ART MUSEUM NEWS Now Being Enjoyed by Patricia Fortini Faculty, Students, and Visit- Brown, Chair Faculty News
Total Page：16
File Type：pdf, Size：1020Kb
PrincetonUniversity DEPARTMENT OF Art Archaeology & Newsletter Dear Friends and Colleagues: SPRING Over the course of my six years as ing scholars from around the world. Another nota- Inside ble realization was the establishment of the P. Y. department chair, and since the inau- and Kinmay W. Tang Center for East Asian Art. guration of this newsletter in 2000, With Jerome Silbergeld as the fi rst director, it offers FACULTY NEWS there have been many changes. an impressive program of lectures, conferences, symposia, and fi lm series. The old Slides and Pho- For one thing, the face of the faculty has tos Collection has become the Visual Resources VISUAL ARTS FACULTY changed. Carol Armstrong was hired as a joint Collection under a new director, Trudy Jacoby, and appointment with the Program in the Study of the Index of Christian Art is bringing medieval Women and Gender; Wen Fong and Peter Bunnell imagery into the digital world. retired, and their positions were fi lled by Jerome UNDERGRADUATE NEWS The Princeton University Art Museum, under Silbergeld and Anne McCauley. Thomas Leisten, the dynamic leadership of its director, Susan Taylor, in a newly created position in Islamic art and archi- who joined us in 2000, has also undergone a trans- tecture, and Esther da Costa Meyer were pro- RADUATE TUDENT EWS formation, with the reinstallation of most of its G S N moted to tenure; and Alastair Wright and Al Acres galleries, and an ambitious schedule of exhibitions were hired. Two beloved emeritus professors, Jack and gallery events. The depth of its outstanding Martin and David Coffi n, passed away. And the holdings is symbolized by the terracotta relief TECHNOLOGY AND ART HISTORY changes will continue. related to Ghiberti’s bronze Gates of Paradise in With John Wilmerding presently in the second Florence that appears on this page—a work that is year of a four-year phased retirement, Rachel Ziady not even on display. The museum remains an EXCAVATIONS DeLue, who currently teaches at the University of important focus of department teaching and schol- Illinois at Urbana-Champaign, will begin a ten- arship, with individual faculty members working ure-track position in American art in the fall. With with museum curators on exhibitions, and under- MARQUAND LIBRARY the departure of Anne-Marie grads and grad students gain- Bouché and Al Acres, we ing valuable experience also expect to fi ll positions through service to the in medieval and northern TANG CENTER museum as research assis- Renaissance art over the tants, tour guides, and next few years, and African interns. art is on the wish list. NDEX OF HRISTIAN RT The faculty continues I C A McCormick Hall itself to reassess the curriculum has changed. The feasibility in light of a changing disci- study for the Marquand pline, and changes are proba- VISUAL RESOURCES COLLECTION Library renovation was bly in store for the venerable completed in 1999–2000, Art 101. Our new chair, Hal my fi rst year as chair, and, as Foster, will be a most able NEWS FROM ALUMNI readers of these pages are leader for a department with well aware, the superb new a distinguished history and state-of-the-art facility is a bright future. ART MUSEUM NEWS now being enjoyed by Patricia Fortini faculty, students, and visit- Brown, chair Faculty News Al Acres has an article titled “Porous Subject Matter Venice, in Home and Homelessness in the Medieval and Christ’s Haunted Infancy,” forthcoming in The and Renaissance Worlds (Notre Dame University Mind’s Eye: Art and Theological Argument in the Press, 2004), and her book Private Lives in Renais- Middle Ages, a collection edited by Anne-Marie sance Venice: Art, Architecture and the Family (Yale Bouché and Jeffrey Hamburger. Another article, University Press, 2004) was a fi nalist for the Charles “Elsewhere in Netherlandish Painting,” will appear Rufus Morey Prize of the College Art Association in a collection scheduled for publication later in the and was a New York Times notable book. She par- year. The fi rst of these draws upon research for his ticipated in a number of conferences in Princeton book manuscript, projected for completion toward and elsewhere, including a symposium in Koper/ the end of summer, on insinuations of the Passion Capodistria, Slovenia, “Istria and the Upper Adri- and evil in Renaissance imagery of Christ’s infancy. atic in the Early Modern Period: Artistic Exchange This spring Acres gave a paper at the British Associ- Between the Coasts and the Interior,” where she ation of Art Historians Conference, held at the gave a paper titled “Istria and Venice’s Classical Carol Armstrong, Cézanne in the Studio University of Bristol, on modes and implications of Past”; and the annual meeting of the Sixteenth Cen- depicting intention in 15th-century painting, which tury Studies Conference in Toronto, where she he