue and the Franciscans (2017). Upcoming Projects: “Bill Viola: Slowly (2018). Lectures: “Roses and Resistance: Te Turning Narrative,” exhibition at LACMA, Recent Awards and Honors: Awarded the Iconography of Courtly Love in the #MeToo July 2020-March 2021; “Light, Space, Premio San Francesco from the Pontifcal Moment,” Princeton, 2019; “A ‘Fake’ Surface: Art from Southern California,” University of Saint Anthony (Antonianum) Renaissance Madonna and Child and the exhibition with grant-supported multi-author in Rome for the book Cimabue and the Ambience of Authenticity,” Glendale, CA, catalogue, traveling to multiple venues, Franciscans (Brepols/Harvey Miller, 2018). 2019; “American Medievalism at Hammond September 2021-September 2022. Te prize is given to the best book published Castle,” Leeds, UK, 2019; “Gender and Additional News: “Betye Saar: Call in Franciscan studies between 2017 and 2019 Sexuality,” Kalamazoo, MI, 2019; “Hairiness, and Response” short online exhibition and carries a 6000 euro award. Hairlessness, and Gender in Medieval walkthrough (video) available at https://youtu. Art,” Princeton, 2019; “A Medieval Castle be/IZd9PQpQx3Y. Ana Franco in Massachusetts: Hammond Castle and PhD 2012 the Reuse of the Past,” for the conference Joanna Fink Primary Advisor: “Reuse Reconsidered,” Providence, RI, 2017; MA 1983 Edward J. Sullivan “‘Te Most Extraordinary Art Museum in Primary Advisor: Jonathan Brown Email Address: the World’: Inventing Medievalism at the Mailing Address: 6 Ballord Place, Cambridge, [email protected] Hammond Castle Museum in Gloucester, MA 02139 Social Media: https:// Massachusetts,” New York, 2017; “Artists Email Address: [email protected] facartes.uniandes.edu. and Autonomy: Written Instructions and Social Media: www.alphagallery.com; co/miembro/ana-maria- Preliminary Drawings for the Illuminator in facebook.com/alphagallery; @alphagallerybos franco/ the Huntington Library Legenda aurea (HM Latest Position: Director, Alpha Gallery Latest Position: Associate 3027),” Kalamazoo, MI, 2017. Publications: Modernism and its Legacy (2018). Professor, Department of Upcoming Projects: “Artists and Autonomy: Upcoming Projects: Year-long curatorial Art History, Universidad Written Instructions and Preliminary project for Southern New Hampshire de los Andes (Bogota) Drawings for the Illuminator in the University, 2021-2022. Publications: Neoclásicos: Huntington Library ‘Legenda aurea’ (HM Additional News: Curated “Contemporary Edgar Negret y Eduardo 3027),” will be published in the 2021 issue of Responses to Modernism: A New England Ramirez Villamizar entre Studies in Iconography. Perspective” at the University of Southern Paris, Nueva York y Bogota Maine, Fall 2019, and “Modernism and (2019); co-editor, New Geographies of Abstract Carol Eliel Its Legacy” at Southern New Hampshire Art in Postwar Latin American Art (2019).

MA 1979, ;; I University, 2018; current online exhibition, Lectures: “Informalist Painting in Colombia: PhD 1985 :i '""''" A Language of Negation and Resistance,” Primary :t.. Chicago, 2019. Advisor: ~I Honors and Awards: Latin American Robert :1: Collection Fellow, Cisneros Institute at the Rosenblum Museum of Modern Art, 2019-2020. Email Additional News: Vice-president, Association Address: [email protected] for Latin American Art (ALAA). Social Media: @carolseliel (Instagram) Installation view of “Modernism and Its Legacy,” Southern New Hampshire university 25 Alumni Updates CoNTINuED

Wayne Franits Publications: “Rmulo Rozo: A Colombian Social Media: PhD 1987 Sculptor in Paris,” in Rmulo Rozo ¿Una https://artconservationgroup.com/ Primary Advisor: vanguardia propia? (2020); “Latin American Latest Position: Assistant Objects Egbert Haverkamp-Begemann Artists at the Académie Lhote,” in André Lhote Conservator, Art Conservation Group Mailing Address: 217 Crawford Ave., and his International Students (2020); “‘Para Publications: Co-author with Karen Stamm, Syracuse, NY 13224 Francês Ver’: Tarsila do Amaral’s Brazilian “Using Double-walled PVC Foil Molds to Email Address: [email protected] Landscapes,” in Tarsila do Amaral (2019); Separately Cast Large Epoxy Resin Fills for Latest Position: Distinguished Professor of “Looking South: Lincoln Kirstein and Latin Glass Objects,” in Recent Advances in Glass and Art History, Syracuse University American Art,” in Lincoln Kirstein’s Modern Ceramics Conservation (2019); co-author with Publications: “‘Keine Mhe der Welt (2019); “A Celebration of Dance,” in I Karen Stamm, “Seeing Clearly: Casting Epoxy gleicht dem Studium’: Rembrandt und Stand in My Place with My Own Day Here: Fills for Glass Objects Using Transparent die Bildkonvention des Gelehrten in Site-Specifc Art at Te New School (2019); Molds,” in Objects Specialty Group Postprints der niederländischen Genremalerei,” in Transatlantic Encounters: Latin American Artists from AIC 47th Annual Meeting (2019). Inside Rembrandt 1606-1669 (2019); “Vie in Paris between the Wars (2018); co-editor, Additional News: After graduation, domestique et représentation de l’intimité en Art Museums of Latin America: Structuring Rebecca Gridley worked for two years in peinture,” in Dictionnaire des Pays-Bas au Siècle Representation (2018); “Andean Abstraction as the Objects Conservation Department at d’or (2018); “Dutch Seventeenth-Century Displayed at the OAS,” in New Geographies of Te Metropolitan Museum of Art and was Genre Painting,” in Te Cambridge Companion Abstract Art in Postwar Latin America (2018). responsible for the treatment of sixteenth- to the Dutch Golden Age (2018); “A New Lectures: “Two Pioneering Women bring through nineteenth-century Decorative Arts Painting by Dirck van Baburen,” in Te Primacy Abstraction to the Andes,” Chicago, objects for the recently reopened British of the Image: Festschrift for Larry Silver (2017). 2020; “How the Parisian Context Shaped Galleries. Tis past Fall, Gridley joined Art Lectures: “‘New’ Paintings by van Baburen, Expressions of National Identity in Latin Conservation Group, a private practice studio van Honthorst, and ter Brugghen in Relation American Art,” Paris, 2019; “Te Afterlife of owned by IFA alumna Leslie Ransick Gat that to Teir Italian Sojourns,” Te Hague, 2019; Indigenism in the Andes,” New York, 2019; specializes in objects conservation. “What Do We Know about Nicolaes Maes as “Constructing Categories: ‘Latin American a Painter?” Sussex, 2018; “Housewives and Art’ as Curatorial Strategy,” Williamstown, Marc Hajjar Hussies: Constructs of Womanhood in the MA, 2019; “Transatlantic Encounters: MA 2015 Dutch Republic,” Spartanburg, SC, 2019. Latin American Artists in Paris between Primary Advisor: Jonathan Brown the Wars,” Mexico DF, 2018; “‘Walls Like Email Address: [email protected] Maryl Gensheimer Damp Sheets’: Roberto Matta’s Project for an Latest Position: Business Manager, Americas PhD 2013 Apartment,” Lewisburg, PA, 2018; “Vicente at Phillips Auctioneers Primary Advisors: do Rego Monteiro’s Quelques Visages de Paris: Additional News: Recently appointed as a Katherine Welch and Clemente Marconi A Cultural Parody,” Brunswick, ME, 2018; Board Member of the John F. Peto Studio Email Address: [email protected] “Presenting Rivera’s SEP Murals in the French Museum in Island Heights, New Jersey. Social Media: https://umd.academia.edu/ Press,” Mexico, DF, 2018; “Intercultural MarylGensheimer Exchange in Pan-American and Atlantic Rachel Heidenry Latest Position: Associate Professor, Worlds,” Middlebury, VT, 2018; “Artistas MA 2016 University of Maryland Latinoamericanos en París,” Quito, 2017. Primary Advisor: Robert Slifkin Publications: Decoration and Display in Rome’s Recent Honors and Awards: National Email Address: [email protected] Imperial Termae: Messages of Power and their Endowment for the Humanities Fellowship Latest Position: Curatorial Assistant, Popular Reception at the Baths of Caracalla for 2020-21 to support the research and Contemporary Art, Santa Barbara Museum (2018). writing of the book Abstraction in the Andes, of Art Additional News: Promotion to Associate 1950-1970; Best Book in Latin American Publications: “Uncovering the Legacy of Professor with tenure, University of Maryland. Visual Culture Studies, Honorable Mention, María Sodi de Ramos Martínez,” East of for Transatlantic Encounters, 2019. Borneo (2020). Michele Greet Upcoming Projects: Book manuscript in PhD 2004 progress, Abstraction in the Andes, 1950-1970. Julia P. Herzberg Primary Advisor: Edward J. Sullivan Additional News: Promotion to Professor, MA 1987 Mailing Address: 3825 Jancie Rd., Fairfax, 2019. Primary Advisor: VA 22030 Jonathan Brown Email Address: [email protected] Rebecca Gridley Mailing Address: Social Media: http://chnm.gmu.edu/ MS in Conservation 2017, MA 2017 1150 Park Avenue, transatlanticencounters/ Primary Advisors: Michele D. Marincola and New York, NY 10128 Latest Position: Professor, George Mason Patricia L. Rubin Email Address: julia. University Email Address: [email protected] [email protected] 26 Social Media: Twitter: Julia P. Herzberg Patricia Eichenbaum Mailing Address: 1721 Oakwood Drive, Facebook: Julia P. Herzberg Karetzky Norman, OK 73069 Latest Position: Independent curator and art PhD 1979 Email Address: [email protected] historian Primary Advisor: Latest Position: David Ross Boyd

