COLUMBIA UNIVERSITY

DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER

FALL 2013 826schermerhorn

1 from the chair's office new faculty

Dear Alumni and Friends, We are delighted to welcome five new members to the Columbia/Barnard art history faculty: Avinoam Shalem, Riggio Professor of the History of the Arts of Islam; Diane Bodart, Assistant Professor of Southern Renaissance and Baroque Art; Frédérique Baumgartner, It has been an exciting and busy year in and around Schermerhorn Hall, one marked by many Lecturer and Director of MA in Art History; Kent Minturn, Lecturer and Director of MA in Modern Art: Critical and Curatorial different types of academic events, activities, and accomplishments of our students and faculty Studies (MODA); and Megan O’Neil as a Term Assistant Professor in the Barnard Art History Department. in the Department of Art History and Archaeology. We feature some of the most noteworthy of these events in the current edition of 826 Schermerhorn, which was produced on a slightly different avinoam shalem, riggio professor of the diane bodart, assistant professor, is a fall of the cosmopolitan ideal and the rise of schedule this year to coincide with the Chair’s Annual Appeal and a brief report on some of our history of the arts of islam, studied at the specialist in the art of the Italian Renaissance nationalism. Dr. Baumgartner was an assistant past and future fundraising activities. universities of Tel Aviv, and Baroque. She was curator at the Musée national d’art moderne– Munich (lmu), and educated at Università Centre Pompidou in Paris and remains inter- Since becoming Chair of the Department in 2012, I have had the pleasure of meeting many of you in Edinburgh, where he degli Studi di Roma ested in video and performance art. person, most recently at our Friends Reception during the CAA Conference in New York in February. earned his phd degree “La Sapienza” in Rome This occasion brought alumni back to the eighth floor of Schermerhorn Hall and into the Judith in the field of Islamic and at the École des kent minturn ’07 phd, lecturer and Lee Stronach Center, which has become a space much beloved by our students for study and relaxation. As you will see in art. Prior to joining Hautes Études en director of ma in modern art: this publication, the Department was recently able to furnish the Stronach Center with a set of elegant sofas, chairs, and the Columbia faculty, Sciences Sociales in critical and curato- tables thanks to the generosity of Raymond Lifchez (MAR ’57, MA ’67), husband of the late Judith Lee Stronach (BS ’67, he held a professorship Paris. The recipient of rial studies (moda), MA ’69), and longtime friend of the Department of Art History and Archaeology. at the University of fellowships from the specializes in European Munich and has taught also at the universities Académie de France (Villa Médicis) in Rome, and American modern- Among the most important academic news this year is the appointment of Avinoam Shalem as the first Riggio Professor of Tel Aviv, Edinburgh, Heidelberg, Bamberg, the Deutsches Forum für Kunstgeschichte in ism, history of photog- in the History of the Arts of Islam. This professorship has been established by Mr. and Mrs. Leonard Riggio. It is thanks Lucerne, and Jawaharlal Nehru University Paris, and the Harvard University Center for raphy, and cinema. He to the remarkable loyalty and generosity of many of our alumni, parents of current and past students, and other friends in New Delhi. In 2006 he was Andrew Renaissance Studies (Villa I Tatti) in Florence, has been awarded grants whose gifts have helped us to maintain our status as one of the foremost departments of art history and archaeology and Mellon Senior Fellow at the Metropolitan Professor Bodart taught at the University of from the Getty Library, to make a real difference in the lives of our students. Your generosity ensures that we are able to continue to prepare art Museum of Art in New York, in 2007 he Poitiers before coming to Columbia. Her the Morgan Library historians for the very best academic and curatorial positions available, train the next generation of art critics, and make was appointed Max-Planck Fellow at the research focuses on Renaissance and ear- and Museum, and the Dedalus Foundation, the study of the visual arts a central part of the education of all undergraduate students attending Columbia University. Kunsthistorisches Institut in Florence, and ly modern art in Italy and in the Spanish and has held teaching positions at Emory in 2009 he was Guest Scholar at the Getty Hapsburg Empire, with special attention University, Sarah Lawrence College, suny This year also marks the return to full-time teaching of Barry Bergdoll (BA ’77, phd ’86), Meyer Schapiro Professor of Art Research Center. Professor Shalem’s research to the relation between art and politics and Stony Brook, and sva. His articles and essays History and Archaeology, after serving as Philip Johnson Chief Curator of Architecture and Design at MoMA for the past focuses on interactions in the Mediterranean between image theory and practice. Among on postwar French and American art have six years. It also marks the final year of teaching for Esther Pasztory (phd ’71) the inaugural chairholder of the Lisa and Basin, migration of objects, and medieval other topics, she has written about portraiture, appeared frequently in journals and exhibition Bernard Selz Professorship in Pre-Columbian Art History. A ground-breaker in the field throughout her distinguished aesthetics, and he has published extensively public monument and urban space, reflec- catalogues. His book Jean Dubuffet is forth- career, she has mentored numerous students and scholars at Columbia. The Department celebrated her remarkable on medieval Islamic art, as well as Jewish and tion in Renaissance painting, and laughter in coming from Phaidon Press. achievements with a scholarly symposium earlier this year. Currently on a research leave, Esther will join our illustrious Christian art. His nine books include Islam Renaissance art. Her book Pouvoirs du portrait emeritus faculty in the fall of 2014. Christianized: Islamic Portable Objects in the sous les Habsbourg d’Espagne (Paris, 2011) re- megan o’neil, term assistant professor, Medieval Church Treasuries of the Latin West ceived an award from the Académie Française. specializes in Pre-Columbian art and architec- In closing, I would like to ask you to consider making a gift to the Department. We have included a return envelope (2nd rev. ed., New York, 1998); The Oliphant: Other publications include Tiziano e Federico ture. She received her listing various funds within the Department to which donations may be directed. By contributing a tax-deductible Islamic Objects in Historical Context (Leiden, II Gonzaga: Storia di un rapporto di commit- ma from the University donation of $50 or more, you will be making an important investment in training the brilliant young art historians 2004); Facing the Wall: The Palestinian-Israeli tenza (Rome, 1998) and François Lemée, Traité of Texas at Austin and and archaeologists who study in the Department, and you also will help to ensure that the Department can fulfill its Barriers (Cologne, 2011); Facts and Artefacts: des statuës. Paris 1688, edited with H. Ziegler her phd from Yale. She educational mission in years to come. In particular I would like to call your attention to the Fund for Graduate Language Art in the Islamic World. Festschrift for Jens (Weimar, 2012). has received fellowships Training. Your donations to this fund will enable our students to go abroad and to acquire the language skills necessary Kröger on His 65th Birthday (Leiden, 2007); from the National to immerse themselves in the scholarly literature and primary sources of their area of study and help them to function and After One Hundred Years: The 1910 frédérique baumgartner ’03 ma, lectur- Gallery of Art, the more effectively as members of the international community of scholars. Last year, I announced the exciting news of two Exhibition “Meisterwerke muhammedanischer er and director of ma program in art Getty Foundation, archaeological fieldwork projects taking shape in Greece and Italy. As you will see in the features on pages six and seven, Kunst” Reconsidered (Leiden, 2010). He has history, is a specialist Dumbarton Oaks, these projects are now ready to be launched. Those among you who would like to help fund these and other fieldwork recently edited the book Constructing the in the field of 18th- and and Fulbright and has taught at usc and the projects may do so by making a contribution to the Group Study Abroad and Archaeological Fieldwork Fund. Image of Muhammad in Europe (Berlin, 2013), 19th-century European College of William and Mary. Her scholarship, which illuminates the conceptualization and art. She earned her phd represented in her book Engaging Ancient I greatly appreciate your commitment and loyalty to Columbia University and the Department of Art History and pictorialization of the Prophet Muhammad at Harvard. Her current Maya Sculpture at Piedras Negras, Guatemala, Archaeology, and I thank you on behalf of our faculty and students for your continuing support. I look forward to seeing in the West, from early medieval times until book project, stemming adds a new dimension to the spectrum of you whenever you have an opportunity to visit us here at Schermerhorn Hall. the 19th century. Professor Shalem has written from her dissertation, art historical fields at Barnard/Columbia. more than one hundred articles on stylistic examines the politi- Currently she teaches a lecture, Mesoamerican With best wishes for a joyous holiday season, observations, document-based researches and cization of the art of Art and Architecture, and an undergraduate cultural studies, historiographies, and art criti- Hubert Robert during the French Revolution seminar, Myth, Ritual, and Rulership in Ancient cism, among other topics. He is also one of the in relation to notions of cultural experience. Maya Art and Architecture. directors of the Getty-supported international A new project concerning émigré and exile project Art Space and Mobility in the Early Ages artists at the turn of the 19th century explores Holger A. Klein of Globalization: The Mediterranean, Central the dynamic between displacement and the Cover: Rüstem Pasha Mosque, Istanbul, Turkey. Interior, Professor and Department Chair Asia and the Indian Subcontinent 400–1650. creative process in a period that witnessed the detail, wall tiles. Photograph by Gabriel Rodriguez.

2 3 Hagia Sophia, Istanbul, Turkey. Interior, nave and dome. Photograph by Gabriel Rodriguez.

