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). He continues to work on the orga- to the board of the Historians of German and Cen- nization of the exhibition “Architecture as Icon,” tral European Art. He continued to serve as a dis- scheduled to open in the fall of 2007 in Thessa- cipline representative for Germanic Studies to the loniki, Greece, and in the spring of 2008 at the Renaissance Society of America, and was on the Princeton University Art Museum. advisory board for the Advanced Placement exami- Hal Foster et al., Art Since 1900 Hal Foster published two books this year. Prosthetic nations in art history. Gods (MIT Press, 2004) explores the critical rela- He published three books in 2004: The Elo- tion of psychoanalytic theory and modernist art, quent Artist: Essays on Art, Art Theory and Architec- examining Gauguin, Picasso, Adolf Loos, Max ture, Sixteenth to Nineteenth Century (Pindar Press), Ernst, and other artists who shared a fascination Central European Drawings in the Crocker Art with fi ctions of origin, either primordial and tribal Museum (Harvey Miller), and Toward a Geography or futuristic and technological. With Rosalind of Art (University of Chicago Press). In addition, Krauss, Yve-Alain Bois, and Benjamin Buchloh, he the following chapters and articles appeared: “Das coauthored Art Since 1900: Modernism, Antimod- Ostseeraum als Kunstregion: Historiographie, ernism, Postmodernism (Thames & Hudson, 2004), Stand der Forschung, und Perspektiven künftiger a major comprehensive history of art in the 20th Forschung,” in Land und Meer: Kultureller Aus- century. In 2004 Foster gave lectures at the Whitney tausch zwischen Westeuropa und dem Ostseeraum Museum, the Architectural League, the University in der Frühen Neuzeit, edited by Martin Krieger of Mexico, the Getty Museum, Stanford University, and Michael North; “Die Geschichte der Kunst the University of North Carolina, the University of Ostmitteleuropas als Herausforderung für die California at Berkeley, the University of Delft, Historiographie der Kunst Europas,” in Die Ost- Ulster University, and the National Gallery of Art, mitteleuropäische Kunsthistoriographien und den Thomas DaCosta Kaufmann, The among others. In April he was the keynote speaker nationalen Diskurs, edited by Robert Born, Alena Eloquent Artist at the 10th annual Villanova University Graduate Janatková, and Adam S. Labuda; “South America, Student Philosophy Conference. 1600–1800” and “Europe, 1600–1800” in The Atlas of Art, edited by John Onians; and “Die During academic year 2003–04 Th omas DaCosta Kunst Mitteleuropas als untrennbare Einheit,” in Kaufmann was the National Endowment of the Die waage, as well as a book review and other Humanities Postgraduate Fellow in Renaissance and miscellaneous publications. This year will see the S P R I N G     3 Robert Janson- publication of two more books: Painterly Enlighten- Esther da Costa Meyer cocurated the exhibition ment: The Art of Franz Anton Maulbertsch (1724– “Schoenberg, Kandinsky, and the Blue Rider,” La Palme Visiting 1796) (University of North Carolina Press) and which was awarded fi rst prize for the best thematic Professorship Time and Place: The Geohistory of Art (Ashgate), show in New York City in the year 2004. The coedited with Elizabeth Pilliod. honor was bestowed by the American section of the The department is pleased to Kaufmann also delivered lectures in Nijme- AICA/International Art Critics Association at a cer- announce the endowment of the gen at the Museum Het Falkenhof, at Princeton emony held at the Museum of Modern Art in Janu- Robert Janson-La Palme Visiting Professorship in Art and Archaeol- for the Renaissance Colloquium, and at the Biblio- ary. Shown at the Jewish Museum in New York ogy. It will allow the department theca Herziana in Rome. In July he will lecture at from October 2003 through February 2004, this to invite a distinguished scholar to the International Congress of History in Sydney, was the fi rst American museum exhibition to con- campus every other year to give Australia. He also chaired a session at the Annual centrate on the friendship and intellectual dialogue a seminar in the fi eld of European Meeting of the Renaissance Society of America in between painter Wassily Kandinsky and composer art between 1200 and 1800. In Cambridge, England. Arnold Schoenberg. addition to the seminar, the Th omas Leisten, in addition to teaching a full load Hugo Meyer has completed a book whose working Janson-La Palme professors will of courses at Princeton, commuted to Cambridge, title is The Aura of Imperial Rule. It now contains also give a public lecture and Massachusetts, last fall to teach a course at Harvard 12 chapters, and stretches from the Late Republic to direct a colloquium in the area on early Islamic architecture. He also traveled to the 3rd century A.D. He also fi nished the manuscript of their specialization. The fi rst Tübingen to lecture on the excavations of Samarra for a smaller