Publications: “Carlos Alfonzo: Transformative Alexander Soper anclZhlngEr Distinguished Professor Emeritus of Art Work from Cuba to Miami and the U.S.,” in Mailing Address: 150 History, School of Visual Arts, University of Carlos Alfonzo: Witnessing Perpetuity (2020); E 69th St., #10N, Oklahoma, Norman “Máximo Corvalán-Pinchera: Padece,” in New York, NY 10021 Publications: “Jean-Léon Gérme’s La Femme Padece (2019); “A Conversation with María Email Address: en Serail” (2018). Elena González: A Trajectory of Sound,” in [email protected] Lectures: “Degas: ‘A Compositional Genius,’” María Elena González: Tree Talk (2019); Social Media: Oklahoma City, 2020; lectures on nineteenth- “María Martínez-Caas: Black Totems and www.karetzky.com century French and American Painting for Imágen Escrita,” in Art Latin America: Against Latest Position: O. Munsterberg Chair in Te University of Oklahoma’s Osher Lifelong the Survey (2019); “An Overview / Um perfl,” Asian Art, Bard College, NY Learning Institute, 2018-20. Josely Carvalho: Diário de Imagens / Diary of Publications: Te Art of Women in Upcoming Projects: Lecturing; writing; Images (2018). Contemporary China: Both Sides Now (2020); consulting; exhibition curating. Lectures: “Máximo Corvalán-Pinchera: “Here, Tere and Everywhere the Buddhist Additional News: Judge of entries from Padece,” Santiago, Chile, 2019; “Carlos Bronzes of Nagapattinam” (2018); “Yang Oklahoma’s 4th district for annual, national Alfonzo: Transformative Work from Cuba to Jinsong’s Paintings: Touch the Possible Congressional Art Competition for high Miami and the U.S.,” Miami, 2020. Shape” (2016–2018); “God Bless the Child: school students, U.S. Capitol, Washington, Upcoming Projects: Research on Cuban- In Memory of Cui Xiuwen” (2018); “I’ll Be D.C., 2020; vice president, national American photographer Rogelio Lpez Marin Your Mirror: Contemporary Indian Art” Koussevitzky Recordings Society, 2017-20; (Gory) for planned exhibition. (2017); “Te Formation of a Daoist Pictorial member, Collections Committee, Mabee- Additional News: Award committee chair, Iconography in the Tang” (2017); “Amazing Gerrer Museum of Art, 2017-20; subject of a Association for Latin American Art (ALAA) Grace: Contemporary Chinese Christian Art” feature article on his teaching in the University Toma Foundation Exhibition Catalogue (2017). of Oklahoma’s student newspaper, Te OU Award, 2020; ALAA award committee Lectures: “Te Discovery of Buddhist Daily, 2018; interviewed by Jay Price on NPR member, 2018-19; board member, ArtTable, Sculptures from Yecheng City in Linzhang for the story, “CIA Calendar Art Ofers A 2019-21. County Hebei, China,” Bristol, UK, 2018; Glimpse Into the World of Spies,” 2018. “Emily Cheng, Recent work and Alchemical Amy Hughes Designs: Authority versus Authenticity,” Karen Kurczynski MA 2014, Advanced Certifcate in Beijing, 2018; “Te Bronze Buddhist PhD 2005 Conservation, 2014 Sculptures of Nagapattinam,” Toronto, 2017; Primary Advisors: Primary Advisor: Margaret Holben Ellis “Foreign Infuences in Te Creation of Hāritī, Robert Lubar and Linda Nochlin Email Address: [email protected] the Buddhist Protector of Children,” New Email Address: [email protected] Latest Position: Paper Conservator, National Delhi, 2017. Social Media: https://www.umass.edu/ Gallery of Art arthistory/member/karen-kurczynski Publications: “Wild and Immaculate: Michael Kohn Latest Position: Associate Professor, History Kenneth Tyler’s Early Use of Handmade Paper MA 1984 of Art and Architecture, UMASS, Amherst at Gemini G.E.L.” (2019). Primary Advisors: Colin Eisler, A. Richard Publications: Te Cobra Movement in Postwar Turner, and Peter von Blanckenhagen Europe: Reanimating Art (2020); CoBrA i en Victoria Jenssen Mailing Address: 1227 N. Highland Ave., brnehave på Østerbro (2020). MA 1975, Conservation Certifcate 1975 Los Angeles, CA 90038 Lectures: “Mancoba and the Invisibility of Primary Advisor: Norbert S. Baer Email Address: [email protected] Black Expression in European Modernism,” Mailing Address: 1668 Whiteside Road, Latest Position: Owner, Kohn Gallery, Los Cape Town, 2020; “War, Memory, and Cleveland, Nova Scotia B0E 1J0 Canada Angeles Renewal in the Art of Cobra,” Ghent, 2019; Email Address: [email protected] Additional News: Recent exhibitions of “Memory and History in the Situationist Social Media: www.caroljaneway.com special note include María Berrio (2019) and Artists’ Books of Guy Debord and Asger Latest Position: Retired Joe Goode, Paintings 1960-2016 (2017). Jorn,” Amherst, 2019; “Else Alfelt, Within Upcoming Projects: “Rediscovering Carol and Beyond Cobra,” Copenhagen, 2019; Janeway’s Mid-century Tiles: Part 2: 1945- Victor Koshkin-Youritzin “Reframing African Representation in 1989,” forthcoming in A Review of American MA 1967, Certifcate in Museum Training Variétés,” Ghent, 2018; “Nordic Surrealism, Tile History. 1969 from Linien to Cobra: New Perspectives Primary Advisors: Robert Rosenblum and on Cultural Liberation,” Oslo, 2018; José Lpez-Rey “Cosmopolitan Humanism: Ferlov, Mancoba, 27 Alumni Updates CoNTINuED