A New Joint Summer Program with Bog˘aziçi University in Istanbul & The Istanbul Research and Documentation Project It was a hot summer in Istanbul, not only unrest over the three millennia of its existence. in terms of the felt temperature in some of the Having served as the capital not only for the city’s more crowded streets and public places, Byzantine but also the Ottoman Empire until but first and foremost for the hot political the creation of the Republic of Turkey, it is climate that boiled over on May 28 and today a rich palimpsest of cultures and artistic resulted in countrywide mass demonstrations traditions in which architectural monuments and open riots following the violent eviction of its Roman, Byzantine, and Ottoman past of peaceful protesters from Gezi Park and serve as sites of historical and cultural memory Taksim Square. Environmental activists and a woven into the ever-changing fabric of a broad spectrum of citizens had begun to stage 21st-century metropolis. Occupy-inspired demonstrations against an As it turned out, being in Istanbul this urban redevelopment project that would have summer was both a stimulating and exciting sacrificed the existing park for a shopping experience. Stimulating because the Gezi Park mall and residential complex in the guise of a protests and the broader anti-government reconstruction of the early 19th-century Halil demonstrations and activism that ensued Paşa military barracks, which had stood on the as a result of it—from the standing man site until their destruction in 1940. (#duranadam) to the nightly ritual of noisy Like many others who followed the political solidarity marches in various city parks and events in Turkey unfold in those days in late quarters around Taksim Square—provided May 2013, I was deeply concerned about the much food for thought and discussion among developments for personal and professional Turkish and American students. Exciting reasons, not least because the Department had because the contemporary events provided an just finalized arrangements for a joint Summer interesting foil for the study of Byzantine and Program in Byzantine Studies with our Ottoman monuments and the problems of colleagues at Boğaziçi University in Istanbul, their historic preservation in a rapidly chang- and the program was scheduled to commence ing urban environment. at the end of June. Columbia students were In addition to their coursework at Boğaziçi scheduled to travel to Istanbul to study the University and Columbia’s Global Center, history and monuments of the Late Roman, students participated in the first fieldwork Hagia Sophia, Istanbul, Turkey. Deësis mosaic, detail. Photograph by Gabriel Rodriguez. Byzantine, and Early Ottoman city in a six- campaign of the Istanbul Research and week course taught at Columbia University’s Documentation Project, which was founded in Global Center near Taksim Square, and on the 2011 as a collaborative research initiative with Boğaziçi campus near Rumeli Hisarı. the stated goal to create, over an initial period Archmap: A Spatial Database for Developing and For any student of Byzantine art and of 3 years, an open-access, state-of-the art dig- architecture, it is a unique opportunity to ital research and documentation platform that Sharing Knowledge about Buildings and Artifacts experience firsthand the city that served as provides access to a broad range of scholarly With the continuing support of the Andrew Mellon Foundation, (ancient monuments in Mesopotamia), Francesco de Angelis (Hadrian’s the capital of the Byzantine Empire from 330 projects focused on the city’s Late Antique, Stephen Murray is presiding over a project to extend our mapping Villa), Vidya Dehejia (Indian temples), and Holger Klein (the Istanbul to 1453 CE, and to study its rich heritage. The Byzantine, and Ottoman sites and monu- work beyond Romanesque and Gothic churches. Murray and grant Project), as well as Nikolas Bakirtzis at the Cyprus Institute, and Department and Office of Global Programs ments. A preview of the project’s goals and co-director Rory O’Neill, who began their collaboration some twenty Andrew Tallon, Vassar College, in an advisory role. The goal for the were therefore not easily inclined to cancel mission is available at: www.learn.columbia. years ago, are now working to develop the Archmap system, a Web- one-year grant is to develop prototypes for tools that empower research the new program unless absolutely necessary. edu/istanbul based application that lies at the heart of the Mapping Gothic France tasks for both faculty and students. These prototypes will form the basis Istanbul—founded as a Greek colony and Project. Archmap is a spatial database linked with Google Maps with of a larger grant proposal to fund development of the Archmap system, named Byzantion in the seventh century BC, collection-building features to allow students and researchers to add and expanding it into other fields in the humanities. destroyed, re-founded and named by Emperor map images, exchange texts (essays and bibliographies), and to study holger a. klein Constantine the Great in 330 CE in his own early christian and byzantine art buildings, spaces, and artifacts with newly developed analytical tools stephen murray honor—has seen its fair share of political and archaeology (www.mappinggothic.org). The Archmap team includes Zainab Bahrani medieval art and gothic architecture

4 5 Unearthing Poseidon, the Earth-Shaker: The Columbia-Greek Excavation at Boeotian Onchestos Celebrating the publication of my book on the sanctuaries and cults by the 9th Greek Ephorate of Prehistoric and Classical Antiquities in of Poseidon in the Peloponnese with friends in Vienna back in 2003, I 1964, 1973, and 1991 confirmed that it was located in the area of Steni dared voice my dream to excavate the last nearly “untouched” sanctuary Mavromatiou, between Thebes and Lebadeia. Architectural remains of of Poseidon in Greece: the god’s cult site in Onchestos, the religious the sanctuary have been identified in two distinct areas, lying slightly center of the Boeotian confederacy. My Austrian colleagues simply less than a mile apart. These have been identified as parts of a temple dismissed my idea as that of someone who had drunk too much wine! and a large rectangular building in which the representatives of the Now, ten years later, the Greek Ministry of Culture has approved an Boeotian confederacy met. In terms of size, the site must have been excavation project that will mark the first undertaking of its kind ever comparable to Delphi, Dodona, Isthmia, Nemea, or even Olympia. to be conducted by Columbia University in the land of the Hellenes. In the summer of 2014, the Columbia-Greek excavation project in The site that the Greek authorities have placed in my hands to explore Onchestos will be launched with a geomagnetic survey of the entire is the sanctuary of Poseidon in Onchestos. area between the two previously identified sites. A mapping project will In a scholarly field obsessed with Athens, Rome, and “big” monu- produce detailed plans of the terrain before the onset of the excavation. ments, a landscape such as Boeotia can easily be overlooked. Yet, the With the support of the 9th Greek Ephorate of Prehistoric and Classical birthplace of Hesiod, Pindar, and Plutarch, the home of the Muses, and Antiquities and the Athens Archaeological Society, a group of gradu- the setting of the tragic tales of Antigone, Oedipus, and Semele occu- ate students from the Department of Art History and Archaeology at pies a place in the mythological imagination, historical memory, and Columbia University will excavate the two sites. In subsequent years, cultural expression of ancient Greece that can certainly compete and at more and more graduate and undergraduate students will join the team. times even surpass Athens in terms of contributions to Western civiliza- This is only the beginning of what promises to be an extremely rich and tion. Within ancient Boeotia, the sanctuary of Poseidon in Onchestos, rewarding project. probably founded in Mycenaean times, holds a significant position. In the words of the Greek poet Konstantinos Kavafis: “As you set out Although Homer rarely refers to specific cult sites, he does describe for Ithaka hope the voyage is a long one, full of adventure, full of dis- the sanctuary in Onchestos as a sacred grove in his famous Catalogue covery.” My dream to excavate Onchestos, born so long ago, has finally of Ships (Iliad 2.506). Another early reference appears in the Homeric been realized in a voyage of exploration with generations of Columbia Hadrian’s Villa: The Archaeology of an Imperial Court Hymn to Apollo, which chronicles a strange ritual in the “splendid” cult students; it will without doubt be full of both adventure and discovery. place of Poseidon that entailed the examination of young horses meant Starting in 2014, the Department of Art holistic approach to evidence, from material to draw chariots. History and Archaeology and a group of part- findings to literary and epigraphical sources. Given its importance, the sanctuary has received remarkably little ioannis mylonopoulos ner institutions will offer students the chance Among the main issues the project will archaeological attention. Some brief rescue excavations conducted greek art and archaeology to participate in an innovative research project investigate are the “humble” artifacts found at at Hadrian’s Villa in Tivoli, near Rome. A the site, which usually are neglected in favor of UNESCO World Heritage site, this villa is one the more prestigious sculptures and mosaics, Temple of Poseidon at Cape Sounion, Greece. Photograph by Ioannis Mylonopoulos. of the most important archaeological locations and the relationship of this everyday aspect to of classical antiquity. Its visionary synthesis the ceremonial and official uses of the com- of Roman, Greek, and Egyptian architectural plex. The post-Hadrianic phases of the Villa and artistic traditions has attracted scholarly will also be systematically documented and attention ever since the Villa’s rediscovery analyzed for the first time. Finally, the project in the Renaissance and has inspired genera- will focus on the relation of the Villa to its tions of artists, architects, and writers—from surroundings in the territory of Tivoli. Palladio to Le Corbusier, and from Piranesi to A four-week summer program coordinated Top: Hadrian’s Villa, Tivoli, Italy. Maritime theater. Yourcenar. by Columbia’s Office of Global Programs will Above: Hadrian’s Villa. Water leaf capital. Led by Francesco de Angelis (Art History allow graduates and advanced undergraduates Photographs by Francesco de Angelis. and Archaeology) and Marco Maiuro to take part in excavations and related activi- are now scattered among museums and (History), codirectors of the Advanced ties, from geophysical prospecting to architec- collections throughout the world—in order to Program of Ancient History and Art tural survey. Students will also participate in assemble a virtual re-creation of the original (APAHA), the project is designed to investi- an onsite seminar to develop new approaches decoration of the complex. gate the ancient life of Hadrian’s Villa and to addressing the historical and art historical In addition to the Department of Art document its reception in modern times. The issues raised by the Villa. History and Archaeology, others institutions very exceptionality of the site has often proved A database conceived jointly with the involved in the project include the History to be a hindrance to understanding it on the Archaeological Superintendency of Lazio and Department; the Graduate Program of basis of a systematic comparison with similar developed in collaboration with the Media Classical Studies; the Italian Academy for cases, such as the imperial buildings on the Center for Art History will function both as Advanced Studies in America; and, outside Palatine in Rome, other imperially owned vil- the archive of the project and as a resource Columbia, H2CU, the Honors Center of las in central Italy, or Roman villas in general. for scholars and students interested in the Italian Universities of the Sapienza University The project aims to contextualize Hadrian’s complex and fascinating history of the site. in Rome. Villa within this broader reference network in Among other things, it will host high- order to research the dynamics of the Roman resolution images of the statues and other francesco de angelis imperial court as it can be gleaned through a ornamental artifacts from the Villa—which roman art and archaeology

6 7 Travels in the “Land of Enchantment” Art Humanities and Visual Media, New and Old