book on aspects of femininity in recipient of the professorship in Iraq. His 2004–05 publications include an entry Graeco-Roman art, and hopes to publish both will be Walter Liedtke, curator of on Makbara in Iran in The Encyclopedia of Islam, works in 2005. Finishing his studies on David European paintings at the Metro- and the article “Mshatta, Samarra, and al-Hira: Friedrich Strauß is next on the agenda. During politan Museum of Art, who will teach a seminar on Rembrandt in Ernst Herzfeld’s Theories Concerning the Hira- his next sabbatical he will spend time in Athens to the spring 2006 semester. Style Revisited,” which appeared in Ernst Herzfeld continue his projects on Athens in 19th-century and the Development of Near Eastern Studies, 1900– photographs, “Interpretations of the Past,” and the 1950 (London, 2005). Leisten is the director of portraits of the kosmetaí. He recently lectured on Princeton’s excavations at the Syrian site of Bālis, “The Holy Shield of Ilion” at the conference “Alex- and he is currently working with Princeton’s Educa- ander the Great and His Era,” sponsored by the tion Technologies Center to develop a Web site Alexander S. Onassis Foundation in New York. His devoted to Bālis, which will include preliminary articles in press are on the Lemnian Athena of Phi- reports, photographs, information on small fi nds, dias, the Belvedere Torso, and “Pierino Da Vinci, interviews, and a 3-D walk-through reconstruction Dante, and the Portland Vase.” of the palace. During 2004–05 John Pinto gave the Thomas In conjunction with an exhibition devoted to Spencer Jerome Lectures at the University of Michi- Alfred Stieglitz and his American galleries at the gan in Ann Arbor (in the fall) and the American Musée d’Orsay in Paris, Anne McCauley published Academy in Rome (in the spring). His topic was an article on “Alfred Stieglitz et le nu féminin” in architects in 18th-century Rome and the compelling the Revue du Musée d’Orsay for November–Decem- vision they forged of classical antiquity. The lectures ber 2004. At the symposium that coincided with will be published as a book by the University of this exhibition, she presented a paper (in French) Michigan Press. Pinto was awarded a grant from the Thomas DaCosta Kaufmann, titled “Born in Hoboken: Alfred Stieglitz between John Simon Guggenheim Memorial Foundation for Central European Drawings in the the Old Country and the New.” Last August she 2005–06, which he will use to complete another Crocker Art Museum was a keynote speaker at the Nordic Society of project, a book on architecture and urbanism in Photographic History’s annual symposium held 18th-century Rome. In collaboration with Janet in Copenhagen, where she discussed the origins Temos ’82 *01 and the staff of the Educational of photographic pornography in Second Empire Technologies Center at Princeton, work continues France. In January she was one of two American on a new interface for Pinto’s Nolli database on art speakers discussing historiography and current and architecture in Rome. When completed, the issues in photographic history for a symposium database will be available on the Internet. The new held in Amsterdam and sponsored by a collabora- version will be enriched by a second interactive plan tion of academics writing the fi rst comprehensive of Rome, by Giovanni Battista Falda, recently history of Dutch photography, Dutch Eyes. acquired by Marquand Library, as well as by digital At the College Art Association meetings in Atlanta images taken from rare books in Princeton’s collec- in February, she chaired a session on the nude in tions. As a trustee of the American Academy in photography. Perhaps the most unusual speaking Rome, Pinto served on the search committee for a situation she had last year resulted from an invi- new director. tation from Oxford University’s Continuing Edu- Jerome Silbergeld published a book on Chinese Jerome Silbergeld, Hitchcock with a cation Offi ce to give a series of fi ve lectures on cinema, Hitchcock with a Chinese Face (University of Chinese Face the history of photography on the Cunard Line’s Washington Press, 2004), and an article in the Art Queen Mary II en route from New York to South- Bulletin on regional variation in Chinese gardens ampton in June. 4 S P R I N G     and architecture. He gave guest lectures on Chinese of the National Portrait Gallery in Washington. photography at the University of Chicago, and on This past year he gave visiting lectures at the landscape as a painting genre at the Philadelphia Educational Testing Service (Princeton), the Castine Museum of Art, as well as lecturing at the China Historical Society (Maine), the Farnsworth Art Institute in New York, the University of British Museum (Maine), the College of the Atlantic, the Columbia, and the Seattle Art Museum. As director Cape Ann Historical Museum (Massachusetts), the of the Tang Center for East Asian Art, he organized National Gallery of Art (Washington, D.C.), the with Associate