Tajiri and the Art of Cobra,” Amherst, 2018. Marsha Morton Jilleen Nadolny Recent Honors and Awards: PhD 1986 MA 1994, MS in Conservation 1994 UMASS College of Humanities and Fine Arts Email Address: [email protected] Primary Advisor: Margaret Ellis Holben Outstanding Teaching Award, 2020. Latest Position: Professor, Department of Art Mailing Address: 30a Claremont Road, Upcoming Projects: New research toward and Design History, Pratt Institute Twickenham TW122QY UK a book on drawing, race, and politics in Publications: “Nature, Science, and Self in Email Address: [email protected] contemporary art. Nineteenth-Century German Visual Culture,” Social Media: in the forum “Visual Studies – Te Art http://www.artanalysisresearch.com/ Dene Leopold Historians’ View,” German Quarterly (2019); Latest Position: Principal Investigator, Art MA 1971 “Rudolf von Eitelberger and Leopold Carl Analysis & Research Primary Advisors: Richard Krautheimer and Mller: Constructing a Genre of Viennese Publications: “Poisonous and Unstable: H.W. Janson Orientalism,” in Rudolf Eitelberger von Iodine-based Pigments in the Source Mailing Address: 12 East 97 St., Apt.7F, Edelberg, Netzwerker der Kunstwelt (2019); Literature and Beyond” (2017). New York, NY 10029-6918 “Picturing the Perils of Greed: Kladderadatsch Recent Lectures: “Forgery Research in the Email Address: [email protected] and the 1873 Financial Crash,” Journal of Russian Avant Garde’” (upcoming), Cologne, Illustration (2017). 2020; “Science, History and Connoisseurship: Lihong Liu Lectures: “Old Faces in New Places: Leopold Co-dependents in the Court of Law,” PhD 2013 Carl Mller and Friends in Cairo,” the Hague, Cambridge, 2019; “Goncharova and Larionov: Primary Advisors: Jonathan Hay 2019; “Brahmsphantasie: Klinger and the Painting the Future: Presentation of the results Email Address: [email protected] Embodied Sublime,” Jena, Germany, 2018. of the RARP funded research project with the Latest Position: Assistant Professor of Art Additional News: Co-editor with Barbara Museum Ludwig,” London, 2019; “Careers History, University of Michigan Larson of an anthology on race, “volk,” and after Conservation: Technical Art History, Additional News: Lihong Liu joined the ethnography, 2020. Vienna, 2018; “Connoisseurship, Provenance faculty in the History of Art Department at and the Laboratory: Establishing Authenticity the University of Michigan in Fall 2020. Anita Moskowitz in the 21st Century Art World,” Cambridge, MA 1971, PhD 1978 2017. Alisa Luxenberg Primary Advisor: Marvin Trachtenberg PhD 1991 Email Address: Nadine Orenstein Primary Advisor: Robert Rosenblum [email protected] PhD 1992 Mailing Address: University of Georgia, Mailing Address: 420 Riverside Drive, Primary Advisor: Egbert Haverkamp- Lamar Dodd School of Art, 270 River Road, Apt. 8G, New York, NY 10025 Begemann Athens, GA 30602 Latest Position: Professor Emerita of Art Email Address: Email Address: [email protected] History, Stony Brook University [email protected] Latest Position: Professor of Art History, Publications: “Giovanni Freppa, Jack of all Social Media: Instagram - @curatornadine University of Georgia Trades,” Journal of Modern Italian Studies Latest Position: Drue Heinz Curator in Publications: Co-editor and contributor with (2019); “A Newly Discovered Canvas by Charge of the Department of Drawings and Reva Wolf, Freemasonry and the Visual Arts Stefano Bardini,” Source (2019); “Te Prints, Te Metropolitan Museum of Art from the Eighteenth Century Forward: Historical Photographic Archive of Stefano Bardini: A Publications: Te Renaissance of Etching and Global Perspectives (2020); review of Few Case Studies of its Utility,” Source (2018); (2019). Elizabeth Boone, “Te Spanish Element in Our “Some Trecento Objects in the Collection of Lectures: “Gifts of Drawings to the Met Nationality”: Spain and America at the World’s Stefano Bardini: Additions, Subtractions, and by the Havemeyers and Walter C. Baker,” Fairs and Centennial Celebrations, 1876-1915, Restorations,” in Art and Experience in Trecento New York, 2020; “A Conversation with Julie in Bulletin of the Comediantes (2020). Italy (2018); “Discovering the Trecento: Mehretu, Sunday at the Met,” New York, Lectures: “Masonic Symbolism in the American Mavericks in the Market. Who, 2020; “A Conversation about Etching with Decorative Arts,” Athens, GA, 2020. Where, Why, and Why Not?” Predella (2018). Felix Harlan, James Siena, and Jason Scuilla,” Recent Honors and Awards: Mellon Lectures: “Stefano Bardini’s Photographic New York, 2020; “Pieter Bruegel the Elder Foundation grant for research into Archive, ‘il Bel Paese,’ and the Golden Age as a Master of Graphic Art,” Arezzo, 2019; freemasonry in Georgia, 2018-21. of Tuscan Art,” Chicago, 2020; “Biographies “Te Beginnings of Etching in the North,” of Early Modern Works of Art,” New York, Arezzo, 2019; “Pieter Bruegel the Elder as a Lisa Machi 2017. Master of Graphic Art,” Warsaw, 2019; “Te MA 2017 Upcoming Projects: Preparing a paper on Beginnings of Etching in the North,” Gent, Primary Advisor: Katherine Welch Stefano Bardini presented at the 2020 CAA 2019; “Hercules Segers and Rembrandt, Email Address: [email protected] conference for publication. the Eccentric and the Traditionalist,” New Latest Position: Junior Specialist in Prints and York, 2017; “Te Mysterious Landscapes of Multiples at Christie’s New York Hercules Segers: A Conversation between 28 Terry Winters and Nadine Orenstein,” New Catherine Puglisi Mallory Roark York, 2017. PhD 1983 MA 2019 Primary Advisor: Donald Posner Primary Advisor: Lowery Stokes Sims Elizabeth Pergam Mailing Address: 1 Greene St., Apt. 714, Email Address: [email protected] PhD 2001 Jersey City, NJ 07302 Latest Position: Collections Management Primary Advisors: Robert Rosenblum and Email Address: [email protected] Associate, Department of Modern and Linda Nochlin Latest Position: Professor of Art History, Contemporary Art, Te Metropolitan Email Address: [email protected] Rutgers University Museum of Art Latest Position: Faculty, Sotheby’s Institute Publications: “‘Certe palliole di processione’: Mailing Address: 311 E. 11th St., Apt 5D, of Art Guido Reni, Silk, Civic Piety and Ceremony” New York, NY 10003 Publications: “Te Persistence of National (2020); co-author with William Barcham, Recent Honors and Awards: Tesis with Identity in the International Art Market; Art and Faith in the Venetian World: Distinction at IFA, 2019. Review of Art Crossing Borders: Te Venerating Christ as the Man of Sorrows Internationalisation of the Art Market in the (2019); “‘Contrafazioni tizianesche’? Albani, Anna Russakof Age of Nation States, 1750-1914, edited by Jan Domenichino and the Bacchanals” (2019); “Il MA 1999, PhD 2006 Dirk Baetens and Dries Lyna (Brill, 2019),” Forestiero Innovatore: Schiavone davanti al Primary Advisor: Journal of Art Historiography (2019). Cristo Passo” (2018). Jonathan J.G. Alexander Lectures: Co-chair, “Te Institution as Lectures: “Les problèmes critiques autour Mailing Address: Collector” and “Te Collector and the des réinventions stylistiques,” Paris, 2019; American University of Institution,” Chicago, 2019; “Decline and “La volte-face du Guerchin,” Paris, 2019; Paris, 6 rue du Colonel Fall: Te Fate of the Orléans Pictures in “Les nombreux visages de Guido Reni,” Paris, Combes, 75007 Paris, Britain,” New Orleans, 2018. 2019; “Caravaggio’s Bold Journey,” Naples, France Recent Honors and Awards: Getty Research FL, 2018; “Traverser les frontières: Orazio Email Address: [email protected] Institute Scholar, “America and the Re- Gentileschi, Simon Vouet et Gérard van Social Media: https://aup.academia.edu/ centering of the International Art Market: Honthorst,” Paris, 2019. AnnaRussakof From Dealers to Collectors to Museums, Upcoming Projects: A book on Baroque Latest Position: Associate Professor and 1880-1930,” May 2019. stylistic reinventions. Department Chair, Art History and Fine Arts, American University of Paris Ally Pockrass Lisa Reilly Publications: Imagining the Miraculous: MA 2019 PhD 1990 Miraculous Images of the Virgin Mary in French Primary Advisor: Robert Slifkin Primary Advisor: Illuminated Manuscripts, ca. 1250–ca. 1450 Email Address: [email protected] Marvin Trachtenberg (2019). Social Media: allypockrass.com; https://www. Email Address: instagram.com/apockrass/ [email protected] Julián Sánchez-González Latest Position: Freelance Writer and Latest Position: MA 2018 Administrative Assistant at the Jerusalem Professor, Department Primary Advisor: Edward J. Sullivan Foundation of Architectural Email Address: [email protected] Additional News: Ally is currently working History Joint Graduate Program in Art & Latest Position: PhD Candidate in Art at the Jerusalem Foundation, assisting the Architectural History, University of Virginia History, Columbia University Executive Chairman, James S. Snyder; Publications: Te Invention of Norman Visual Publications: “Exhibir la abstraccin the Foundation provides support for the Culture: Art, Politics, and Dynastic Ambition latinoamericana: lo bueno, lo malo y lo no cultural, social, and economic sectors in (2020); co-editor, with Kevin D. Murphy, tan bonito” (2020); “Caribbean Popular, Jerusalem, including the Israel Museum and Skyscraper Gothic: Medieval Style and Modernist Caribbean Contemporary: Current Artistic the Jerusalem Biennial. Ally also is a member Buildings (2017). Practices of Port of Spain, Trinidad and of the Exhibitions Committee at the Jewish Recent Honors and Awards: Jeferson Tobago” (2020); “Rubem Valentim and Art Salon (JAS), the foremost professional Scholars Foundation Award for Excellence in Ibrahim El-Salahi: Strategies of Hybridization association of international artists and Teaching, 2018. and Abstraction in the Global South” (2019); curators dealing with Jewish subject matter. Upcoming Projects: Lisa Reilly is currently “El Museo de Arte Moderno de Bogotá y Trough the JAS, she leads the weekly critique collaborating on a Corpus Vitrearum volume la contencin política: tensiones entre la sessions during the Spring 2020 Artists’ Beit with Mary Shepard on the stained glass of the defnicin de lo político en el arte y la (des) Midrash. In her spare time, Ally continues late medieval parish church of St. Michael le articulacin de la movilizacin social” (2018); to write and produce artwork, having Belfrey. “Te Issue of the ‘Double Outlier’: Artistic completed an artist residency/fellowship and Practices of the Caribbean Archipelago published illustrations for the Harlem Shavuot of San Andrés, Providencia, and Santa Companion. Catalina, 1967 – 1998” (2018); “Caribbean 29 Alumni Updates CoNTINuED