will publish as an article. Elements of this essay was moderator of a round table titled “Is Art His- will contribute to a second book project, tentatively tory?” Brown also gave the Jane Green Endowed titled Edges of Meaning in Early Northern Painting. Lecture in Art History and Criticism at Mills Col- In addition to his surveys of the Northern Renais- lege in Oakland, California, where she had taught sance and Western prints, he taught two new semi- for a semester while completing her dissertation nars this year: one in the fall, titled “Renaissance before coming to Princeton in 1983. The topic was Invisibility,” which addressed European artists’ “Seen but Not Heard From: Renaissance Children pervasive and increasingly self-conscious efforts to and Their Visual World,” a theme that she plans to represent things that elude or resist vision, and a develop into a book. She was also appointed to the sophomore seminar, cotaught in the spring with board of advisors of the Center for Advanced Study Hal Foster, on “Episodes in Realism.” in the Visual Arts at the National Gallery of Art in Carol Armstrong published Cézanne in the Studio: Washington, D.C, and to the board of directors of Still Life in Watercolors (J. Paul Getty Museum, Save Venice. 2004) and curated the accompanying exhibition at Slobodan Ćurčić spent last summer in Princeton, Ocean Flowers, coedited by the J. Paul Getty Museum last fall. The focus of fi nishing the text of his major book on the archi- Carol Armstrong both the book and the exhibition is Cézanne’s late tecture in the Balkans from A.D. 300 to 550. In the masterpiece Still Life with Blue Pot, which is now in spring he gave a lecture at Princeton titled “Delib- the collection of the Getty Museum. With Cathe- erate Destruction of Cultural Patrimony: The Case rine de Zegher, she was the coeditor of and contrib- of Kosovo,” cosponsored by the Department of Art utor to Ocean Flowers: Impressions from Nature (The and Archaeology and the Program in Hellenic Stud- Drawing Center and Princeton University Press, ies. The lecture was prompted by a spree of violence 2004), a study of natural-history imagery in the in March 2004 that resulted in the destruction of mid-19th century, with particular emphasis on medieval churches and monasteries in the region of botanical drawings and photograms by the artist Kosovo. In May he gave a keynote lecture, “House Anna Atkins (1799–1871) and her Victorian con- or House of God? Planning Ambiguities in Byzan- temporaries. Armstrong was also the cocurator of tine Architecture,” at the annual conference of the the accompanying exhibition at The Drawing Cen- Christian Archaeological Society in Athens, Greece. ter in New York and the Paul Mellon Center for He was also inducted into the international hon- British Art in New Haven. An exhibition of her orary committee of the society, whose 15 members photographs, titled “Pink,” was shown on campus include only two from the United States. In July he in January and February. Armstrong’s essays on the participated in the international symposium “Hier- Hal Foster, Prosthetic Gods exhibition “Manet at the Prado” and Kiki Smith otopy: Studies in the Making of Sacred Spaces,” and Giuseppe Penone appeared in Artforum in held in Moscow. His lecture was titled “Cave and 2004, and she also lectured at the Courtauld Insti- Church: An Eastern Christian Hierotopical Synthe- tute in London, the J. Paul Getty Museum, the sis.” Last fall Ćurčić was invited to chair a session at New York Public Library, the Paul Mellon Centre a conference held at Columbia University to com- for British Art, Wellesley College, and University memorate the 200th anniversary of the First Ser- College, London. bian Uprising (1804–15) and the beginnings of Patricia Fortini Brown, department chair, pub- modern Serbian statehood. His 2004–05 publica- lished an essay on housing diversity in Renaissance tions include “The Role of Late Byzantine Thessa- 2 S P R I N G John Blazejewski Department faculty. Seated, left to right: William Childs, Patricia Fortini Brown, Hal Foster, Thomas DaCosta Kaufmann; standing, left to right: Hugo Meyer, Slobodan Ćurčić, Carol Armstrong, John Wilmerding, Alastair Wright, Jerome Silbergeld, T. Leslie Shear Jr., Esther da Costa Meyer, Anne-Marie Bouché, John Pinto (not pictured: Al Acres, Robert Bagley, Thomas Leisten, Anne McCauley, Yoshiaki Shimizu) loniki in Church Architecture in the Balkans,” in Early Modern Studies at the American Academy Dumbarton Oaks Papers 57 (2003); “Some Refl ec- in Rome. In 2004 he began service on the board of tions on the Flying Buttresses of Hagia Sophia in directors of the College Art Association of America Istanbul,” in Sanat Tarihi Defterleri 8 (2004); and and served on its Annual Conference Committee. “A Lost Byzantine Monastery at Palatitzia-Vergina,” In 2005 Kaufmann was also named to the National in Mnemeio kai perivallon/Monument and Environ- Committee of the History of Art, and was reelected ment 8 (2004).