Director Dora Ching *93 (M.A.) a Cosmopolitan Club of Philadelphia, the Pennsylva- symposium at Princeton on “The Family Model in nia Academy of the Fine Arts, the Ellis Antique Chinese Art and Culture,” which brought together Show (Boston), and the Cosmopolitan Club of speakers in the fi elds of art history, literature, New York. Following the gift of his collection of anthropology, psychiatry, and sociology. At the 19th-century American paintings and drawings to symposium he presented a paper on representations the National Gallery, Art & Antiques magazine of family in Chinese cinema. The papers will be named him one of the top 100 collectors of the year. published by Princeton University Press. Silbergeld also served on gallery committees for the China Emeritus Faculty Institute and the Asia Society in New York, and as a member of the editorial board for Archives of Asian Peter Bunnell contributed the essay “La photogra- Art. He taught a graduate seminar on the topic of phie pictorialiste” to the autumn 2004 issue of La John Wilmerding et al., American “bad” art, a consideration of how Chinese art criti- revue du Musée d’Orsay, published in conjunction Art in the Princeton University Art cism has dealt with this topic over the centuries. with the exhibition “New York et l’Art Moderne: Museum, volume I: Drawings and Alfred Stieglitz et son Cercle, 1905–1930,” which Watercolors John Wilmerding was busy much of last fall with was held at the Musée d’Orsay. He was also instru- lectures related to two exhibitions with which he mental in arranging the loan of several was involved: “American Masters from Bingham to Stieglitz photographs from the collection Eakins,” 19th-century paintings from his collection of the Princeton University Art Museum. on view at the National Gallery of Art, and “West In 2004 he was appointed a member of to Wesselmann; American Drawings and Water- the Department of Photographs visiting colors in the Princeton University Art Museum.” committee at the Metropolitan Museum The latter show was accompanied by a substantial of Art. Bunnell continues on a consulting catalogue with entries on 77 highlights in the col- basis in the Princeton University Art lection, an essay on the history of teaching and col- Museum, and is also supervising graduate lecting American art at Princeton, and a partially students writing their dissertations. illustrated checklist of all the museum’s holdings of American drawings and watercolors. The project During the past year James Marrow coau- was favorably reviewed, and stimulated a number of thored the commentary volume to a fac- year-end gifts of American art from alumni, includ- simile of a richly illustrated Latin prayer ing Stuart P. Feld ’57, Alastair Martin ’38, Leon- book illuminated in Cologne in the 1480s: ard Milberg ’53, Remack Ramsay ’58, and Charles Liber Precum: Vollständige Faksimile-Aus- Scribner III ’73. gabe der Handschrift Ms. Lat. O.v.I. 206 Wilmerding also wrote introductions for sev- der Russischen Nationalbibliothek in St. eral other exhibition catalogues: “Georgia O’Keeffe Petersburg , two volumes, coauthored with and the American Landscape Tradition” for Interna- Margarita Logutova (Graz, Akademische tional Arts (Memphis, Tennessee); “Dartmouth and Druck- und Verlagsanstalt/ADEVA, American Art” for the Hood Museum of Art 2003). He is resident this year in Cam- (Hanover, New Hampshire); “The Many Views of bridge, England, where he has contributed The Harrowing of Hell in the fac- Frederic Edwin Church” for a traveling exhibition entries to the catalogue of a major exhibition of simile of the St. Petersburg prayer from Olana, coming to Princeton in the spring of medieval manuscripts in Cambridge collections book coedited by James Marrow 2007; “Small Wonders: Hudson River Paintings in (“The Cambridge Illuminations”) that will take the Martin Collection” for the New Britain place at the Fitzwilliam Museum from July 26 Museum of American Art (Connecticut); and through December 10, 2005. In November he was “Memory and Magic: The Art of Andrew Wyeth” awarded a Ph.D. honoris causa by the Université for the High Museum of Art (Atlanta, Georgia). Charles-de-Gaulle, Lille 3, in France. In the spring Also underway are a retrospective book on the semester he taught a graduate seminar in manu- photorealist Richard Estes and an exhibition on Fitz script illumination, as the inaugural holder of the H. Lane and Mary Mellen, set for May 2007. “Van der Weyden Chair—Paul and Dora Janssen” Wilmerding remained busy as a trustee or com- at the Katholieke Universiteit Leuven in Belgium. mittee member of the Guggenheim Museum, the His book Pictorial Invention in Netherlandish Manu- College of the Atlantic in Maine, and the Com- script Illumination of the Late Middle Ages: The Play mittee for the Preservation of the White House, in of Illusion and Meaning is scheduled for publication addition to being recently elected a commissioner by Uitgverij Peeters (Leuven) in May 2005.