Popular, Caribbean Contemporary: Current Paul Schwartzbaum Te Promise of Cultural Integration”; Artistic Practices of La Habana, Cuba” MA 1972, Certifcate in Conservation 1972 “Turner’s Slave Ship: Abolitionist Icon.” (2017); “Caribbean Popular, Caribbean Primary Advisors: Lawrence Majewsky, Additional News: Professor Scott is teaching Contemporary: Current Artistic Practices of Harry Bober, and Colin Eisler “Politics on a Pedestal,” a historical survey of Port-au-Prince, Haiti” (2017);“Caribbean Email Address: [email protected] monuments and memorials and the power of Popular, Caribbean Contemporary: Current Social Media: symbols, at home and abroad, in Fall 2020. Artistic Practices of Santo Domingo, https://www.paulschwartzbaum.com/ Dominican Republic” (2017). Latest Position: Chief Conservator, Te Tomaï Serdari Lectures: “Report on Findings from Research Solomon R. Guggenheim Museums PhD 2005 Travel to Trinidad and Tobago,” Port of Spain, Publications: “Te Conservation and Primary Advisor: Jean-Louis Cohen 2019; “Te Issue of the ‘Double-Outlier’: Art Restoration of the Bomb and Fire Damaged Email Address: [email protected] and Witchcraft Practices in Latin America and Paintings and Stuccoes of the Al Aqsa Mosque Social Media: https://brandxlux.com Twitter: the Caribbean,” San Francisco, 2019; “Te in Jerusalem” (2017). @Tomai IG: @thomaiserdari Issue of the ‘Double-Outlier’: Art from the Upcoming Projects: Technical Consultant for Latest Position: Director of the Fashion and Caribbean Archipelago of San Andrés and a new State Heritage Museum in Shanghai. Luxury MBA, Leonard N. Stern School of Providencia,” New York, 2018; “Doblemente Business, and Professor of Marketing atípicos: arte de la segunda mitad del siglo Nancy Scott Publications: Rethinking Luxury Fashion: veinte del archipiélago de San Andrés y MA 1972, PhD 1978 Te Role of Cultural Intelligence in Defning Providencia,” Barranquilla, 2018. Primary Advisors: H.W. Janson, and, prior to Creative Strategy (2020); “Te Carloway Mill Recent Honors and Awards: Heyman Center 1973, Robert Goldwater Harris Tweed: Tradition-based Innovation for Fellow for Public Humanities, Columbia Mailing Address: Brandeis University, a Sustainable Future,” in Sustainable Luxury, University, 2020-21; White-Levy Travel Mandel Center for the Humanities - MS 92, Entrepreneurship and Innovation (2018); Grant, Institute of Fine Arts, NYU, 2017; 415 South Street, Waltham MA 02354 “Diamonds, Development, and Dollars: A Full Tuition Scholarship, Institute of Fine Email Address: [email protected] Case Study on a Newly Founded Gemological Arts, NYU, 2016-18; Fulbright-Ministerio de Social Media: Instagram: nsnewhouse; Lab in Botswana Aiming at Sustainable Cultura de Colombia Fellow, 2016-18. Academia: Nancy Scott Community Empowerment,” in Sustainable Latest Position: Professor of Fine Arts, Management of Luxury (2017). Peggy Schifer Brandeis University; Acting Director, Mandel Lectures: “From Catwalk to Hypertalk MA 1993 Center for the Humanities, Spring 2020 and Beyond: Fashion Between the I and Primary Advisors: Harry Bober and Robert Publications: “Turner’s Modern and Ancient the We,” Ascona, 2019; “Innovation and Rosenblum Ports: Passages through Time,” Victorian Entrepreneurship in Luxury,” Yerevan, Email Address: [email protected] Studies (2018); “Te Civil War in Art and 2018; “Rethinking Modern Luxury Fashion: Social Media: schifernolandstudio.com Memory,” caa.reviews (2017). Gucci’s New Language for Today’s Adulescent Latest Position: Independent artist Lectures: “O’Keefe, the ‘Minimalist’ Consumer,” Pittsburgh, 2018; “Not Just Additional News: Peggy Schifer recently Collector: Philanthropy and Education in the a Pretty Face: How Luxury Brands Use moved her art studio to Te Eclipse Mill, Museum,” Bentonville, AR, 2019; “Beyond Intellectual Engagement With Consumers North Adams, MA, and divides her time Tintern Abbey: Te Early Work of J.M.W. to Develop Long Term Brand Equity,” between there and eastern MA. Turner, and the Shift to the Sublime, 1792- Philadelphia, 2017; “From Tehran to 1810,” Niagara, Ontario, 2018; moderator Tehranto: Te Rich Kids of Iran and How Katherine Schwab and organizer, “Looted Art for Sale: Histories Tey Impact the Taste for Luxury in Canada PhD 1988 of Appropriation and Restitution–Te Fate and North America,” Toronto, 2017; “How to Primary Advisor: Evelyn Harrison of Stolen Culture from World War II in Reinforce the Creative Industries in China,” Email Address: [email protected] the 21st Century,” Waltham, MA, 2018; Nanjing, 2017. Latest Position: Professor of Art History and “Paintings Across the Pond: Turner’s Anchors Upcoming Projects: Fashion dictionary. Visual Culture, Fairfeld University in the History of American Collecting,” New Publications: Co-author, “Self and Society,” in York, 2017; conference paper, “Civil War and Harriet F. Senie A Cultural History of Hair in Antiquity (2019); Civil Rights: Statues and Monuments North PhD 1981 co-author, “Fishing for Clues: Marine Creatures and South,” Waltham, MA, 2017; “‘Georgia Primary Advisor: Kathleen Weil-Garris in the Parthenon’s East Metopes,” in Excellence: O’Keefe and the Origins of American Email Address: [email protected] Essays in Honor of Olga Palagia (2019). Modernism,’” Boston, 2017. Social Media: harrietfsenie.com Additional News: Exhibition curator, “Te Recent Honors and Awards: Tyson Scholar, Latest Position: Professor of Art History, Island of Nisyros: A Photographic Essay,” Crystal Bridges Museum of American Art, CCNY and CUNY Graduate Center; Greek Consulate General, NYC, 2019. 