During Spring Break 2013, students in the seminar The Media Center for Art History, celebrating its 20th anniversary this year, was launched to Modern Native American Art in the Southwest visited enliven Art Humanities with three-dimensional animations and video (The Amiens Project; Arizona and New Mexico. We had the opportunity The Raphael Project). In 1998 work began to replace the 35mm slides long used to teach the to visit collections associated with the development of course with fresh digital images. While these enterprises were once at the cutting edge of digital modern Native American art, such as the Indian Arts pedagogy, technology continues to advance and our tools must be constantly updated. Recently, Fund collection of Pueblo watercolors and ceramics from the Department began an exciting new initiative to refresh its resources for the teaching of Art the 1920s and 1930s at the School of Advanced Research, Humanities. We have begun video-recording pedagogical briefings as an ongoing reference for and to spend time with contemporary artists including instructors, and will sharpen the design of the course website to make it more user-friendly while Jaune Quick-to-See Smith and Jamison Chas. Banks, also integrating the site into the campus-wide network of sites for the Core Curriculum. We also Artist-in-Residence at the Museum of Contemporary are initiating a program to encourage faculty to rethink the digital resources for each component Native Art. The trip included a visit to the storage vault of the syllabus. Stephen Murray, for example, plans to revise the material on Amiens Cathedral of the Institute of American Indian Art in Santa Fe, a beginning in Autumn 2014. school established in the 1960s to educate Native artists. In addition, the department is planning, with help of the College and other sources of We were thrilled at the opportunity to study works by Sonja Drimmer ’11 phd teaching a class at the funding, to turn the west end of the 8th floor of Schermerhorn into a gallery centered on works such artists as Allan Houser, T. C. Cannon, and Linda Metropolitan Museum of Art. Photograph by specific to the teaching of Art Humanities, thus putting to new pedagogical use the space to Lomaheftewa up close. Another highlight was a behind- SeungJung Kim. be vacated by the Wallach Gallery when it moves to the new Manhattanville campus in 2016. the-scenes tour of the University of New Mexico’s Even with these exciting developments, it is the instructors who make Art Humanities a Tamarind Institute, Lithography Studio & Workshop, cornerstone of Columbia’s curriculum. Below are perspectives from a first-time instructor, an institution with a longstanding tradition of collab- phd student Michael Fowler, and a veteran, Anna Hetherington ’13 phd, on their experiences orating with Native artists. Institute director Marjorie teaching (and being taught by) Art Humanities. Devon showed us a Fritz Scholder print in several stages of production and we also got to watch interns pulling prints. Because the historical and ancient artifacts and A Reflection on Art Humanities buildings of the Southwest create the context in which contemporary artists work, the class made several visits Anna Hetherington ’13 phd afraid of images: they look, they are critical, the semester, I can attest that this concern was to archaeological sites and Pueblo communities where It is difficult to forget the mix of eager antici- and they learn the vocabulary to express what well placed. Art Humanities is a challenging, the modern exists alongside the ancestral. In addition pation and gripping fear that I experienced as they see in a manner that is both articulate and time-consuming venture for first-time instruc- to hiking Canyon de Chelly and Bandelier National a fourth-year graduate student about to step deeply considered. At its core, Art Humanities tors like myself. In addition to designing and Monuments, we were lucky enough to be invited to a into my first-ever Art Humanities classroom teaches students how to think. It has certainly producing my own course materials, much feast day at Laguna Pueblo. The trip gave students a rich as an instructor. The thoughts “I just have to made me a more critical thinker, a more astute of the material covered lies well outside my understanding of the objects we had been studying as make it through today” and “I just have to observer, and fundamentally a better scholar. field of specialization. Yet, this is one reason well as providing extensive opportunities to talk with the get to Raphael” certainly went through my why teaching Art Humanities has also been an artists, curators, and art professionals who are shaping mind. It is equally hard to forget the sense of immensely rewarding experience. contemporary Native art of the Southwest. Our deep accomplishment and exultation after teach- Michael Anthony Fowler In order to teach this course, I have had to thanks go to Louise and Leonard Riggio, whose support ing that first class, which is inevitably much In my predoctoral years of study, I often en- adopt a more panoramic perspective, one that of the Riggio Program Fund for Undergraduate Support more than simply getting through it. In fact, countered the scholarly conviction—whether extends well beyond my usual geographic and made this trip possible. the hardest sessions to teach turned out to explicitly stated or implied—that aesthetics temporal frame of ancient Greece. In so doing, be those in my specialty. Still, in my eighth was not a particularly useful category of in- I have found that teaching Art Humanities has far Left: Canyon de Chelly semester of teaching the course, phd in hand, quiry for the classical archaeologist. Repeated been not only an opportunity to improve my National Monument, Arizona. Raphael, Bruegel, and Michelangelo are the exposure to this judgment predisposed me to general proficiency in Western art history, but Photograph by Gabriel also a reminder of the prevailing themes and Rodriguez. most difficult units to teach. It is hardest to treat artifacts as indicative of broader socio- left: Bandelier National separate the layers and levels of knowledge and cultural and historical circumstances and less issues that confront the discipline as a whole. Monument, New Mexico. prejudices and firm beliefs from the objects as objects whose visual characteristics actively Such an exercise could not come at a Photograph by Gabriel themselves, yet it is crucial that we do so. Art contributed to their functional efficacy and timelier point in the doctoral program, as I Rodriguez. Humanities perpetually reaffirms and strength- impact. You can probably imagine, then, that and my fourth-year cohort embark on focused ens my commitment to visual literacy. It forces when I was told as a prospective student that I multiyear research projects. Art Humanities me to directly engage with works of art and would have the opportunity to teach a course guarantees that as we delve into our respective deal with them on their own terms instead devoted largely to visual analysis (and of mas- topics, our scholarly vision does not become of hiding behind secondary sources or even terpieces at that!), my response was ambivalent. myopic. Through sustained conversations primary texts. In teaching Art Hum one sees Fortunately, my education at Columbia quick- about art from diverse periods and places, I how students become increasingly aware of the ly disabused me of my received bias against am reminded of some of art history’s most world around them. It is infinitely satisfying formal analysis of works of art. enduring questions. And this gets at what to hear an Economics major who claimed to However, I still had one more reservation I regard as the greatest lesson that teaching have no interest in or knowledge of art make about teaching Art Humanities: achieving a Art Humanities can offer to my dissertation connections between Lipchitz’s Bellerophon happy and productive balance between the research: while detailed visual analysis is fun- elizabeth hutchinson Taming Pegasus and Bernini’s Apollo and demands of the dissertation and teaching. damental to art historical method, the details american art history Daphne. Art Humanities students are not Having just completed the first four weeks of should not distract from the big picture.

8 9 Structure Brought to Light, Argument Brought to Space

For a few weeks in June 2013 the temporary exhibition galleries at the Museum of Modern Art were dominated not by famed modern paintings or contemporary installations but by architecture as retrospective exhibitions of the work of the great 19th-century French architect Henri Labrouste and the Swiss-French titan Le Corbusier overlapped. As I had realized a year earlier, the overlapping exhibitions pre- sented exciting opportunities but also interlocking problems of curatorial and scholarly logistics. No less challenging than bringing Labrouste’s 19th-century architecture into the space of the 21st-century museum was installing paintings, architectural models, drawings, photographs, film projec- tions, and full-scale rooms by Le Corbusier, which required its own palette of display techniques. Most rewarding for me was conceiving and designing the installation of the Labrouste exhibition. Labrouste—who figured prominently in my doctoral dissertation—was famous for his challenge to academic orthodoxy at the height of French Romanticism, and for the design of two audacious but serene reading rooms for the Bibliothèque Sainte-Geneviève and for the Bibliothèque Nationale in Paris, both dominated by their elegant exposed cast-iron skeletal frames. The display at moma took form over the course of early 2011, during much of which I was commuting between Cambridge, England, where I was giving the weekly Slade Lectures, and Paris, where two French colleagues and I culled through some 1,500 drawings by Labrouste and his contemporaries. Our goal was to create a selection that portrayed Labrouste’s career as an ongoing investigation, a modern language of architecture grounded in his historical analysis of the process of change, the adaptation of form to material, and response to societal shifts of his time. Exhibitions differ from books in that the execution is not a correction of a manuscript but a construction of an argument in space. The solution was to create three different environments in the moma galleries: a dense hang of drawings and watercolors from Labrouste’s Italian study years that evoked a 19th-century Salon installation, which gave way to twin galleries laid out to evoke the reading rooms of the two libraries—the material now displayed on tabletops, obliging viewers to adopt a different pace and mode of looking. Here the space of the exhibition provided some compensation for the inability to bring actual architectural space into a gallery. A clerestory opening to the moma garden was cut in order to create a display of one space inside another that resonated with a major theme of the show, expressed in the subtitle “Structure Brought to Light.” Then all was demolished, the power of its spatial demonstration now consigned to the muse- um archives and the arguments of the curators recorded in the pages of the accompanying book.

barry bergdoll meyer schapiro professor of art history and archaeology

TOP: Installation view of the exhibition “Le Corbusier: An Atlas of Modern Landscapes.” June 15–September 23, 2013. © 2013 The Museum of Modern Art, New York. Photograph by Jonathan Muzikar. BOTTOM: Installation view of exhibition “Henri Labrouste: Structure Brought to Light.” March 10–June 24, 2013. © 2013 The Museum of Modern Art, New York. Photograph by Jonathan Muzikar. RIGHT: Henri Labrouste (French, 1801–1875). Bibliothèque nationale, Paris, 1854–75. View of the reading room. © Georges Fessy.

10 11 faculty highlights

Alexander Alberro edited two year for architecture exhibitions at for the Great Council Hall of Noam M. Elcott completed his volumes published in the past year: moma, which he describes in this Florence. While in Munich, Prof. book-length manuscript titled John Miller: The Ruin of Exchange issue (see p. 10). He also delivered Cole co-taught a seminar on South “Artificial Darkness: A Modern Art (Zurich/New York, 2012) and the 62nd annual Mellon Lectures German sculpture with Ulrich and Media History” and became What Is Contemporary Art Today? in the Fine Arts at the National Pfisterer; the two traveled in the an editor of the journal Grey (Pamplona, 2012). He cowrote the Gallery in March/April and was region with a group of students Room. In April 2013, he became a introduction to Parachute—The honored with the Architecture from the lmu and Columbia. Last father. Prof. Elcott also organized Anthology: Volume I (1975–2000), award of the American Academy spring Prof. Cole was on parental “Séances: The Cinematic Event,” ed. Chantal Pontbriand (Zurich, of Arts and Letters. In February he leave, caring for his new daughter, an international conference held 2012). His articles and essays delivered the Teetzel Lecture Alice. He has completed his three- at Columbia University and Light included: “Life Models,” Frieze at the University of Toronto. year term as reviews editor for the Industry. He gave talks at UC Magazine (Summer 2012); Art Bulletin and currently is co-cu- Berkeley, Binghamton University, “Michael Asher,” Art in America rating an exhibition of sculptors’ and Columbia’s Deutsches Haus, 100 (January 2013); “Systems, drawings for the Isabella Stewart and delivered the keynote address Dialectics, and Castles in the Sky,” Gardner Museum in Boston. at “Playing with Shadows,” an in Hans Haacke: Castles in the Sky, international conference held at ed. Manuel Borja Villel (Madrid, Jonathan Crary recently discussed Tate Modern, London. 2012); and “Unconscious,” in Janet his writing and research in an Multiple Occupancy: Tony Oursler, UFOs, Cardiff and George Bures Miller, interview on the public radio pro- David Freedberg frequently lec- ed. Okwui Enwezor (Ostfildern, gram Behind the News, produced tured in Germany and Italy, both Eleanor Antin’s “Selves” and Effigies 2012). by station kpfa in Berkeley, and on traditional art historical subjects in an appearance on the New and on the potential of neurosci- Curator: Emily Liebert ’13 phd Curators: Branden W. Joseph and Mark Wasiuta Zainab Bahrani was awarded a York–based television show Book entific research for the understand- Miriam and Ira D. Wallach Art Gallery Assistant Curator: Adam M. Bandler President’s Global Initiative Grant Case TV. ing of the history of images. His September 4 to December 7, 2013 Arthur Ross Architecture Gallery, Columbia University to begin her field project Mapping drive to establish joint programs ICA Boston from March 19 to July 16, 2014 April 16 to May 25, 2013 Mesopotamian Monuments. The While on leave, Francesco de in neuroscience, psychology, first season began in the 2013 Fall Diane Bodart coauthored with Angelis has been working on his and art mostly found fruit in the Eleanor Antin, a pioneer of Conceptual art, has worked in the The exhibition presented two sets of images drawn from artist semester; the team is documenting Hendrik Ziegler the critical edition research project on the reception of multidisciplinary programs he has mediums of performance, photography, film, video, and installation for Tony Oursler’s extensive photographic archives. The two collections and assessing damage to monu- of François Lemée, Traité des state art in the Roman world. He developed at the Italian Academy, nearly fifty years. From 1972 to 1991, she focused on inventing multiple serve not only to open new perspectives onto the more well-known ments in northern Iraq. Also this statuës, Paris 1688 (Weimar, 2012). also organized an overseas archaeo- at the Metropolitan Museum, and personae of different genders, races, professions, historical eras, and aspects of Oursler’s artistic production, but also to raise a larger set of year she completed an essay on This treatise traces the history of logical program on Hadrian’s villa in Europe. His work in these areas geographic locations. Antin called this motley group, which included a questions about the “rhetoric” of the photographic image. Among other “Assyro-Babylonian Aesthetics” monuments from biblical times at Tivoli (see p. 7) and participated was widely published, as well as his deposed king, an exiled film director, ambitious ballerinas, and dogged important distinctions, the two sets of photographs exhibit different for the Oxford Encyclopedia of through the reign of Louis XIV to in conferences in Malibu and more recent research on icono- nurses, her “selves.” The selves’ manifestations were as diverse as their mediatic temperatures. The heightened realism of the “hot” effigy Aesthetics. She co-published the justify the use of public statuary by Seattle. In the fall he joined the clasm and on Aby Warburg. A stories. Some were embodied by Antin and captured in photographs photos and the “cool” objectivity of the UFO photography occupy results of excavations at Tell Leilan, the Sun King, who in 1686 had a editorial board of the Bullettino selection of his essays on Warburg and on video; others had paper doll or puppet surrogates. At times their competing and symmetrically opposite evidentiary positions. Each set Syria, in Harvey Weiss et al., golden colossus of himself erected della Commissione Archeologica and the Pueblo dances was pub- existence was known only through the drawings, texts, and films they strains against the outer edges of the truth claims that were culturally Seven Generations Since the Fall on the newly built Place des Comunale di Roma, a journal lished in Spanish under the title had ostensibly left behind. The issues the selves personify—destabilized invested in photography, particularly as it functioned prior to the wide- of Akkad (Wiesbaden, 2012), and Victoires in Paris. The publication focusing the art and archaeology of Las Mascaras de Aby Warburg identity, fictionalized history, transformation, and archival slippage— spread adoption of digital photography and the electronic distribution wrote “Amnesia in Mesopotamia” includes a facsimile, a volume of of Rome. (Barcelona, 2012). reverberate in art of the present day. Multiple Occupancy, which stems of imagery via the Internet. for Document (March 2013). Her commentaries, and an online data- from Dr. Liebert’s doctoral research, is the first exhibition to focus For the exhibition, Oursler book The Infinite Image: Art, Time base. Her book Pouvoirs du portrait Vidya Dehejia is completing her Anne Higonnet’s essays from the exclusively on this critical body of work. In addition to the art on view, produced a new video composed and the Aesthetic Dimension in sous les Habsbourg d’Espagne (Paris, manuscript “The Unfinished: past year include “The Social Life it features archival materials never before displayed. entirely of UFO and effigy Antiquity, based on her 2011 Slade 2011) received an award from the Indian Stone Carvers at Work,” of Provenance” in Provenance: The exhibition catalogue, edited and with an introductory essay by imagery drawn from YouTube. Lectures at Oxford, is scheduled Académie Française. which grew out of an neh collabo- An Alternate History of Art Dr. Liebert, features new texts by Huey Copeland, Malik Gaines and Oursler’s new piece embraces one to be published in March 2014 by rative project with Peter Rockwell, (Los Angeles, 2013), “Picturing Alexandro Segade, and Henry Sayre, as well as an interview with Antin. medium (streaming digital video) Reaktion Books London. From August to October sculptor and stone conservation Childhood in the Modern West” Complementing the exhibition will be a series of public programs in order to reflect upon the loss 2012 Michael Cole was a vis- consultant. Prof. Dehejia has ac- for The Routledge History of throughout the fall, organized in collaboration with Columbia’s School of another (pre-digital photog- Barry Bergdoll returned in iting scholar at the Center cepted the Mario Miranda Visiting Childhood in the Western World of the Arts, as well as Art21, Electronic Arts Intermix, and Performa 13. raphy). In so doing, it suggests a dialectic between the persistence of September full time to the depart- for Advanced Studies at the Research Professorship at Goa (London/New York, 2013), as well These programs include a screening, performance, and lively conversa- popular customs and modes of belief and the mutability of the means ment as Meyer Schapiro Chair Ludwig-Maximilians-Universität University for the next three years, as two related essays on Manet in tion among artists across generations, all bringing into focus different and media by which they are culturally embodied and communicated. of Art History after serving since in Munich, where he largely which entails teaching in Goa for Grey Room and a Frick Collection aspects of Eleanor Antin’s work. January 2007 as Philip Johnson completed the manuscript for four weeks in July and August, the exhibition catalogue. With a team Chief Curator of Architecture and a short book about the battle start of the academic year in India. of phd, ma, and undergraduate Installation view of the exhibition Tony Oursler, UFOs, and Effigies. Eleanor Antin, The Two Eleanors, 1973. Black-and-white photograph mounted on April 16–May 25, 2013. Arthur Ross Architecture Gallery, Columbia University. Design at the Museum of Modern paintings that Leonardo da Vinci students, she is currently preparing board, 11 x 14 in. Private Collection. © James Ewing Photography. Art. This past year was a bumper and Michelangelo conceived a Wallach Gallery exhibition and