S P R I N G     5 Program in Visual Arts Faculty

Eve Aschheim, a painter and the director of the Wilfried Dickhoff , a writer, publisher, and curator Program in Visual Arts, teaches drawing and paint- of international contemporary art, is a lecturer, ing. In 2004 she had solo shows at Larry Becker teaching “Issues in Contemporary Art.” His recent Contemporary Art in Philadelphia, and the Patrick writing includes the books After Nihilism (Cam- Verelst Gallery in Antwerp, Belgium. In 2005 she bridge University Press, 2000) and Für eine Kunst participated in the American Academy of Arts and des Unmöglichen (For an Art of the Impossible), 2001; Letters Invitational Exhibition in New York and texts on Alex Katz, James Lee Byars, and Leiko was awarded a purchase prize for two paintings. In Ikemura; and the theoretical essay “The Art of Par- 2005 her work was included in shows at the Lori rying.” Upcoming publications of his press, Verlag Bookstein Gallery and the Lohin-Geduld Gallery in Wilfried Dickhoff, include artist’s books by Marcel New York. In 2004, Aschheim’s work was included Broodthaers and Tony Oursler, and Anfänge: in the exhibitions “About Painting” at the Tang Schriften zur Kunst (Beginnings: Essays on Visual Art) Museum in Saratoga, New York; “New Views: by Maurice Blanchot. Dickhoff’s monographs on Greg Drasler, In Camera, oil on Modern New York Cityscapes” at the New-York Albert Oehlen and Georg Dokoupil, and on Rose- canvas, 2003 Historical Society; “179th Annual: An Invitational marie Trockel’s works on paper are scheduled for Exhibition of Contemporary American Art” at the publication by DuMont this year. National Academy of Design in New York; “Ins Greg Drasler is a painter and lecturer. His 2004 Licht gerückt: Aus der Grafi schen Sammlung” at exhibition “Claustrophelia,” at the Van Bunt Gallery the Kunstmuseum Bonn in Germany; and “(Some) in New York was reviewed in the January 2005 issue Drawings [Now and Then]” at Larry Becker Con- of Art in America. Drasler’s essay “Painting into a temporary Art in Philadelphia. In 2004, Aschheim’s Corner: Representation as Shelter” was published in work was acquired by the Museum of Modern Art The Vitality of Objects: Exploring the Work of Christo- in New York, the Hamburger Bahnhof in Berlin, pher Bollas (Wesleyan University Press, 2002). the Kunstmuseum Bonn, at the Yale University Art Museum, and the Judith Rothschild Foundation Nicholas Evans-Cato, a painter, was a lecturer last Contemporary Drawings Collection (promised gift fall. In 2004 he had a solo show of recent cityscape to the Museum of Modern Art, New York). Her paintings at the George Billis Gallery in New York drawing exercise “Drawing from Films” appears in City, and his “Billboard Sculptures,” diminutive the book 100 Creative Drawing Ideas, edited by wood and paper models of abandoned billboards Anna Held Audette (Shambhala Books and Ran- in New York City, were included in the fi rst Rhode Island School of Design Biennial. In 2004 he also Emmet Gowin, Photographs: dom House, 2004). A catalogue of Aschheim’s show participated in the exhibition of the Joan C. Mitch- 1967–2000 at the University Gallery at the University of Massa- chusetts at Amherst, will be published in June. ell Foundation’s M.F.A. awardees at the CUE Foun- dation in Chelsea. Kip Deeds is a print- maker, painter, and Su Friedrich, a fi lmmaker and professor, teaches lecturer in printmak- video production. During 2003–04 she toured ing. In 2004 he had widely with her most recent feature-length docu- solo exhibitions at the mentary, The Odds of Recovery, and also completed a Sykes Gallery of Mill- new short video, The Head of a Pin. Friedrich is cur- ersville University in rently working with Wildside Press on a monograph Millersville, Penn- about her fi lms. One-person shows of her work were sylvania, and at the held in 2004 at the University of Iowa, Cedar Rap- Wakeley Gallery at ids; the Pennsylvania State University; Smith Col- Illinois Wesleyan lege; the Gay and Lesbian Center in New York; and University. In 2005 he the Northwest Film Center/Cinema Project in Port- had a solo exhibition land, Oregon. Friedrich’s work has been screened at the Hunt Gallery of widely and has won many awards, including the Carol Hepper, Orange Sky, fi sh Webster University in St. Louis. Deeds participated Grand Prix at the Melbourne Film