2019. Director, MA Program in Art History and Art Upcoming Projects: “O’Keefe, Philanthropy, Museum Studies, CCNY and Te Stieglitz Collection at Fisk University: 30 Publications: Co-editor and contributor, Donna Stein Museum, 2019; “Vignettes from the Museums and Public Art? (2018). MA 1965 Evolution of Approaches to the Conservation Lectures: “Monumental Controversies: Primary Advisor: Robert Goldwater of Paintings by Rembrandt,” Rijksmuseum, Public Art in the Aftermath of the Revisited Mailing Address: 2175 Holliston Avenue, 2018. Commemoration Process,” keynote address, Altadena, CA 91001-3255 Recent Honors and Awards: Sheldon and Montreal, 2019; “Te Mayor’s Commission, Email Address: [email protected] Caroline Keck Teaching Award, American She Built New York, and the Vagaries of Publications: Te Empress and I: How Institute for Conservation, 2020. Public Art Controversies,” Hamilton, NY, an Ancient Empire Collected, Rejected and Additional News: Leader of a Zoom seminar 2019; “A Dangerous Confation: 9/11, Rediscovered Modern Art (forthcoming 2020); on practical paintings conservation: lectures the Towers, the Bodies, and the Nation,” “What if Not Exotic? Critical Perspectives and discussions with Winterthur/UD alumnae New York, 2019; “Best Practices in Setting in Contemporary Iranian Art,” Woman’s Art and current students, two days a week since Up Commissions,” Te Hague, 2019; Journal (2020); “How a Former Museum the coronavirus shutdown began in March. “Monuments, Memory and the Evolution of of Modern Art Curator Assembled an Meaning,” New York, 2018. International History of Photography Adrian Sudhalter Recent Honors and Awards: CAA Award for Collection for Iran in the 1970s,” in Te MA 1997, PhD 2005 Distinguished Teaching of Art History, 2020; Indigenous Lens? Early Photography in the Near Primary Advisor: Rifkind Scholars Award, CCNY, 2019. and Middle East (2018). Robert Lubar Upcoming Projects: A book, Monumental Upcoming Projects: “Gilah Yelin Hirsch: Mailing Address: Controversies: Mount Rushmore, Four Presidents Archaeology of Metaphor,” Orange County 87 Washington Ave, and Our Complex National Identity; invited Center for Contemporary Art, 2022. Apt. 12, Hastings-on- lectures at Christie’s NY, Fairfeld University, Hudson, NY 10706 and the Spence School. Joyce Hill Stoner Email Address: MA 1970, Certifcate [email protected] Blanca Serrano Ortiz de Solrzano in Conservation 1973 Latest Position: Research Curator, Merrill C. MA 2012, PhD 2017 Primary Advisor: Berman Collection, Rye, New York Primary Advisor: Edward J. Sullivan Larry Majewski Publications: Co-editor, Engineer, Agitator, Mailing Address: Email Address: Constructor: Te Artist Reinvented (2020); Paseo de los Pontones 9 4A, Madrid, Spain [email protected] “Friedrichstrasse: Te Contexts of an Image, Email Address: [email protected] Social Media: https:// 1922-1924” (2017). Latest Position: Project Director at the www.artcons.udel.edu/ Lectures: “Te Museum of Modern Art’s Institute for Studies on Latin American Art faculty/ud-faculty/ 1948 Collage Exhibition,” Edinburgh, 2018; (ISLAA) jhstoner “Cubism under Dada Scrutiny,” New York, Latest Position: Rosenberg Professor of 2018. Sandra Sider Material Culture, University of Delaware Recent Honors and Awards: Distinguished MA 2004 Publications: Co-author, Conservation Scholar, Leonard A. Lauder Center for Primary Advisor: Colin Eisler of Easel Paintings, revised edition (2020); Modern Art, Te Metropolitan Museum of Email Address: [email protected] “Te Conservator and Connoisseurship in Art, 2018-19. Social Media: www.sandrasider.com American Art,” in American Art: Collecting Latest Position: Editor, Art Quilt Quarterly and Connoisseurship (2020); “Powerful Anna Swinbourne Publications: Co-author, “Deeds not Words”: Personalities and Pioneers of Painting MA 2001, PhD 2015 Celebrating 100 Years of Women’s Sufrage Conservation: From the FAIC Oral History Primary Advisor: Linda Nochlin; Robert (2020); Exploring Your Artistic Voice in Project,” in Te Picture So Far (2017); “Te Lubar; Kirk Varnedoe Contemporary Quilt Art (2019); co-author, Impact of Paul Philippot on the Teory Email Address: [email protected] Art Quilts Unfolding: 50 Years of Innovation and History of Conservation/Restoration” Latest Position: Executive Director and CEO, (2018). (2017); “Art History, Science and Practice: Hill-Stead Museum Upcoming Projects: Quarantine Quilts: Te Training of Painting Conservators in the Creativity in the Midst of Chaos (exhibition Twentieth Century,” Te Burlington Magazine Susanna Temkin 2020 and book 2021). (2017); “Embedded Meanings: Te Last MA 2010, PhD 2016 Additional News: Teaching Textile History in Tempera,” Essay for the 2017 Centennial Primary Advisor: Edward J. Sullivan the Parsons MFA Textiles Program. Exhibition for Andrew Wyeth (2017). Email Address: [email protected] Lectures: “George L. Stout, Fogg Founding Latest Position: Father of American Art Conservation, Curator, El Museo del Barrio, New York Monuments Man, and Director of the Publications: “Siempre en la calle” (2020); Worcester Art Museum,” Worcester Art “When the Cedar Bar Met the School of the