12 13 Faculty Highlights continued Fest to Honor Esther Pasztory The Department of Art History and Archaeology and the online catalogue about the sculp- lectures at the Centre Pompidou in Jerusalem, Kyoto, New York, Keith Moxey’s book Visual Time: 2012 he delivered a keynote lecture University Seminar on the Arts of Africa, Oceania, and the ture of Anna Hyatt Huntington, in Paris and the WIELS, and San Francisco. In 2013–2014 The Image in History was published at the conference “The Aesthetics Americas sponsored a daylong symposium in honor of Professor one of New York City’s most Contemporary Art Centre in he continues to serve as Director of by Duke University Press. An of the Inscribed Text in Greek Esther Pasztory on May 17, 2013. Organized by graduates Andrew successful early 20th-century Brussels. Prof. Joseph also lectured Undergraduate Studies. interview he conducted with Partha and Roman Antiquity” held at Finegold and Ellen Hoobler in conjunction with Francesco sculptors. in Amsterdam, Buenos Aires, and Mitter is included in Art Bulletin the University of Durham. In Pellizzi, Chair of the University Seminar, the symposium in- Canberra, and published essays 95 (September 2013). Prof. Moxey April 2013 he taught at Université cluded six speakers—Holland Cotter (New York Times), Cecelia Elizabeth Hutchinson’s recent on John Cage, Antonin Artaud, gave the keynote address “Truth Paris I: Panthéon-Sorbonne as Klein (UCLA), Leonardo López Luján (INAH), Joanne Pillsbury publications include “From Mike Kelley, Tony Conrad, and and Method: The Challenge of professeur invité. He was also (Metropolitan Museum of Art), Richard Townsend (Art Institute Pantheon to Indian Gallery: Art the relationship between Claes the Image” and led the seminar invited to curate an exhibition on of Chicago), and Gary Urton (Harvard)—whose scholarly talks and Sovereignty on the Early Oldenburg and Jackson Pollock. “Contemporaneity: Or, What emotions in ancient Greece at the paid tribute to Esther’s impact on the field. These papers and Nineteenth Century Cultural For his fall 2012 lecture course, Time Is Tomorrow?” for the annual Onassis Cultural Center in New many others contributed by Pasztory’s former students will appear Frontier,” Journal of American “Neo-Dada and Pop Art,” he meeting of the Estonian Graduate York (2016). In August the Greek in a volume edited by Finegold and Hoobler, to be published by Studies (May 2013), and “‘A brought to campus two legendary School in Tartu in January 2013. Ministry of Culture approved his the University of Oklahoma Press. Narrow Escape’: Albert Bierstadt’s artists, filmmaker Ken Jacobs and He took part in “Histories of Art project to excavate the sanctuary of Wreck of the Ancon,” American filmmaker and performance artist History in South-East Asia,” a Poseidon in Boeotian Onchestos Art (March 2013). Her caa Carolee Schneemann. colloquium organized by the Clark (see p. 6). session, “Indigenous Art on the Art Institute and the University of Global Stage,” brought together Holger A. Klein established a joint the Philippines in Manila in March, curators and artists from around summer program in Byzantine Kent Minturn co-organized and was a member of a panel the world. She also joined the Studies with Boğaziçi University and moderated a symposium on “Going Global in the Humanities? arranged an all-day conference Muhammad in Europe. He of “Looking for Africa in Carl academic advisory boards of the in Istanbul and taught a seminar “Transatlantic Conversations and The Practices and Politics of Global entitled “Thinking with Things: contributed a long comment, “The Einstein’s Negerplastik,” African Georgia O’Keeffe Museum and there, open to students from both Abstract Expressionism” at the Liberal Studies” held at New York A Symposium in Honor of Esther Invention of the Sacrosanct or Arts 46, no. 4. the Women’s International Study universities, on the late antique, Phillips Collection Center for the University in April. Pasztory,” which was held on ‘Sacred Making’ as an Aesthetic Center, organized a panel about Byzantine, and early Ottoman Study of Modern Art in April, May 17, 2013. A Festschrift of the Praxis: A Very Short Voyage from Emeritus Faculty photography and empire for the monuments of the city. Students 2013. In August he gave a talk on Stephen Murray took on the role symposium talks and other papers Barthes to Agamben via Eliade,” American Studies Association, and also participated in the first “Dubuffet, Ossorio and Pollock” of Director of Art Humanities with by former students, currently being to the online magazine Review Richard Brilliant has written began a project on Edward Curtis fieldwork campaign of the Istanbul at the Pollock-Krasner House & a view to initiating a new look at edited by Andrew Finegold and of the Witte de With Center for a memoir. He is teaching an that will be presented in Beijing Research and Documentation Project Study Center, East Hampton, New the role of the digital media in the Ellen Hoobler, will be published Contemporary Art, and a shorter alumni seminar, Framing the this fall. (see p. 4), a collaborative research York. This fall he wrote an essay teaching of the Core. He continues by the University of Oklahoma comment, “Transition, Flow, and Visual Experience of Artworks, at and mapping program that re- for the catalogue Alfonso Ossorio, with his mapping enterprises: the Press. Fortuitously, Prof. Pasztory’s Divergent Times,” on the artwork Columbia University this fall. Kellie Jones’ exhibition Now Dig ceived a substantial grant from the 1949–1953 (New York, 2013), and development of Mapping Gothic Megan E. O’Neil, Term Assistant most recent book of short stories, of Walid Raad’s Scratching on This! Art and Black Los Angeles, 2013 President’s Global Innovation in November gave a lecture at The France, an online database, and the Professor of Art History at Conversations with Quetzalcoatl Things I Could Disavow: A History David Rosand’s paper “The Color 1960–1980 received the award Fund. In the fall of 2013, Prof. Menil Collection in conjunction extension of the concept through a Barnard College, specializes and Other Stories (Solon, ME, of Art in the Arab World for the of Justice and Other Observations” for Best Thematic Exhibition Klein was one of twelve Columbia with its Wols: Retrospective exhibi- new program known as Archmap in ancient Maya art and ar- 2013), was published just before International Journal of Middle appeared in Yale Journal of Law in the United States from the faculty members to be appointed tion. Dr. Minturn was also award- (see p. 5). In his book Plotting chaeology. Her book Engaging the symposium. East Studies. Prof. Shalem also & the Humanities (2012). “Paolo International Association of Art Fellow in the newly established ed a Morgan Library & Museum Gothic (Chicago, forthcoming), Ancient Maya Sculpture at Piedras lectured at the conference “Objects Caliari: A Veronese Painter Critics. After closing at moma Provost Leadership Program. Drawing Institute Fellowship in Murray invites three medieval Negras, Guatemala was published in Motion in the Early Modern Triumphant in Venice” was his ps1 in March 2013, the exhibition support of his research on Jean witnesses to become interlocutors, (Norman, OK, 2012). A related World,” which was held at the contribution to Paolo Veronese: opened at the Williams College In fall 2012 Matthew McKelway Dubuffet’s first book of phonetic sharing their stories of Gothic, book, The Lives of Ancient Maya Getty Center in Los Angeles. A Master and His Workshop in Museum of Art, where it will be on curated the exhibition Silver Wind: poetry, Ler dla canpane (1948). which are then woven together Sculptures, a comparative study Renaissance Venice, the book view until December. Prof. Jones’ The Arts of Sakai Hōitsu, 1761–1828, into various plots. He now looks of sculptures from multiple Maya In 2013 Z. S. Strother received accompanying the exhibition lectures on Lorna Simpson at the at the Japan Society. The exhibi- forward to his next book, The sites, is in progress. Her essay a fellowship from the National co-curated by Frederick Ilchman Galerie nationale du Jeu de Paume tion was reviewed in The New York Life of a Cathedral: Notre-Dame of “Marked Faces, Displaced Bodies: Endowment for the Humanities at The John and Mable Ringling in Paris, as part of the artist’s first Times and The Wall Street Journal, Amiens, which he will undertake Monument Breakage and Reuse to work on her manuscript Museum of Art, Sarasota (2012). European survey exhibition, were among other publications. In during a sabbatical next year. among the Classic-Period Maya” “Iconoclasm in Africa.” She has “Time Lines: The Temporal well received this summer. She addition to the show’s catalogue, is in Striking Images, Iconoclasms also completed, with Jeremy Dimensions of Marking” was continues to work on her latest Prof. McKelway also published Ioannis Mylonopoulos com- Past and Present, recently pub- Howard and Irēna Bužinska, Prof. Rosand’s contribution to the project on conceptual art. two Japanese articles in Kokka, one pleted articles on subjects ranging lished by Ashgate. the book manuscript “Vladimir conference “Moving Imagination: of the oldest art historical journals from Athenian funerary imagery Markov and Russian Primitivism: Explorations of Gesture and Inner The French translation of Branden in print (published since 1889), and the depiction of emotions in Esther Pasztory taught her last A Charter for the Avant-garde.” Movement (2013).” “Incitamentum W. Joseph’s first book, Random and an essay on Larry Ellison’s Greek art, to sacred architecture, Pre-Columbian art courses at Her recent articles include amoris musica [picta]” appears Order: On Robert Rauschenberg, Japanese screen paintings for the dedicatory inscriptions on temples, Columbia in 2013 and will retire Avinoam Shalem coauthored “‘A Photograph Steals the Soul’: in Word, Image and Song: Essays Artist, and the Neo-Avant-Garde Asian Art Museum’s exhibition In and the transformation of ‘things’ in 2014. The University Seminar and edited Constructing the Image The History of an Idea,” in on Early Modern Music (2013), a (Cambridge, MA, 2003), was the Moment: Japanese Art from the into sacred objects. He lectured in in the Art of Africa, Oceania, of Muhammad in Europe (Berlin, Portraiture and Photography in Festschrift in honor of his wife, published with a new preface on Larry Ellison Collection. He also Rome, Geneva, London, Oxford, and the Americas as well as the 2013), which gives an overview of Africa (Bloomington, 2013), and Prof. Ellen Rosand. Editions (sic) and celebrated with gave lectures on his recent research and Copenhagen. In September Department of Art History the making of the image of the English-language version