Festival, Out- skins, fi shing line, and wall in nine group exhibitions in 2004, including standing Documentary Feature at Outfest, and the paint, 2003 “American Impressions: Contemporary American Golden Gate Award at the San Francisco Film Festi- Printmaking” at the Ben Shahn Gallery at William val. She has received fellowships from the Rocke- Patterson University. Deeds will be a printmaker-in- feller and Guggenheim Foundations, as well as residence at the Frans Masereel Centre in Belgium numerous grants from the Jerome Foundation, the this May. New York Foundation for the Arts, the New York State Council on the Arts, and Independent Televi- sion Service. 6 S P R I N G     Emmet Gowin is a photographer and professor. In 2004 his exhibition “Changing the Earth,” with an accompanying catalogue, completed the third and fi nal year of its tour, with exhibitions at the Center for Creative Photography at the University of Ari- zona, the James A. Michener Art Museum in Doylestown, Pennsylvania, the El Paso Museum of Art, and the Henry Art Museum at the University of Washington. During a spring 2004 sabbatical Gowin continued his ongoing research in Panama, with three visits to study and work alongside biolo- gists in the rain forest. In the spring of 2004 Gowin was also in residence for three weeks as visiting art- ist at Nihon University in Tokyo, where he gave three lectures and a workshop, after attending the opening and publication of Emmet Gowin: Photo- graphs, 1967–2000 at the Art Museum of the Col- lege of Art, Nihon University. Gowin also gave the 2004 Conrad Nelson Lecture at Franklin and Mar- Emmet Gowin teaching at Nihon University in Tokyo, shall College in Lancaster, Pennsylvania, in January, where he was visiting artist in the spring of 2004 and the Gladys S. Blizzard Lecture at the University of Virginia in Charlottesville, Virginia, in October. the Permanent Collection” at the Farn- Carol Hepper is a sculptor and lecturer. In 2004 sworth Art Museum. Her work was she had a solo show “Translucency” at the R. Bryan recently acquired by the Colby College Art Gallery of Coastal Carolina University in Con- Museum of Art and the Bates College way, South Carolina, which included a brochure Museum of Art. “Jocelyn Lee and Sa with essay by Will Hipps. She was also in a group Schloff, New Work” will be shown at show at the North Dakota Museum of Art in Zero Station, in Portland, Maine, Grand Forks. In 2005 Hepper’s work was in group this May. shows at the Marlborough Chelsea Gallery in New Andrew Moore is a photographer, fi lm- York and the Elizabeth Leach Gallery in Portland, maker, and lecturer who teaches both Oregon. photography and digital photography. Julia Jacquette is a painter and lecturer. In 2004 Moore’s next book of photographs, she had solo shows at Michael Steinberg Fine Art Russia, will be published this fall. A cata- and the Tang Museum at Skidmore College. She logue of his pictures from Governors also teaches at the Rhode Island School of Design. Island was published by the Public Art Fund in 2004. Moore was the producer Brian Jermusyk is a painter and lecturer who and cinematographer for How to Draw a Bunny, Julia Jacquette, Men and Women teaches drawing and painting. He has exhibited a documentary feature on the artist Ray Johnson. (Fighting), oil on linen, 2003 his work at the Hackett-Freedman Gallery and the The fi lm, recently released on DVD by Palm Pic- National Academy of Design. tures, was voted one of the 10 best fi lms of 2004 by Steve Keister is a sculptor, ceramist, and lecturer New York Magazine. Moore also teaches in the in ceramics. In 2004 photographs of his ceramics M.F.A. program in photography at the School were published in the New York Times’s “Currents.” of Visual Arts in New York. He was interviewed, and his work was featured Stephen Mueller is a painter and lecturer who on “What’s Hot, What’s Cool” on the CBS Food taught painting in the fall semster. This year he Network. In 2004 his work was acquired by the will receive a Francis Greenburger Prize. In 2004 Albright Knox Gallery in Buffalo, New York, and Mueller received a New York Foundation for the the Rhode Island School of Design Museum in Arts fellowship and had a one-person show at Providence. Keister also participated in the 2004 the Rebecca Ibel Gallery in Columbus, Ohio, and faculty exhibition at Drew