31 Alumni Updates CoNTINuED

South: Reconsidering Bonevardi” (2019); Colonial Americas” (2018); “Ceramics: A Upcoming Projects: “Freddy Rodríguez’s La febre del oro” (2019). Tradition of Permanence” (2017). “Interview: Fabrice Monteiro.” Additional News: Dr. Temkin joined El Recent Honors and Awards: National Additional News: Board Member, Ink Shop Museo del Barrio as Curator in 2018, having Endowment for the Humanities Fellowship, (2017-present); Writer, Sotheby’s (2019-20); previously interned at the institution while a 2020-21; John Carter Brown Library Lecturer, Ithaca College (2017-2018). student at the Institute. In 2019, she curated Fellowship, Fall 2020. the Museum’s 50th anniversary exhibition, Upcoming Projects: A book, Te History of a Reva Wolf “Culture and the People: El Museo del Barrio, Periphery: Spanish Colonial Cartography from MA 1981, PhD 1987 1969-2019.” Colombia’s Pacifc Lowlands, 1720-1820. Primary Advisors: Jonathan Brown and Lindsey Tyne Michele Wije Robert Rosenblum MA 2010, Advanced Certifcate in MA 2003, PhD 2013 Email Address: Conservation 2010 Primary Advisor: Robert Lubar [email protected] Primary Advisor: Margaret Holben Ellis Mailing Address: 38 Warren Street, Apt. 6A, Social Media: Email Address: [email protected] New York, NY 10007 https://faculty.newpaltz. Latest Position: Associate Paper Conservator, Email Address: [email protected] edu/revawolf/ Morgan Library & Museum Latest Position: Curator of Exhibitions, Latest Position: Publications: “Gouache, Ink, Toner, or Is It American Federation of Arts Professor of Art History, State University of Dirty Water? Te Drawing Materials of Al Publications: Bisa Butler: Portraits (2020); New York at New Paltz Taylor,” in Te Drawings of Al Taylor (2020). Sparkling Amazons: Abstract Expressionist Publications: Co-editor, with Alisa Lectures: “Te Drawings of Al Taylor: Women of the 9th St. Show (2019). Luxenberg, and contributor, Freemasonry and Perspectives from a Curator and a Upcoming Projects: “Bisa Butler: Portraits,” the Visual Arts from the Eighteenth Century Conservator,” New York, 2020; “Memory exhibition in collaboration with Art Institute Forward: Historical and Global Perspectives and Evidence: Documenting Modern and of Chicago; “Whitfeld Lovell: Passages,” (2020) (contributing “Goya and Freemasonry: Contemporary Drawings,” New York, exhibition planned for American Federation of Travels, Letters, Friends,” and, as co-author, 2019; “Evidence of the Handmade in Roy Arts, 2023-24. “Introduction: Te Mystery of Masonry Lichtenstein’s Black and White Drawings Brought to Light”); co-author, with Kou from 1961-1968,” New York, 2019; “Reading John Willenbecher Huaiyu, “Cosmic Jokes and Tangerine the Object: Paper as a Support for Drawings, 1958-1961 Flake: Translating Warhol’s POPism,” in Prints, and Manuscripts,” New York, 2019; “A Primary Advisor: Complementary Modernisms in China and Brief Overview of Examination and Imaging Craig Hugh Smyth the United States, ed. Zhang Jian and Bruce Techniques for Drawings,” New York, 2018. Mailing Address: Robertson (2020); “Te Artist Interview: An 145 West Broadway, Elusive History,” Journal of Art Historiography Juliet Wiersema New York, NY 10013 (2020). MA 2002 Email Address: Lectures: “Symbols, Trade Cards, Portraits, Primary Advisors: Jonathan Brown and Colin [email protected] and Figurines: Case Studies at the Intersection Eisler Upcoming Projects: of Freemasonry and the Visual Arts,” New Mailing Address: 426 Elmhurst Avenue, After the Institute, I became an artist; York, 2020; “Freemasonry and the Visual San Antonio, TX 78209 upcoming projects are continuing a series of Arts,” New York, 2020; co-chair and speaker, Email Address: [email protected] paintings on fberboard in grisaille. “Carolee’s Communities,” Chicago, 2020; Social Media: Additional News: A virtual show of some “Teaching into Practice in Marking Time: art.utsa.edu/faculty/juliet_wiersema recent paintings by John Willenbecher was A Class, an Exhibition, a Catalogue, a Latest Position: Associate Professor, sent out during the Covid-19 quarantine. Collaboration, and a Foundation,” New Pre-Hispanic and Spanish Colonial Art, York, 2019; “Freemasonry, Tolerance, Department of Art History, UTSA Evan D. Williams and Images of Inquisition Persecutions: Publications: “Te Map of the Yurumanguí MA 2012 Crossing the Protestant-Catholic Divide,” Indians: Charting the Erasure of Indigenous Primary Advisor: Robert Slifkin Los Angeles, 2019; “Te Victim as Martyr: Inhabitants in the Pacifc Lowlands, Email Address: [email protected] Te Black Legend and Eighteenth-Century Eighteenth-century Nueva Granada” (2020); Publications: “Der Blaue Reiter” (2020); Representations of Inquisition Punishments,” “Importing Ethnicity, Creating Culture: “Interview: Jacoub Reyes” (2019). Denver, 2019; “Te Artist Interview: An Currents of Opportunity and Ethnogenesis Lectures: “Brought Into the Light,” Rochester, Elusive History,” Brighton, UK, 2019; along the Rio Dagua in Nueva Granada, c. NY, 2019; “Te Sea Vast and Empty,” panelist, “Warhol@Penn,” Philadelphia, 1764,” in Te Global Spanish Empire (2020); Richmond, KY, 2017. 2019; principal organizer and participant, “Te Manuscript Map of the Dagua River: A “Displaying Warhol: Exhibition as Rare Look at a Remote Region in the Spanish Interpretation,” symposium, Vassar College 32 and SUNY New Paltz, 2018; “From Picart to Paul Yule Alice Zimet Coustos to Goya: Freemasonry and Pictures of MA 1974, PhD 1979 MA 1974 Inquisition Punishments,” Lisbon, 2018. Primary Advisors: Gnter Primary Recent Honors and Awards: Recipient of a H. Kopcke and Donald P. Advisor: Terra Foundation for American Art Academic Hansen Robert Programs Grant, in collaboration with the Mailing Address: Goldwater, Rare Book Library, University of Pennsylvania, Prof. Paul A. Yule, Colin Eisler for the forthcoming symposium, “Translating Languages and Cultures Mailing Warhol,” 2021; Ailsa Mellon Bruce Visiting of the Near East–Semitic Address: 7 Photo by Grace Roselli Senior Fellow, Center for Advanced Study in Studies, Schulgasse 2, West 81st Street the Visual Arts, National Gallery of Art, 2017. 69117 Heidelberg, Apt. 5A, New York, NY 10024 Upcoming Projects: “Te Interconnections Germany Email Address: of Satire and Censorship in Goya’s Prints and Email Address: paul. 3D scan, image of a [email protected] Christian king, c. 531–535 Drawings,” essay in Satire and the Multiplicity [email protected] CE, Heidelberg university Social Media: Instagram: @arts_ of Forms, 1600-1830: Textual and Graphic Latest Position: excavation at Zafar/Yemen business_partners; website: www. Transformations, ed. Per Sivefors, Cecilia Außerplanmäßiger artsandbusinesspartners.com Rosengren, and Rikard Wingård; “Martyrs Professor, University of Heidelberg Latest Position: Founder and President, Arts of the Inquisition, Goya’s Art, and the ‘Black Publications: Late Antique Yemen and Late + Business Partners, a consulting boutique Legend,’” (working title), in Te Black Legend Antique Yemen, Supplement (2019); co-editor, with a focus on fne art photography in the Eighteenth Century: National Identities with G. Gernez, Early Iron Age Metal-working marketplace and corporate sponsorship under Construction, ed. Catherine M. Jafe Workshop in the Empty Quarter, al-Zahira Publications: “Fine Art Photography: What and Karen Stolley; “Marilyn Mystery” and Province, Sultanate of Oman (2018); co-editor, (And How) Photography Collectors Buy “‘Filling in Gaps’: An Interview with Gregory with W.Y. al-Tikriti, Water and Life in Arabia, Now,” Photo District News (2018); “Photo McCoy,” for the catalogue of an exhibition on conference proceedings (2017); co-editor, with Expert Reveals 4 Collecting Tips and Why Warhol and Stockholm planned for the Rare M. Gaudiello, Mifsas Baḥri: A Late Aksumite David Rockefeller’s Money Clip Sold for Book Library, University of Pennsylvania, and Frontier Community in the Mountains of Tigray. $75K,” Forbes (2018). organizer of the accompanying symposium, Survey, Excavation and Analysis, 2013‒16 Lectures: Alice Zimet lectures regularly on the “Translating Warhol.” (2017). art of collecting fne art photography as well as Lectures: “Te Onset of South-Eastern how photographers can access the commercial Rachel Wonder Arabia’s Earliest Extant Arrowheads, in the marketplace, with a focus on their marketing MA 2013 Wadi Suq Period?” Leiden, 2019; “Iron Age and communication skills; recent lecture Primary Advisor: Jean-Louis Cohen Metallic Finds in South-Eastern Arabia: Te venues include major auction houses (Phillips, Mailing Address: 836 N 24th Street, Main Issue Is Chronology,” Tbingen, 2019; Heritage), museums (International Center Philadelphia, PA 19130 “Te Iron Age in South-Eastern Arabia: Do of Photography, Harvard Art Museums, Email Address: [email protected] We Really Know It?” Paris, 2019. Te Jewish Museum), corporations (UBS), Latest Position: Senior Membership Advisor, Upcoming Projects: Co-author, Te Early festivals (Palm Springs Photo Festival), schools Te Chamber of Commerce for Greater Iron Age Metal Hoard from al-Ḫwḍ (Sultanate (School of Visual Arts, New York University, Philadelphia of Oman); excavation, early Iron Age tombs in Maine Media Workshops + College), and Additional News: Board Member, Te Fabric al-Hwdh, Sultanate of Oman. other non-profts (Center for Photography at Workshop and Museum, Philadelphia Additional News: Owing to the war in the Woodstock). Yemen, in 2010 I stopped excavation there Upcoming Projects: Panelist, “Collecting as Allison Young and returned to work in Oman. Passion and Profession, Alice S. Zimet and PhD 2017 Daile Kaplan,” Maine Media Workshops + Primary Advisor: Tomas Crow College Alumni Network Series, 2020; “Do’s Email Address: [email protected] and Don’ts of Collecting Photography,” Latest Position: Assistant Professor, Art three-part virtual lecture series, Maine Media History, Louisiana State University Workshops + College. Publications: Contributor, Lina Iris Viktor: Additional News: Current chair, Acquisitions A Haven, A Hell, A Dream Deferred (2019); Committee, International Center of “Visualizing Apartheid Abroad: Gavin Jantjes’s Photography; chair, Photography Curatorial Screenprints of the 1970s,” Art Journal (2017). Committee, Harvard Art Museums; board member, Magnum Foundation; faculty, ICP School.