14 15 Rubens: The Portraitist between Alexandra Helprin: “Art and Anne Hunnell Chen: “Elusive Emily Liebert: “Roles Recast: Dissertation Court and Studio” Servitude on the Sheremetev Empresses and Divine Dads: The 2012–2013 Dissertations Eleanor Antin and the 1970s” Fellowship Awards Estates” Politics of Family in Tetrarchic Defended (Alexander Alberro) Fulbright Institute of Francesca Marzullo: “Italian Art and Architecture” for 2013–2014 International Education Overdoors, 1200–1500” Kim Benzel: “Pu-abi’s Adornment Martina Mims: “August Endell’s Dissertation Fellowship Michael Sanchez: “System 1970: Metropolitan Museum of Art, for the Afterlife: Materials and Construction of Feeling” (Barry Ary Stillman Departmental Talia Andrei: “Mapping Sacred Art as Logistics” J. Clawson Mills Fellowship Technologies of Jewelry at Ur in Bergdoll) Dissertation Fellowship Spaces: Representations of Zachary Stewart: “The East Giulia Paoletti: “La Mesopotamia” (Zainab Bahrani) Thomas Campbell: “Real to Pleasure and Worship in shaji Anglian Parish Hall-Church: Connaisance du Réel: Fifty Denise Murrell: “Seeing Laure: Reel: The Cassette Publication sankei mandara” Architecture and Identity in Years of Photography in Senegal Katherine Boivin: “Holy Race and Modernity from Manet’s as Networked Space” Late-Medieval England” (1910–60)” Blood, Holy Cross: Architecture Olympia to Matisse, Bearden, and GSAS-CU International Travel Andrea Vazquez: “Portraits, and Devotion in the Parochial Beyond” (Anne Higonnet) Ary Stillman Finishing Grant Fellowship Pots or Power Objects? On the Museum of Modern Art, Complex of Rothenburg ob der Eszter Polonyi: “Physiognomic Marta Becherini: “Staging the Imagery and Ontology of Wari Beaumont and Nancy Newhall Tauber” (Stephen Murray) Arianna Packard: “The Perception in Bela Balazs’s Early Foreign: Niccolò Manucci (ca. Faceneck Jars” Curatorial Fellowship Catafalque of Paul V: Cinema Aesthetics” 1638–1717) and Early European Lorenzo Vigotti: “From Palazzo Drew Sawyer: “Walker Evans’ Diana Bush: “The Dialectical Architecture, Sculpture, and Collections of Indian Paintings” Davanzati to Palazzo Medici: Cultures of Work and the Politics Object: John Heartfield 1915– Iconography” (David Rosand) Center for Advanced Study in Sandrine Colard: “Photography Private Architecture during the of Style” 1933” (Alexander Alberro) the Visual Arts, David E. Finley in the Colonial Congo” Florentine Oligarchy, 1382–1444” Nassim Rossi: “Italian Predoctoral Fellowship Brigid von Preussen: “The Museum of Modern Art, Roberta Casagrande-Kim: Renaissance Depictions of the Robert Fucci: “Jan van de Velde GSAS Giles Whiting Foundation Antique Made New: Commercial Museum Research Consortium “The Journey to the Underworld: Ottoman Sultan: Nuances in the II (c. 1593–1641): The Printmaker Fellowship Classicism in Late Georgian Fellowship Topography, Landscape, and Function of Early Modern Italian as Creative Artist in the Early Joshua Cohen: “Masks and Britain” Stephanie O’Rourke: “Bodies of Divine Inhabitants of the Roman Portraiture” (David Rosand) Dutch Republic” the Modern: African/European Knowledge: Fuseli, Girodet, and Hades” (Richard Brilliant) Encounters in 20th-Century Art” Japan Foundation, Japanese Spectatorship at the Turn of the Anna Seastrand: “Praise, Center for Advanced Study Studies Fellowship Nineteenth Century” Kathryn Chiong: “Words Matter: Politics and Language: South in the Visual Arts, Ittleson GSAS Research Excellence Jens Bartel: “Style, Space, and The Work of Lawrence Weiner” Indian Murals 1500–1800” Predoctoral Fellowship Dissertation Fellowship Meaning in the Large-Scale Pierre and Marie-Gaetana (Rosalind Krauss) (Vidya Dehejia) Subhashini Kaligotla: “Shiva’s Lorenzo Buonanno: “Sculpted Paintings of Maruyama Ōkyo Matisse Finishing Grant Waterfront Temples: Reimagining Altarpieces, Devotion, and (1733–1795)” Rachel Silveri: “The Art of Living Susanna Cole: “Space into Time: Yuthika Sharma: “Art in the Sacred Architecture of India’s Artistic Interaction in Early Yu Yang: “At the Crossroads of in the Historical Avant-Garde” English Canals and English between Empires: Visual Culture Deccan Region” Renaissance Venice” Japanese Regional Modernism Landscape Painting 1760–1835” and Artistic Knowledge in Late Colby Chamberlain: “George and Colonialism: Architectural Rudolf Wittkower Finishing (Jonathan Crary) Mughal Delhi, 1748–1857” Center for Advanced Study in Maciunas and the Art of Interaction between Manchuria Grant (Vidya Dehejia) the Visual Arts, Samuel H. Kress Paperwork” and Western Japan, 1905–1945” Alessandra Di Croce: “Sacred Marie-Stéphanie Delamaire: Cambridge University from the roof of St. John’s Chapel. Photograph by Rachel Boyd. Predoctoral Fellowship Connie Choi: “A Matter of Fragments: Studies in the “An Art of Translation: French Susan Wager: “Boucher’s Bijoux: Building Bridges: Photography Japanese Government Reception of Early-Christian Art Prints and American Art (1848– Undergraduate Awards Luxury Reproductions in the Age and African American Education (Monbukagakusho/MEXT) in Post-Tridentine Rome” 1876)” (Elizabeth Hutchinson) and Prizes of Enlightenment” across the Century” Scholarship for Research Gabriella Szalay: “Materializing Cambridge/Columbia Sophia D’Addio: “Adorning the Students the Past: The Romantic Narrative Anna Hetherington: The Department awarded its C.V. Starr Finishing Grant re degl'istrumenti: Painted Organ Frank Feltens: “The Arts of of German Art” “Melancholy Illusions: From senior thesis prize to Isabel J. Research Exchanges Eliza Butler: “The Public Murals Shutters in Renaissance Italy” Ogata Kōrin (1658–1716): Kori Lisa Yee Litt: “Lippo Vanni Bosch to Titian” (David Rosand) Losada Sabando for “Pilgrimage of Frank Millet” Michaela de Lacaze: “Marta Succession and Renewal” (fl. 1344–76): Between Wall and and the New Jerusalem: A Six Columbia students spent a wonderful long weekend at Amanda Gannaway: “Visualizing Minujin and the Politics of Page” Susan Kart: “From Direct Reconstruction of the Enameled Cambridge University in March, taking part in the 3rd Cambridge- Carving to Recuperation: The Divine Authority: An Icon- Participation” Metropolitan Museum of Art, Plaques of St. Martin’s Cathedral Columbia Graduate Student Symposium. The setting could hardly Elizabeth Gollnick: Art of Moustapha Dimé in Post- ography of Lordship on the Late “Diffusion: Jane and Morgan Whitney The Shincho Graduate in Ourense, Spain.” have been more fitting for the symposium’s theme, the persistence Light and Space Art in Postwar Independence Senegal 1974–1997” Intermediate North Coast of Peru” Fellowship Fellowship for Study in Japan of tradition in art and art history. After a series of presentations Los Angeles” Sarah Schaefer: “Gustave Doré, Aaron Rio: “Painting China in (Zoë Strother) William Gassaway: that spanned a huge geographical, temporal, and methodological the Bible, and the Shaping of Medieval Kamakura” “Extraordinary Bodies: Divine range, we were shown the university’s architectural treasures by Modernity” Katherine Kasdorf: “Forming Deformation among the Aztecs” some of Cambridge’s students, and Professor Jean Michel Massing Megan McCarthy: Dorasamudra: Temples of the “The Empire treated us to a thrilling tour of King’s College Chapel, where we on Display: Exhibitions of Hoysala Capital in Context” peered through holes in the vault for a heart-stopping view of the Germanic Art and Design in (Vidya Dehejia) we would like to thank floor below. America, 1890–1914” Gabe Rodriguez ’08 ba and Emily The next edition of the annual symposium, on spaces of art, will Türkan Pilavcı: “Drinking a Dipti Khera: “Picturing India’s Shaw ’11 ma for the beautiful im- take place at Columbia in March 2014, with a methodological focus God and Sacrificing a Drink: ‘Land of Princes’ between the ages they provided; Luke Barclay Hittite Libation Vessels in Art Mughal and British Empires: on the use of digital media in art history. Students from all stages and Ritual” Topographical Imaginings of ’07 ba for all sections related to of the program are encouraged to submit papers. We are especially Udaipur and Its Environs” graduate students; Josh Sakolsky grateful to Dr. John Weber for his generous donation that makes Frick Collection, Anne L. Poulet (Vidya Dehejia) and Sonia Sorrentini for produc- the symposium, and the exchange of ideas between Cambridge Curatorial Fellowship tion management; and Jim Hall and Columbia, possible. Adam Eaker: “Van Dyck against and Chris Newsome for preparing the sections on alumni news. sonia coman and brigid von preussen