University, and “Benad- a mid-career survey exhibition at the Joslyn Art diction” at Goliath Visual Space in Brooklyn. Museum in Omaha, Nebraska. He is currently Jocelyn Lee, a photographer and lecturer, teaches teaching at Harvard University. both black-and-white and color photography. In Steve Keister, Mask with Head- John J. O’Connor is a painter and lecturer in dress, mixed media, 2004 2004 her work was exhibited in shows including drawing. His 2005 exhibitions include “Greater “New Acquisitions: The Global and the Local” at New York” at P.S. 1. In 2004 his work appeared in the Bates College Museum of Art, “The Vernacular exhibitions including “Queens International” at the Landscape” at the Colby College Museum of Art, Queens Museum in New York; the Andy Warhol “Standing Figure” at the Bernard Toale Gallery in Museum in Pittsburgh; “Artforum” in Berlin, Boston, and “Maine in America: Photographs from S P R I N G     7 Germany; “Art Basel” in Miami, Florida; “Parallel Behrman Award for Distinguished Achievement in Inclines” at the University of Central Florida; the Humanities at Princeton. He had a solo exhibi- “Vacation Nation” at Pierogi in New York; tion in February 2005 at the Ben Shahn Gallery of “Thought Patterns” at the Kent Place Gallery in William Patterson University in Wayne, New Jersey, Summit, New Jersey; and “Fear of an Abstract and another solo exhibition will take place in Planet” at King Fisher Projects in New York. In December 2005 at the OK Harris Gallery in New 2004, he was a resident artist at the University of York City. Seawright’s sculptures have been exhi- Central Florida, where he made several prints. bited internationally and are in the permanent His work was reproduced and reviewed in the collections of the Guggenheim Museum, the Whit- New York Times on November 12, 2004. ney Museum, the Museum of Modern Art in New Keith Sanborn is a fi lmmaker and lecturer who York, the Wadsworth Atheneum in Hartford, Con- teaches video production. This spring he is also necticut, the New Jersey State Museum in Trenton, teaching a new theory course, “From Montage to and other major public collections. A number of his Game Hacks: Strategies of Cultural Critique.” works have been commissioned for both indoor Sanborn’s videos appeared in the International Film and outdoor public spaces, including two large mir- Festival in Rotterdam in 2004 and 2005. In 2004 ror sculptures at Terminal C of Logan International they were shown at “Açucar Invertido” at Res do Airport in Boston. Among his awards are a Graham Chão in Rio de Janeiro, and at the Seventh Annual Foundation Fellowship, the Theodoron Award of 12 to 12 Video Marathon at Art in General, New the Guggenheim Museum, and the Academy Award in Art of the American Academy of Arts and Letters. John J. O’Connor, Mexada, mixed York. His work was also featured in 2004 in a lec- media on paper, 2004 ture titled “Créateur 1, auteur 0” by Yann Beauvais Jered Sprecher is a painter and lecturer who taught at the Institut Franco-japonais in Tokyo and the drawing in the fall. In 2003–04 he was awarded a Alliance Française d’Osaka in Osaka, Japan; at the studio in the Marie Walsh Sharpe Art Foundation’s short fi lm/video festival of the DUMBO Art Under Space Program in New York City. In 2004, his artist the Bridge Festival; and in the exhibition “Slow- book “INTHEVISIBLE” was acquired by the New ness” at the Govett Brewster Art Gallery in New York Public Library, and his work was featured in Plymouth, New Zealand. With colleagues Su Fried- the exhibitions “Ordinary Aura” at the Urban Insti- rich and P. Adams Sitney, Sanborn co-organized the tute for Contemporary Arts in Grand Rapids, Mich- conference “Gloria! The Legacy of Hollis Framp- igan; “Painting” at Webster University in St. Louis; ton,” which took place in November 2004 at and “New Spaces” at the Wendy Cooper Gallery in Princeton University and the Anthology Film Chicago. In March 2005, Sprecher exhibited a Archives in New York. At the conference, Sanborn drawing installation at GFL Gallery in Brooklyn, also presented a lecture on the digital work of New York. He is currently teaching at Cornell James Seawright, Ursa Major, 2001 Hollis Frampton. His review of Guy Debord’s auto- University. biographical “Panegyric” appeared in the April issue Denyse Th omasos, a painter and associate profes- of Artforum. sor at