33 Degrees Conferred in 2019-2020

Doctor of Philosophy Emily Bauman Ami Brett Julia Pelta Feldman “Performance and Video Work of Bruce “Alvin Lustig’s Graphic Designs for Reform: “Charles Simonds and the 1970s” Nauman, Paul McCarthy and Mike Kelley” 1938–1955” Advisor: Tomas Crow Advisor: Tomas Crow Advisor: Tomas Crow Elizabeth Frasco Brian Bentley Grace Chuang “American Women Artists of the New Deal “Pop Artists of Underdevelopment: 1960s “Bernard (II) Vanrisamburgh, Master and Mexico, 1934 –1943” Brazilian New Objectivity” Cabinetmaker in Eighteenth-Century Paris” Advisor: Edward J. Sullivan Advisor: Edward J. Sullivan Advisor: Tomas Crow Madeleine Glennon Alexander Bigman Benjamin Carlos Cliford “Medusa in Context: Mythological and “Specters of Fascism in Post-Conceptual Art, “Painting After Modernism: Rethinking Sensorial Connections of the Gorgon” 1974 –1984” Historical Change” Advisor: Clemente Marconi Advisor: Robert Slifkin Advisor: Robert Slifkin Antonia Pocock Rachel Boate Jordan Famularo “Te Heartland of Pop: Claes Oldenburg, Jef “Embodied Abstraction: Te Crisis of “Gems and the Media of Italian Art, ca. 1450- Koons, and the Chicago Imagists” Representation in 1930s France” ca. 1550” Advisor: Tomas Crow Advisor: Robert S. Lubar Advisor: Alexander Nagel

Master of Arts and Master of Science Dual-Degree

Rachel Mochon Katherine Parks Andrew Wolf “Joan Mitchell: Drawings by a “Transcription de l’Egypte: Drawings, Prints, “‘Wild Grammar’: Linguistic Experimentation ‘Painter’s Painter’” and Representation in the Description in the Text-Based Works of James Castle” Advisor: Margaret Holben Ellis de l’Egypte” Advisor: Kent Minturn Advisor: Margaret Holben Ellis

Master of Arts Kiki Madeline Barnes Andrés González Juliet Huang “Back to the Future: Postmodernism, “Tat or Which Monument: A Nonrestrictive “Louise of Savoy’s Epistles of the Heroines as a Post-Humanity, and the Sublime in the work Ontology of Reproduction in the Barcelona Fashion Statement” of Nix and Gerber” Pavilion, 1929/86” Advisors: Colin Eisler, Alexander Nagel Advisor: Robert Slifkin Advisor:Jean-Louis Cohen Scout Hutchinson Maria del Carmen Barney Jiahui He “Occupying Space: Land Art and the Red “Mariano Fortuny y Marsal: Perceptions “Te World Is a Garden: Reimagining Power Movement, c. 1965–1978” of Orient and Other at the Crossroads of Nusrati’s Gulshan-i ‘Ishq (Rose Garden Advisor: Robert Slifkin Culture” of Love) through an Eighteenth-Century Advisor: Robert S. Lubar Deccani Illuminated Manuscript” Peter Moore Johnson Advisor: Dipti Khera “Archaism and the Construction of Identity in Danarenae Donato Royal Kushite Stone Sculpture” “Mantegna’s Paintings for the Chapel of the Marisa Kate Henthorn Advisor: Kathryn Howley Castello di San Giorgio Reconfgured and “Reclaiming Nectanebo II: Te Legacy of an Reinterpreted” Egyptian Pharaoh” Angelika Klein Advisor: Alexander Nagel Advisor: Kathryn Howley “Te National World War II Memorial: At Peace Between Monument and Memorial” Makenzi Fricker Emireth Herrera Valdés Advisor: Jean-Louis Cohen “Spatial Poems/Spatial Politics: An Aesthetics “Visual Representations of Modern Dance of Resistance in Cecilia Vicua’s Precarios” through the Work of José Clemente Orozco Damasia Lacroze Advisor: Robert Slifkin and Carlos Mérida” “Party and Revolt: Te Early Works of Liliana Advisor: Edward J. Sullivan Maresca in Post-Dictatorship Argentina” Advisor: Edward J. Sullivan 34 Ken Li Amanda Pina Xiaofan Wu “Mir and Japan: Wabi-Sabi, Zen, and “A Renaissance of Nymphs: Refecting on “At the Crossroads: Video Art in Post-Sense Beyond” Female Sexuality in the 16th-Century Prints Sensibility: Alien Bodies and Delusion” Advisor: Robert S. Lubar of the School of Fontainebleau” Advisor: Jonathan Hay Advisor: Colin Eisler Claire Lipsman Yinxue Wu “Mode à la Mode: Fashion Dolls, Dress, and Sarah Poisner “Sonia Delaunay’s Bal Bullier: A Female Artist the Living Body in the Early Modern Era” “Te Ingenuity, Virtuosity, and Functionality Rendering the Tango” Advisor: William Hood of Fictive Drawings in Paintings by Guercino Advisor: Christine Poggi and his Predecessors” Chloe Lovelace Advisor: Linda Wolk-Simon Fang Gina Xu “Te Architecture of Memory: Spolia and the “Unfred Clay Sculptures of Dunhuang” Little Metropolis” Samantha H. Rowe Advisor: Hsueh-man Shen Advisor: Telma K. Tomas “Between Ephemera and Art: Reevaluating and Reassessing Archival Material in the Andrea Zambrano Sizhuang Miao Museum Context” “Te Female Voice in the Mexican Story: “Te Chinese Woodcut Movement and the Advisor: Robert Slifkin Te Murals of Fanny Rabel, Regina Raull, Newspaper Press during the Sino-Japanese and Valetta Swann at the Museo Nacional de War, 1937–1945” Anastasia Skoybedo Antropología, 1963 –1964” Advisor: Jonathan Hay “Life in Art: Aleksandr Labas and the ‘Tird Advisor: Edward J. Sullivan Current’ of Soviet Art” Kasalina Maliamu Nabakooza Advisor: Jean-Louis Cohen Jenni Zhang “Excavating the Museum: Buganda “Te Overrepresentation of Tropical China in Collections in the United Kingdom, Emily B. Stein Eighteenth-Century Meissen Chinoiserie: Te 1898–2020” “It’s About Time: Te Display and Integration Infuence of Chinese Territorial Expansion, Advisor: Christine Poggi of Contemporary Art(ists) at Historic Sites European Presence in Southern China, and and Traditional Museums” Early Occidental Sinological Publications on Nicholas J. Nguyen Advisor: Meredith Martin Meissen Iconography” “Sense and Sensibility: Te Museum of Advisor: Colin Eisler Conceptual Art and the Counterculture Lauren Vaccaro Experiment in San Francisco, 1968–1970” “Accessorizing Identity: Fashion and Self- Shelly Zhang Advisor: Tomas Crow Representation in Surrealism” “Te Social and the Ritual: Reconsidering Advisor: Christine Poggi Ni Zan’s Painting and Inscription” Jiayuan Peng Advisor: Jonathan Hay “Adventure and Showmanship: Belzoni’s 1821 Grace Walsh Exhibition at the Egyptian Hall” “Les regnars traversans and Its Models: Sihan Zhang Advisor: Kathryn Howley Allegory, Iconography, and Mutable Identity “Gustave Moreau: Te Troubled Relation from the Printed to the Painted Page” Between Two Sexes and the Complex Enigma Anastassia Perflieva Advisor: Robert Maxwell of Androgyne” “Teatricality, Painting, and Politics at Česk Advisor: Tomas Crow Krumlov’s Masquerade Hall” Ashley Nga-sai Wu Advisor: Meredith Martin “Buddhism and Artistic Practices on the West Coast” Advisor: Tomas Crow