16 17 alumni news

Katharine Abrams ’10 ba re- Henry Rousso. She also wrote The American Landscape in Mary Ann Bonet ’10 ba the British Library Journal and Kimberli Gant ’09 ma is a phd the University of Rochester. Her on Cartographic Practices in Art cently started working at Marian “Simulating Iraq: Cultural Contemporary Art” (caa, 2014). has been teaching school and Antenna: The Journal for the candidate in art history at the book The Absence of Work: Marcel and Architecture, and taught the Goodman Gallery as an assistant Mediation and the Effects of the family programs at the Brooklyn Royal Entomological Society, and University of Texas at Austin Broodthaers, 1964–1976 was pub- Senior Thesis Seminar in the art director. She was previously em- Real,” Public Culture (Spring In July 2013 Susanna Berger Museum, moma, El Museo del to the book Manuscripts and specializing in contemporary lished in 2010, and she was the history and archaeology depart- ployed at Gladstone Gallery from 2012). ’07 ba began a postdoctoral Barrio, and the Museum of the Printed Books in Europe, 1350–1550: African/African Diaspora art. She Tomás Harris Visiting Professor ment. Under the name Christina October 2010 to January 2013. fellowship in the Society of City of New York. She returned to Packaging, Presentation and is currently in Lagos, conducting at University College London in Stahr she exhibited in group Jessica (Marshall) Basciano Fellows at Princeton University, Columbia in summer 2013 to start Consumption (2013). research. In 2012 she was the inau- spring 2013. She has published shows and a large site-specific A German-language edition ’12 phd was a visiting assistant where she will also be a lecturer her edm in Art and Art Education gural Mercer Graduate Curatorial essays on a range of artists. installation at the Art Factory in of When Buildings Speak by professor at Bucknell University in the Department of Art and at Teachers College. Mary D. Edwards ’86 phd Fellow at AMOA-Arthouse in Paterson, NJ. Anthony Alofsin ’87 phd, in spring 2013. She presented Archaeology. published “‘Straight and with- Austin, where she guest-curated Piri Halasz ’82 phd was hap- Roland Roessner Centennial papers at the New Directions in Elizabeth Childs ’89 phd out Deviation’: The Mission of “De-Luxe: Collections Selections” py to see that the College Art Michael A. Jacobsen ’76 phd Professor at the University of Gothic Revival conference at the Priya Bhatnagar ’09 ma is was appointed Etta and Mark Saint Lucy as Told in Fresco by and “New Works: April Wood.” Association added a section for continues to publish on vintage Texas, was published (2011). His University of Kent (2012) and the Director of Publications for Urs Steinberg Professor of Art History Altichiero, 1379–84,” in Il Santo: She also published exhibition es- “contingent faculty” on its website automobiles and road racing latest book, Frank Lloyd Wright, Sang Sacré symposium at Pratt Fischer’s imprint Kiito-San and at Washington University, where rivista francescana di storia dottri- says, the Studio Museum’s “Fore” because she is on the board of in the 1950s in Vintage Racecar Art Collector (2012), is the first Institute (2013). She also contrib- edited the catalogue for his exhi- she is chair of the Department of na arte 50 (2012); “Tipi: Heritage and AMOA-Arthouse’s “Texas an organization that such faculty Journal, Classic MG Magazine, catalogue raisonné of the archi- uted a paper on modern monastic bition currently on view at moca Art History and Archaeology. Her of the Great Plains,” a review of Prize 2012.” might find helpful—the National and in the current MMM tect’s unique collection of German architecture at the sah conference in Los Angeles. book Vanishing Paradise: Art and the Brooklyn Museum exhibit in Coalition of Independent Yearbook. He also contributes and Austrian art prints. in Buffalo. Exoticism in Colonial Tahiti was 2011, in secac Review 16 (2012); In spring 2013 Alex Gartenfeld Scholars, which is open to any to the website The Chicane. He An all-day symposium devoted published in May 2013, and she “A Memento Mori Motif in ’08 ba co-organized, with Sir serious scholar who is not in a raced his ’34 MG Magnette last Stanford Anderson ’68 phd, Frédérique Baumgartner ’03 to Benjamin Binstock’s ’97 is contributing to the catalogue Nicola Pisano’s Pulpit in the Norman Rosenthal, a landmark full-time position with a college, year at the Pittsburgh Vintage Honorary Professor, College of ma received her phd from Harvard phd first book on Vermeer and for the Gauguin show at moma Baptistery at Pisa,” in Medieval survey of New York art, featur- university, or institution devoted Grand Prix and this year at the Architecture and Urban Planning, University in 2011. She focuses on his daughter was held at the New in spring 2014. Perspectives 27 (2012); and a ing new works by 25 artists. He to the academic field in which the Sonoma Historics, and he entered Tongji University, Shanghai, 18th- and 19th-century European York Humanities Institute of short story, “The New Pistol,” was recently named curator at scholar specializes. for the Monterey Historics in China, coedited Aalto and art. nyu in May 2013. Participants in- Elizabeth Currier ’87 ba writes in Paterson Literary Review 40 the Museum of Contemporary August. He donated his art America (2012) with Gail Fenske cluded Anthony Grafton, Chuck that her photography has taken (2012–13). Art, North Miami, and he was As the Acting Chief Curator at history library to the University and David Fixler. Colleen Becker ’08 phd is a Close, and Lawrence Weschler. off this past year, with invitations honorably asked to join the nom- Henie-Onstad Kunstsenter (hok), of Georgia’s program at Cortona, visiting fellow at the University to several group exhibits and Lisa Florman ’94 phd has been ination committees for the Louis Milena Hoegsberg ’04 ba Italy. Julia Assante’s ’00 phd recent of London. In July 2013 she pre- Annette Blaugrund ’87 phd is prizes in juried competitions. Her promoted to professor in the Comfort Tiffany Foundation and recently published Living Labor book The Last Frontier (2012) sented a paper on Aby Warburg curating the exhibition “Albert recently launched website shows history of art department at Artissima. (2013), a publication produced in Jinyoung Jin ’04 ma is the won the Nautilus Gold Award at the “Negotiating Boundaries” Bierstadt in New York and an eclectic array of work that Ohio State University. Her book conjunction with the group exhi- gallery director at The Korea 2013 for books in the category of conference at the University of New England,” which opens includes pinhole, infrared, and Concerning the Spiritual—and Claudia Goldstein ’03 phd bition “Arbeidstid” (Work Time) Society in New York. She recently grief, death, and dying. Publisher’s Birmingham. Curators Ricarda October 27, 2013, at the Thomas gold-toned images. the Concrete—in Kandinsky’s Art, writes that her book Pieter in Oslo. She is currently working curated “The Hidden Beauty of Weekly called it “the most import- Vidal (King’s College) and Jenny Cole Historic Site in Catskill, will be published by Stanford Bruegel and the Culture of the on a performative solo project Korea Captured by Five Artists ant book on the enigma of death Chamarette (Queen Mary) com- NY, and is accompanied by an Elizabeth Denny ’10 ma has University Press in January 2014. Early Modern Dinner Party was with artist Lea Porsager (October from Abroad 1920s–1950s” (2013), since the groundbreaking work of missioned her flash-fiction piece illustrated catalogue. The show started Denny Gallery, a contem- published in May 2013 as part of 2013) and a large Bauhaus Stage “10,000 Threads: The Collected Elisabeth Kubler-Ross.” What We Made by Colleen Becker covers Bierstadt’s paintings and porary art gallery located on the Michelle Finocchi ’02 ba Ashgate’s Visual Culture in Early Art exhibition in collaboration Works of Quilt Master Kim for “Translation Games.” oil studies, his involvement with Lower East Side at 261 Broome runs her own communications Modernity series. with Bauhaus Dessau Foundation, Haeja” (2011), and “Missionary In 2006 Arlene Atherton ’01 ba stereography, and his various Street. consultancy, specializing in press which will open in May 2014. Photography in Korea: offered Children Speak Tsunami to Adrienne Baxter Bell ’05 studios in NY. relations for art-related clients, Holly Greenfield ’04 ma is Encountering the West Through the George W. H. Bush Library phd received the 2013 Teaching Kim Dramer ’02 phd trained including galleries and artists. the head of Benefit Auctions for Jim Hoekema ’77 mphil con- Christianity” (2009). in honor of the 2005 SE Asia Excellence Award at Marymount Babette Bohn ’82 phd co- in online course design by She is based in nyc. Paddle8, an online auction house tinues to work as a user experience Tsunami. She collected children’s Manhattan College, where curated, with Judith Mann, the JesuitNET. She taught “Chinese that connects buyers and sellers of architect for the consulting firm Trudy S. Kawami ’83 phd drawings in Sri Lanka, Thailand, she is an associate professor of Federico Barocci exhibition at Culture for Marketing” at Tatiana Flores ’03 phd was fine art and collectibles through- Accenture. His recent projects lectured at Dar al-Athar Al- and Indonesia. She also created art history and director of the the Saint Louis Art Museum Fordham’s Gabelli School of promoted to associate professor out the world. included digital strategy for Bose Islamiyah, Kuwait City, in a 51-minute video of Buddhist College Honors Program. Her (October 2012–January 2013) Business, taking her Columbia art with tenure in the Department and user interface design for the April 2013. She also wrote grieving ceremonies for each recent presentations include and the National Gallery, history education into the world of Art History at Rutgers, The Margaret B. (Hayden) California healthcare exchange “Cosmopolitan Splendor: The country. “Mark-Maker: The Gnostic Body London (February–May 2013), of Sino-American business. State University of New Jersey. Grossman ’06 ba is now a (“Obamacare”). First Millennium bce in West in Gilded Age American Art and and coauthored the accompany- Her book Mexico’s Revolutionary lawyer, practicing real estate law Asia,” in Splendors of the Ancient Noit Banai ’07 phd received an Psychology” (secac, 2012) and ing catalogue, Federico Barocci: Sonja Drimmer ’11 phd is now Avant-Gardes: From Estridentismo in New York at Paul, Weiss LLP. As the director of the Nancy East: Antiquities from the al-Sabah neh grant to participate in the “George Inness and the Poetry Renaissance Master of Color and an assistant professor of medieval to ¡30–30! has just been released by She married Ben Grossman, also a Graves Foundation, Christina Collection (2013), and “Parthian Summer Seminar for College of Place” (April 2013, Montclair Line (2012). She coedited, with art at UMass Amherst. She was Yale University Press. lawyer in New York, in September Hunter ’03 phd is organizing and Elymaean Rock Reliefs,” in and University Teachers (Paris, Art Museum). She is chair of James Saslow, A Companion to awarded a Riley Fellowship by the 2012. a large retrospective, “Nancy The Oxford Handbook of Ancient 2012) on 20th-century history the sessions “We Are Where We Renaissance and Baroque Art Huntington Library and spent Raymond Foery’s ’88 ma book Graves Project,” with the Ludwig Iran (2013). With John Olbrantz and French national identity Are Not: Picturing Invisibility in (2013). the summer in residence as the Alfred Hitchcock’s Frenzy: The Last Rachel Haidu ’03 phd is the new Forum in Aachen, Germany, she co-curated the exhibition since 1990, which was orga- Nature Representations” (secac, Frankfort Fellow at the Warburg Masterpiece was published in 2012. director of the Graduate Program which opens in October 2013. She “Breath of Heaven, Breath of nized by Richard J. Golsan and 2013) and “Still on Terra Firma?: Institute. Sonja contributed to in Visual and Cultural Studies at lectured at the caa 2013 session Earth: Ancient Near Eastern Art