Rutgers University, Newark, taught a new James Seawright is a sculptor and professor. For course on installation art at Princeton this spring. many years he served as the director of the Program Thomasos’s international travels are the source of in Visual Arts. In 2003 he and his wife, Mimi her recent installation exhibitions “Tracking: Thirty Denyse Thomasos, Tracking: Thirty Garrard, were jointly awarded a lifetime achieve- Years in Canada, Thirty Years in Trinidad” at the Years in Canada, Thirty Years in ment award by the Mississippi Institute of Arts and Gallery of Bishop’s University in Quebec, Canada, Trinidad, installation, 2004 Letters, and in 2004 he received the Howard Y. and “Tracking: A Journey Through the East” at the St. Vincent University Gallery in Halifax, Canada. In 2001, she was included in the noted exhibition “Quiet as It’s Kept,” curated by David Hammons at the Christine Konig Gallery in Vienna. Rebekah Wostrel is a ceramist, interactive sound sculptor, and lecturer in ceramics. In 2004 she had solo exhibitions at the Clay Studio in Philadelphia and St. Mary’s College in Notre Dame, Indiana. Her work was included in group exhibitions at the Lancaster Museum of Art in Lancaster, Pennsylva- nia; the Erie Art Museum in Erie, Pennsylvania; Clemson University; the Wexler Gallery in Phila- delphia; and the Addams Gallery of the University of Pennsylvania. Wostrel also teaches ceramic art at the University of Pennsylvania and St. Joseph’s University.

8 S P R I N G     Undergraduate News

Callen Bair ’05 worked with Professor Esther da Costa Meyer on a senior thesis examining the work of revolutionary French designer Charlotte Perri- and. Bair was particularly interested in investigat- ing Perriand’s shift from a machine-age aesthetic to the use of wood and organic forms. During her time at Princeton, Bair has been involved with the Daily Princetonian and the Nassau Literary Review. She was the editor of “Street,” the arts, entertain- ment, and style section of the Prince. She intends to pursue a job in an art gallery, at a magazine focus- ing on the arts, or in some other creative fi eld. [[email protected]] D. Katye Chung ’05 was born in Seoul, South Korea, raised in Lima, Peru, and currently lives in Florida. She arrived at Princeton not only hav- ing been trilingual since childhood, but also with a keen appreciation of varied cultures. Expecting Professor Al Acres (left) with to major in the Woodrow Wilson School of Public applied to museum studies programs in the U.K. seniors Dena Rothstein, Katye and International Affairs, she studied Japanese and and Canada, as well as the M.A. program in fi ne Chung, Erica Hsu, Anne Riker Italian before taking a course in the department and and decorative art at Sotheby’s Institute of Art. Purcell, Jennifer Diorio, and Juan discovering that art history was her real scholarly [[email protected]] Lessing as they turn in their senior theses and receive their 2005 calling. Chung’s senior thesis, “Contemporary Art Jennifer Marie Elliott ’05’s senior thesis examined department T-shirts and the Pornographic,” refl ects her interest in con- the role of the distant fi gure in 16th-century Neth- temporary art and criticism and changing theories erlandish landscapes by Patinir, Bles, Bruegel, and of art. Working with Professor Anne McCauley, she others. Her faculty adviser was Professor Al Acres. examined the historical distinction between “art” Outside the classroom, she was a four-year member and “pornography,” and the modern shift in the of the fi eld hockey team, which won three Ivy use of pornographic imagery after, and in response League championships and made an appearance in to, the Mapplethorpe scandal in 1989. Chung the NCAA Final Four. In all four years she was a has worked as a curatorial intern at the Norton member of the National Field Hockey Coaches Museum of Art in West Palm Beach, Florida, and as Association All-Academic team. Elliott was also a a research and curatorial assistant in several depart- student tour guide at the Princeton University Art ments at the Princeton University Art Museum, Museum, giving highlights tours on the weekends. where she worked on the recently published cata- In the spring 2005 semester, she worked at Art + logue of American prints and drawings. She hopes Auction magazine in New York City for one of the to work in