35 Donors to the Institute 2019-2020

$1,000,000-$6,000,000 J. M. Kaplan Fund, Inc. Kathryn Moore Heleniak* estate of robert H. ellsworth Amanda D. lister suzannah* and Karl M. Kellner Jan t. and Marica Vilcek Victoria newhouse Mary theresa Khawly Graeme whitelaw Cynthia Hazen Polsky and leon Polsky Dorothy Ko and Marvin l. trachtenberg* Jonathan D. rabinowitz Guenter H. Kopcke $100,000-$999,999 elizabeth B. richards Jan lynn leja* Anne* and Joel ehrenkranz lois severini* and enrique Foster Gittes Mary schuette and Jay A. levenson* Helen Frankenthaler Foundation Judy and Michael H. steinhardt robert s. lubar* Institute for studies on latin American Art Alice M. and thomas J. tisch Dorothy robinson Mahon* and (IslAA) Vilcek Foundation terrence s. Mahon* samuel H. Kress Foundation Alicia and norman Volk Clemente Marconi nancy Chang lee* Anonymous (4) Michele Marincola* leon levy Foundation Ann wood norton* Maddalena Paggi-Mincione* and $5,000-$9,999 Paul n. Perrot* raffaele Mincione Mary lee Baranger* Christine Poggi Valeria and Gregorio napoleone william l. Bernhard Janko rasic Architects PllC Debra Pincus* Janet Hester Gerrish Anne rorimer* rachel* and Jonathan wilf Julie e. Herzig* and robert J. Desnick Diane H. schafer eric M. Zafran* loretta e. Howard* lauren soth* Alison and Boniface A. Zaino Michael Kohn Gallery* Priscilla Parsons soucek* Anonymous (3) Beth Andrea Mandelbaum Paul stanwick* Claire svetlik Mann* Ian B. wardropper* $50,000-$99,999 Meeker rom Family Foundation George wheeler* sheldon H. solow lucio A. noto reva June wolf* estate of Katherine F. Brush Mary ellen Oldenburg Dale* and rafael Zaklad Barbara Pine Alice M. Zrebiec* $25,000-$49,999 larimore Hampton Pivar* Anonymous (3) Mary Braman Buchan* and the rockefeller Foundation Dennis s. Buchan Bonnie sacerdote $500-$999 Dedalus Foundation rachel salzmann william nash Ambler* larry Gagosian Fredric t. schneider Dita G. Amory* the Gladys Krieble Delmas Foundation Virginia st. George smith Peter and Anna Bybel stephen s. lash Jennifer russell* Jean-louis Cohen Harriet K. stratis* eliot B. stewart Andria Derstine* lauren Berkley saunders* Paula J. Volent* Carmen Dubroc and lewis I. Haber Carl & Marilynn thoma Art Foundation Mariët westermann* and Finbarr Barry Flood Malcolm Hewitt wiener Foundation Charles H. Pardoe, II Joseph e. Fronek* Anonymous Helena Xuan Kathryn Calley Galitz* Anonymous (2) Jonathan Hay $10,000-$24,999 Penelope Hunter-stiebel* and Gini and randy Barbato $1,000-$4,999 Gerald G. stiebel Patricia and stephen Beckwith elisabeth lauren Barro* Michael Jacoff* suzanne Deal Booth* David Castillo Gallery lynda Klich* Ildiko and Gilbert Butler Allston Chapman Joanne Knauss Mark B. Cohn trust wanda Marie Corn* Judith levinson* and Georgia riley de Havenon and Margaret Holben ellis* John r. Oppenheimer Michael de Havenon shelley Fletcher* Charles t. little* roberta and richard Huber Frances B. Goodwin and Caroline and Anthony lukaszewski Donn M. Mosenfelder * Institute alumnus/a 36 Cynthia wolk nachmani* Carol s. eliel* and F. thomas Muller, Jr Peter Ian Kuniholm Alexander nagel Arlene Hirsch elkind Peter lacamera Jaime l. neary* nancy F. ennis Marsa laird* teresa Olszewska Jennifer eskin* richard s. lanier* Allen rosenbaum* Priscilla Farah* A. Floyd lattin* Janet C. ross Deborah Feller* ruthann r. lehrer* Marjorie n. shelley* Fidelity Charitable Dene A. leopold* edward J. sullivan* wayne* and linnea Franits susana t. leval* and Pierre leval Joan* and robert troccoli eric M. Frank* Chris and erika levesque Deborah lee trupin* leslie M.* and tom l. Freudenheim* william A. lieber* lynn H. Zelevansky* warren Fuermann* roger w. lipsey* Karyn leslie Zieve* Jorge A. Garcia-tuduri* Deborah lipton* Jasper Gaunt* Gail P. lloyd* $100-$499 lisa A. Goldberg* Carla lord Aaron-supreme Containers lois r. Granato* Carol C. Mancusi-Ungaro* Mark B. Abbe* Michele M. Greet* susan D. Marcus* lynne D. Ambrosini* Ashley etter Hagwell and Kevin Hagwell Ira s. Mark* Patrick Amsellem* Kristine edmondson Haney* Meredith Martin Michael J. Amy* susan tagliabue Hapgood* Michele Alberto Matteini* susan staples Arms* and susan A. Harris* robert A. Maxwell richard G. Arms, Jr.* Pamela B. Hatchfeld* Prita Meier su-Kyung Bang Andrée M. Hayum Jerry D. Meyer* Beryl Barr-sharrar* sharon r. Herson* and Daniel Fleckles Margaret M. Miles linda Freeman Bauer* Julia P. Herzberg* Marc H. Miller* Kenneth Bé* sarah Higby Denyse l. Montegut* Jane rachel Becker* Brian eugene Hill Charles e. Moore Daniel M. Belasco* shepherd M. Holcombe, Jr.* Anne* and James Morganstern* Olga G. Bequillard* william e. Hood* Anita* and Martin Moskowitz richard Allan Berman John Hopkins robert s. nelson* Jo Anne G. Bernstein* Qing Huang* won Y. ng* Jennifer M. Blessing* sarah Averill Humphreville* Charlotte Flint nichols* and Pepi Brooks Matthew winer Israel* Derek A. r. Moore* rosina Buckland* Grace Jan* Christopher A. noey* elizabeth Buhe* and ross Andrese Michael Jonson Andrea spaulding norris* thomas A. Buser* lorraine M. Karafel* Jo Anne C. Olian* richard J. Channin Anna D. Kartsonis* Adela F.l. Oppenheim* Karen F. Christian* roberta and Charles* Katz ronald Y. Otsuka* Jennifer Chung Michelle Kennedy elizabeth A. Oustinoff* Judith Colton* Dipti Khera Jessica lian Pace* lucy A. Commoner emy elm Kim* Joan H. Pachner* nicola M. Courtright* evelyn Monroe Koehnline* Philip M. Pearlstein* stephen Paul Crenshaw* Anne C. Hrychuk Kontokosta* and Joan A. Perez rachel l. Danzing* Constantine Kontokosta elizabeth Ariana Pergam* Alan Phipps Darr* Donna Michele stein Korn* ruth Perlin* Peter Daniel De staebler* Dorothy Mary Kosinski* Jennifer Perry* lisa Marie Duffy-Zeballos* linda Konheim Kramer* william l. Pressly* Isabelle Duvernois* tomasz Krason stuart w. Pyhrr* estate of Joseph Merle Dye, III Carol Herselle Krinsky* and Beatrice C. rehl* Martha e. easton* robert D. Krinsky nancy r. reinish*

37 Donors to the Institute CoNTINuED

Heidi richard robert slifkin Vera tisdall and Kevin tisdall Claire de Dobay rifelj* Marsha t. slotnick* Isabelle n. tokumaru* linda Jones roccos* elizabeth B. smith* lindsey tyne* lisa Anne rotmil* sharon Dunlap smith* Anne w. Umland* stanley C. rottell David M. sokol* Gertje rommeswinkel Utley* Amy Incornata russo* Jack soultanian, Jr.* emily trevor Van Vleck* Katherine sachs eliza robinson spaulding* Patricia waddy* Polly J. sartori* Aron Y. stavisky stefanie walker* stephen K. scher* Barbara e. Pollard stein* and Katherine e. welch* lisa w. schermerhorn* Mitchell stein Deborah n. wilde* Peggy schiffer* Mary stoffet* John wilson Patricia schulze Hills* elizabeth rosen stone* rachel Arlene wonder* Katherine A. schwab* Cecil leopold striker* Christine elaine wraga* sheila schwartz* James w. sykes, Jr.* roberta May-Hwa wue* Ann seibert* szczepan szulc-Cieplicki Kirsten J. Younger* J. william shank* Carol Forman tabler* Arlene Kurlander Zimny Hsueh-Man shen william s. talbot* shelley e. Zuraw* Deborah s. shinn* Marie C. tanner* lynda A. Zycherman* Janne sirén* thelma K. thomas*

this list includes commitments received from July 1, 2019 to July 1, 2020. * Institute alumnus/a

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