18 19 Alumni News continued

from American Collections” and Isabel Losada ’13 ba interned For the past two years Megha Washington, DC. The exhibi- Jeffrey Chipps Smith ’79 currently clearing image rights Courtauld Institute of Art in Theatre, and Trusty Sidekick. In cowrote the accompanying cata- at the Frick Collection through Ralapati ’04 ba has been cu- tion “In the Tower: Kerry James phd has been elected counselor for the Richard Diebenkorn 2009. She currently teaches the hbo film Muhammad Ali’s logue (2013). mid-July 2013 and enrolled at The rating an international residency Marshall” opened June 28, 2013. of the Renaissance Society of Foundation for their upcoming art history as an adjunct at the Greatest Fight she had a scene Courtauld Institute in the fall to program at Chicago’s Hyde Park America (2013–16). He gave talks catalogue raisonné of the artist’s University of Tampa. In October opposite Christopher Plummer Laura C. Kenner ’13 ba worked complete an ma in art history. Art Center. She researches, writes, Recent publications by Karen in Brisbane, Melbourne, and work. she presented a paper at the and Kathleen Chalfant. with Rosalyn Deutsche to com- and curates independently. Her S. Rubinson ’76 phd include Perth, as well as Riggisberg (CH), Universities Art Association of plete a senior thesis on Louise Andrea Luján ’11 ba graduated background in South Asian “Gender Archaeology in East U. Toronto, Huntsville (AL), Nancy Stula ’97 phd was Canada in Banff. She will be a Laura Weinstein ’11 phd is Lawler’s exhibition catalogue, with honors in art history from contemporary art remains a Asia and Eurasia,” coauthored San Diego, U. Hamburg, FU named executive director of regular contributor to the forth- Ananda Coomaraswamy Curator A Spot on the Wall. Kenner was Columbia University. She lectured focus, though she is interested in with Katheryn Linduff, in A Berlin, and Kupferstichkabinett the William Benton Museum coming bimonthly International of South Asian and Islamic awarded Departmental Honors at the 2012 joint conference of the its intersection with the broader Companion to Gender Prehistory Berlin. He also wrote articles on of Art at UConn, in July 2013. Street Photographer Magazine. Art at the mfa, Boston. In July in Art History and Archaeology, Society of Dance History Scholars international context. (2012); “Some Metal Belts from the historiography of Northern She is the author of At Home: 2013 her show “Sacred Pages: graduated summa cum laude, and and the Congress on Research in Hasanlu,” Nāmvarnāmeh: Papers Renaissance and Baroque art, The Transcendental Landscapes of Elizabeth Valdez del Alamo Conversations about the Qur’an” is a member of Phi Beta Kappa. Dance, as well as the 2013 interna- Catherine Roach’s ’09 phd in Honour of Massoud Azarnoush Hans Vischer, Peter Floetner, Christopher Pearse Cranch (1813– ’86 phd published Palace of the opened at the mfa, with 30 pages tional joint conference co-hosted article “Domestic Display and (2012); and “Urartian Belts and Christoph Schwarz, and Jesuit 1892) (2007), and currently serves Mind: The Cloister of Silos and from Qur’an manuscripts on view, Danielle Klein ’08 ba is working by the Society of Dance History Imperial Identity” recently ap- Some Antecedents,” Biainili- confraternities, among others. on the board of the Connecticut Spanish Sculpture of the Twelfth accompanied by labels written for Ralph Lauren as a showroom Scholars, the Nordic Forum peared in the Huntington Library Urartu (2012). She serves as pres- 2013 is his last year as associate ed- Arts Alliance. She received the Century (2012). by members of Boston’s Islamic designer in the Global Creative for Dance Research, and the Quarterly, and she is also con- ident of the American Research itor of the Journal of the Historians 2013 University of Hartford community. Services department. Norwegian University of Science tributing to the catalogue of the Institute of the South Caucasus of Netherlandish Art. Distinguished Alumni Award. Samantha Warren ’13 ba and Technology. She is pursuing upcoming exhibition of Victorian (arisc), and is a research associate competed at the Under-23 World Irene Winter ’73 phd was named Yumi Koh ’93 ba is currently a an interdisciplinary ma degree at sculpture at the Yale Center for at nyu’s Institute for the Study of Della Clason Sperling ’93 Yuma Terada’s ’05 ba book Rowing Championships in Linz, an honorary fellow of the Institute global consumer analyst at the cuny. British Art and Tate Britain. the Ancient World. phd is currently doing research Tokyo yutopia: Nihonjin no kodoku Austria, in July 2013. of Fine Arts at commencement hedge fund Tiger Asia. She is also on Swiss folk art antecedents of na rakuen was published in exercises in May 2013. on the committee for her 20th Susan Milbrath ’75 phd, Janice Robertson ’05 phd Kate Rudy ’01 phd prepared a Ferdinand A. Brader (1833–1901) Japan in September 2012 by the Virginia-Lee Webb ’96 phd reunion at Columbia College and curator of Latin American art conceived and cochaired “Rock ted talk about medieval man- for an exhibition of the artist’s publisher Bungeisha. The book, published the essay “I just like Aida Yuen Wong ’99 phd was looks forward to reconnecting and archaeology at the Florida the Pedagogical Boat: Open Mic uscripts, which is available on drawings at the Canton Museum which offers cultural criticism looking at objects: Douglas selected as fellow of the American with classmates. Museum of Natural History, + Tweet #caa2013rock” for the YouTube. She invites everyone to of Art in December 2014. Brader on Japanese society as seen from Newton, Collector,” in Collecting Council of Learned Societies published Heaven and Earth in 2013 caa Conference that asked, watch the talk and welcomes any numbered his works and to date abroad, is now in its second New Guinea Art: Douglas Newton, (2012–2013) and conducted Juliet Koss ’90 ba Associate Ancient Mexico: Astronomy and “With or without technology, are feedback. only 202 out of approximately printing. Harry Beran, Thomas Schultze- research in China on the aesthetic Professor and Chair of Art Seasonal Cycles in the Codex Borgia you doing something to rock the 1,000 have been located. If any- Westrum, edited by Michael theory and legacy of the modern History, Scripps College, (2013), and was awarded an neh pedagogical boat of art history?” Isaac Santos ’13 ba recently one has knowledge of any works, Erin Thompson ’10 phd, having Hamson (2013). reformist Kang Youwei (1858– Claremont, spent spring 2013 Preservation and Access grant to She presented “Don’t just go to graduated from Columbia with a please search “Brader Exhibit obtained her jd from Columbia 1927). She also edited Visualizing as a Humboldt Research Fellow document a large collection trans- the museum: weave museum field ba in art history. He is currently 2014” on the Web. Law School and practicing as an Rachel Weidenbaum ’08 Beauty: Gender and Ideology in at the Institut für Kunst- und ferred to the museum from the trips into your art history survey working at Remezcla, an online attorney, will return to academia ba (now Rachel Claire) began Modern East Asia (2012). Bildgeschichte, Humboldt Maya site of Cerros in Belize. with VoiceThread multimedia publication that “has established After the birth of her second in Fall 2013 as an assistant profes- the nyu Tisch Graduate Acting University, Berlin. She recent- technology, and grow the ‘work- itself as the source for under- son in San Francisco, Jennifer sor of art law and crime at John Program in September 2013 to Teriha Yaegashi ’08 ba is ly published “Bauhausfolket Janet Oh ’10 ma recently ing space’ in your classroom” at ground and emerging trends in Moussa Spring ’01 ba left her Jay College (cuny). earn her mfa. She is a member of preparing to launch a private art [Bauhaus People],” in Kulturo: produced a performance and the 2013 Baruch College/Rubin Latin music, visual arts, film, office job at Chronicle Books Actors’ Equity Association and advisory in New York and Tokyo, Tidsskrift for Kunst, Litteratur og lecture series at the Art Institute Museum of Art Conference nightlife, food, and more.” to take up freelancing. She is Catherine Elise Trucks ’07 has collaborated with Marvell with the official opening sched- Politik 34 (2012); “Scalebound of Chicago. She matriculated in “Museums and Higher Education ba received an ma from the Repertory Theatre, Target Margin uled for fall 2013. Bauhaus,” in The Islands of Benoit the phd in Art History program at in the 21st Century: Collaborative David Shapiro ’01 ba has Mandelbrot: Fractals, Chaos, and cuny Graduate Center, focusing Methods and Models for expanded his business Museo the Materiality of Thinking (2012); on interwar photography. Innovation.” Publications to include fine and “Wagnerska Beroenden/ art appraisal services and has Wagnerian Addictions,” in Mer än Richard Pegg ’01 phd published Judith Rodenbeck ’03 phd is a launched a related website. News from the Ljud/More Than Sound (2013). two articles: “World Views: fellow at the Clark Institute of Art His collaborative proposal to Late 18th Century Approaches in the fall of 2013. create the Rockaway Museum Stronach Center Kathryn Kramer ’93 phd has to Mapmaking in China and of Contemporary Art in Fort been promoted to full professor in Britain,” Orientations 44 (2013); Roger Rothman ’00 phd Tilden’s abandoned military Inaugurated in 2009, the Judith Lee Stronach Center quickly became the art and art history department and “Maps of the World has written a new book, Tiny bunkers was selected by moma the most popular space in the Department, in use daily by students and at the suny Cortland. Beginning (Cheonhado) in Korean Atlases of Surrealism: Salvador Dalí and the and moma ps1 for the exhibition faculty and for frequent special events. The creation of the Center was in fall 2013, Professor Kramer the Nineteenth Century,” in Arts Aesthetics of the Small (2012). “Expo 1.” Shapiro continues his made possible by a bequest from Judith Lee Stronach (bs ’67, ma ’69). will begin a term as chair of the of Korea: Histories, Challenges and work as an independent editor for Her husband, Professor Ray Lifchez (mar ’57, ma ’67) of the University department. Perspectives (2013). He also pre- Paige Rozanski ’08 ma works Pearson-Prentice Hall’s Higher of California, Berkeley, has become a faithful friend of the Department. sented public lectures at DePauw as the curatorial assistant in Education Art History list. It is thanks to his generosity that handsome new tables and chairs were University, University of Florida, the department of modern art recently installed in the Center, replacing the odds and ends it formerly and China Institute in New York. at the National Gallery of Art, contained.

20 21 In Memory of Caleb Smith (1970–2013) With Thanks Born in Wisconsin and raised and educated in New The strength and renown of Columbia’s Department of Art History and Archaeology derive not Mexico, Caleb Smith moved to New York City in 2000, We are honored to tell you that Caleb’s only from the expertise and dedication of the faculty, but also from alumni and friends who carry becoming an integral member of Columbia University’s family has dedicated a bench in Riverside forward the intellectual mission of the department and who provide financial support for professor- Department of Art History and Archaeology. As Director Park in his memory. The bench is on the ships, fellowships, symposia, and an array of programs and projects that enhance our core offerings. of the Media Center for Art History from July 2009 upper portion of the park and is very much We are deeply grateful to the following individuals, foundations, and corporations, as well as onward, Caleb actively shaped the Department’s global part of the park’s Olmsted design. Slightly those who wish to remain anonymous, for their generous contributions in the fiscal year 2012–2013: media projects. Through his unique vision and collabora- south of 115th Street, it faces the city and tive leadership style he championed the adoption and has views of Riverside Drive’s elegant Philip Aarons & Shelley Fox Aarons • Morton Abromson • Sarah Ahmann • Lewis Andrews • Eloise use of new approaches, resources, and technologies for architecture. Caleb’s family also intends to Columbia Art History Angiola • Rosemary Argent • Moira Ariev • Lilian Armstrong • Kevin Avery • Frances Beatty c/o Richard art historical pedagogy and research. inaugurate a yearly memorial prize for a and Archaeology L. Feigen & Co., Inc. • Adrienne Baxter Bell • Annette Blaugrund • Babette Bohn • Alexander Ives Caleb pursued his abiding interest in urban environ- thesis in American Studies. Advisory Council Bortolot • Barbara Buenger • Beverly Bullock • Walter Burke • Leslie Bussis • Norman Canedy • Rita ments by famously and systematically walking every street & Stephan Carrier • Galit Carthy • Petra Chu • Heather Clydesdale • Christiane Collins • Maria Ann in Manhattan, documenting the 500-mile walk through Philip E. Aarons, esq. Conelli • Mary Cope • Jonathan Crary • John Davis • Georgia & Michael de Havenon c/o New York photography and his own brand of accessible, humor- Armand Bartos, Jr. ous, and engaging commentary at newyorkcitywalk.com. Community Trust • Constancio & Elizabeth Del Alamo • Barbara Divver • Fiona & Mark Donovan Frances Beatty Caleb's website is now archived at the Library of Congress • Virginia Shawan Drosten • Sheila Edmunds • Lee MacCormick Edwards • Mary Douglas Edwards Annette Blaugrund thanks to Avery Library. His photographs are in the New-York Historical Society’s collection • Elizabeth Ellis • Evelyne Ender • Barbara Fields • Sharon Flescher • Raymond Andrew Foery • Ilene and included in the Museum of the City of New York’s exhibition The Greatest Grid. He taught Nelson Blitz, Jr. and Forsyth • William Geo Foulks • William Frosch • Terence Garvey • Paula Gerson • Ellen Berland New York: Architecture and Cultural History in Columbia’s Summer Session, and conducted Catherine Woodard Gibbs • Grace & Monroe Gliedman • Stacy Goodman • Dean Goossen • David & Ruth Green • architectural tours of New York City for Big Onion Walking Tours. As a project editor for The Jean Magnano Bollinger Encyclopedia of New York City Mary Livingston Griggs and Mary Griggs Burke Foundation • Andrew & Maeve Gyenes c/o Fidelity , he contributed numerous entries including, significantly, the one Fiona Donovan on Broadway, which fascinated Caleb as a multifaceted historical monument and a Charitable Gift Fund • Adelaide Bennett Hagens • Piri Halasz • Estate of Evelyn B. Harrison • Kim Lee MacCormick Edwards challenging opportunity for hiking within the dense urban environment. Caleb Smith in Angkor Wat, Cambodia, January Hartswick • Fenella & Morrison Heckscher • James Hoekema • Jeffrey Hoffeld c/o Jeffrey Hoffeld Caleb will be remembered as a gifted scholar and teacher, an inspiring leader, and a generous Theodore Feder 2013. Photograph by Subhashini Kaligotla. Fine Art Inc. • Nancy Acheson Houghton Brown • Joyce Anne Houston • Institute for Studies on colleague and friend. Linda S. Ferber Latin American Art, LLC c/o Geo Global Foundation • Michael Jacobsen • Michael Jacoff • Lewis Sharon Flescher Kachur • Elizabeth & Karl Katz • Eloise Quinones Keber • Patrick Kenadjian • Andrew Jeong-Won Kate Ganz Kim • Caroline Anne King • Noelle King • Timothy Brian King • Doug Kligman • Jane Kristof • Tributes to Caleb Marian Goodman Jonathan Lorenz Kuhn • Jack Henry Kunin • Bernice K. Leader • Robert Jay Levine • Carol Lewine Michael and Georgia de Havenon Like many graduate students in our department, I considered Caleb had once distributed so freely, and for a brief, beautiful moment it was • Raymond Lifchez c/o Raymond Lifchez Living Trust • Virginia Rembert Liles • Carla Lord • Carol one of my best among few true allies on campus. He taught me to like he was right there beside us. Frederick David Hill Ann Lorenz • Mary Ann Lublin • Mary MacNaughton • Janet Maddox • Kenneth Maddox • Maxine batch scan slides, make QTVRs, and actually used what I produced under —Jørgen Cleemann ’12 ms Historic Preservation Jeffrey M. Hoffeld Maisels • Nina Mallory • John Markowitz • James Marrow c/o The Rose Marrow Fund • Courtenay his direction when so often it felt as though my work might not be rel- Steve Kossak McGowen c/o Courtenay C. McGowen Trust • Helen Meltzer-Krim • Katherine Jánszky Michaelsen • evant to anyone but me. He was an absolute light, a kind and generous Caleb made me love the city I took for granted because I was lucky Carol F. Lewine person, and a beloved champion of the underdog. to be born here. Whenever I’m out walking, I look up the address of Charles Miers • Joan Mirviss • Olivier Mosset • Voichita Munteanu • Miyeko Murase • Albert Mutea Glenn D. Lowry Like everyone who was lucky enough to have encountered Caleb, any building that I find interesting because, they all have a history and Muriuki • Otto Naumann c/o Otto Naumann, Ltd. • Michael Ede Newmark • Joan L. Nissman • Mary A. Lublin I have really been struggling to come to terms with his passing. they’re all important. I wish I could have told him about an old theater James & Louise North • Megan Katherine O’Toole • Lucy Oakley • Priscilla Otani • Robert Alan Page, —Amanda Gannaway phd candidate I “discovered” in my neighborhood. It has a discount clothing store in Philippa Feigen Malkin Jr. & Martha Schrader Page • Melinda Parry • Francesco Passanti • Andrea & Jacques Paul • Richard it now, but the facade is still festooned with sculpted comedy-tragedy Philippe de Montebello Anderson Pegg • Jeanette Peterson • Kirk Peterson • Doralynn Schlossman Pines • Jerome Pollitt • Working with Caleb meant sharing a friendship and an infectious masks. I bet he noticed it, too, when he walked along that street. I Amy D. Newman Barbara Porter • Sheila Marie Pozon • Helen Raye c/o Helen A. Raye TTEE • Nancy Reynolds • Terry enthusiasm for whatever task was at hand. For me and many others, miss Caleb, and I will continue to miss him, but it matters tremen- Doralynn Pines he was inseparable from New York City. I was lucky to teach a course dously that, no matter where I step in Manhattan, I can say to myself, Robinson • Anna Roosevelt • David & Ellen Rosand • Emily Rose • Jeannette & Jonathan Rosen Amy Greenberg Poster on the history and architecture of New York with Caleb. His insights “Caleb was here.” c/o Joseph Rosen Foundation • Carmen Rosenberg-Miller • Ronald Rosenblatt • Donald Rosenthal Louise Riggio into the basic elements of everyday life—from iron boot scrapers to —Sonja Drimmer ’11 phd • Emily Sano • Charles Chauncey Savage • Walter Schmitz • Bernard & Lisa Selz c/o The Selz Foundation, the stoops of row houses—will stay forever with me: not for their Terez Rowley Inc. • Aiko Setoguchi • Robert Simon • Susan Sivard • Catherine Slowik • Shelley Elizabeth Smith • historical value, but for the way his view of the city had an effect of If there is a heaven, Caleb would be there now exploring. He’d check Steven and Lauren Schwartz Ernest Harrison Sohmer • Adam Michael Sokol • Anna Lee Spiro • Katharine Staelin • Allen Staley • re-enchantment and brought a sense of wonder to the places and the Pearly Gates to see if each gate is built of one pearl or many; to see Bernard T. and Lisa Selz Louisa Stark • Christina Staudt • Richard E. Stewart • Howard Stoner • Deborah Stott • Virginia Bush objects we often overlook or take for granted. if their arches are Moorish or Gothic or Roman. He’d climb the Golden Robert B. Simon —Richard Anderson ’10 phd Ladder of Contemplation that stretches from Saturn to Empyrean, Suttman • Leopold Swergold • Andrew John Tallon • Weston Thorn • USG Foundation, Incorporated • Leopold and Jane Swergold wearing awesome sunglasses. Then he’d explore further—to Jannah, William Voelkle • Mary Wallach c/o Mary and James G. Wallach Foundation • John & Virginia Walsh Dale C. Turza Caleb’s ability to spread enthusiasm for history was equal parts Valhalla, the Elysian Fields, the Chinvat Bridge of Judgment, docu- c/o The Walsh Family Trust • Paul Walter • Virginia-Lee Webb c/o Virginia-Lee Webb Consultants, LLC genius and generosity. He wasn’t just sharing facts, he was sharing a menting all along the way. He’d meet with luminaries: Beatrice, David, Mark S. Weil • John Weber • Judith Glatzer Wechsler • Mark Weil • Anne Betty Weinshenker • Barbara & Leon White piece of himself. Conjuring this enthusiasm was one of the goals of Krishna…and be there for each of them with a warm smile, fresh ideas, Marie-Hélène Weill • Gertrude Wilmers • Irene Winter • Irene Wisoff • Susan Wood • Gregory Wyatt • Thomas William the Caleb Smith Memorial Walk held this past spring. As our group of and, if needed, a hug. Adam Weinberg Yanni • Michael Yochum c/o Yochum Family Fund nearly fifty people walked the length of Broadway in Manhattan, from Caleb—wherever you are—thank you for being both colleague and H. Barbara Weinberg Marble Hill to Bowling Green, we interpreted and interrogated the city friend; for gracing my brief moment surrounded by stardust and sleep. Gertrude Wilmers that Caleb loved. Every now and then, as we gazed upon some graceful —Emily Ann Gabor, Department Administrator Contributions provided funding for individual and group study and research worldwide; conferences, old building or long-forgotten monument, we felt the enthusiasm he symposia, and lectures; projects by the Media Center for Art History; and various other department initiatives. We regret any errors or omissions.

22 23 columbia university Non-Profit Org. department of art history and archaeology U.S. Postage 826 schermerhorn, MC 5517 PAID New York, NY New York, NY 10027 Permit No. 3593

Canyon de Chelly National Monument, New Mexico. White House Ruin. Photograph by Gabriel Rodriguez. Editor: Emily Ann Gabor; Design: Florio Design

826 FALL 2013

schermerhornwww.columbia.edu/cu/arthistory