an art-related fi eld, travel, and surf at associate editors. After graduation, she plans to different locations around the world before pur- Jessica Lynn Inocencio ’05, Work work in a gallery, auction house, or other art- Project, digital collage suing a Ph.D. in art history. [dchung@princeton. related fi eld for one year before beginning an M.A. alumni.edu; [email protected]] art business program in London in September Jennifer Diorio ’05’s senior thesis research focused 2006. [[email protected]] on Benozzo Gozzoli’s model book and the diffusion Erica Hsu ’05, under the guidance of Professor of images in Florentine workshops of the late-14th Anne-Marie Bouché, wrote a senior thesis on the and 15th centuries. Professor Thomas DaCosta artistic merits of contemporary tattooing practices Kaufmann was her adviser. The recipient of a in light of postmodern ideas. The topic had much departmental Macfarlane grant for summer thesis personal meaning for her, and she found the research, Diorio traveled last summer to Stockholm, research immensely enjoyable and enlightening. London, and Florence to study drawings as well as Outside the department, one of her main activities some of the major works of Benozzo and Fra Angel- was peer education. For two years she served as an ico. On campus she was involved with the Univer- eating-concerns peer educator for University sity cycling team, until breaking her thumb while Health Services, and this year she was a peer aca- cycling during the spring semester of her senior demic adviser for Mathey College. After graduation year. She then concentrated on mastering the art of she plans to move back to sunny California for at typing her thesis with just one hand. Diorio has

S P R I N G     9 least a year before pursuing her interests in the Andrew Jordan ’05 worked with Lecturer Keith entertainment industry or political activism, with a Sanborn and Professor Su Friedrich from the Pro- special focus on women’s issues. [ehsu@alumni. gram in Visual Arts and the department’s Professor princeton.edu] Jerome Silbergeld on his thesis project, a narrative Clare Jan Ru Huang ’05 created an installa- fi lm that follows three interconnected pairs of char- tion of photographs focusing on rural pov- acters through mysterious episodes set in Vermont erty and environmental degradation in in the foliage season. He drew on many sources of Taiwan. The advisors of her senior thesis inspiration for the project but was particularly project were Jocelyn Lee and Emmet Gowin infl uenced by the fi lmmakers David Lynch, Wong of the Program in Visual Arts, along with the Kar-Wai, and Stanley Kubrick. A second fi lm that department’s Professor Jerome Silbergeld. he wrote and directed, titled Electromagnetism, aired Huang’s academic interests include classical at the Ivy Film Festival this spring. Jordan has been philosophy, ancient and medieval history, involved with a number of theater and fi lm groups Frame from Andrew Jordan ’05’s and the history of science, and she is an avid hiker, on campus, and his other hobbies include graphic fi lm Electromagnetism bird-watcher, and insect-watcher. Her primary design and running road races. After graduation he extracurricular involvement has been with music, plans to move to Los Angeles and work in the fi lm particularly vocal. She sang with the industry. Last summer he worked as an intern at Glee Club/Concert Choir and since her Section Eight, a production company. freshman year has served as an offi cer; [[email protected]] until recently she was also the concert Juan Lessing ’05 used an Islamic drawing of an ele- manager of the Glee Club/Concert phant in the Princeton University Art Museum as Choir. She has also been a semi-regular the starting point for his senior thesis on Islamic in the Metropolitan Opera Saturday- “composite animals.” Professor Thomas Leisten morning standing-room ticket crowd. guided his study of these Indian and Persian draw- For several years Huang worked closely ings, which date to the 16th century and later. with the Student Volunteers Council. These plausibly realistic drawings are composed Next year she will travel through of dozens of interlocking creatures—lions, snakes, impoverished rural stretches of conti- humans, and others. Previous studies have assem- nental China, practicing documentary bled no more than a dozen examples, but Lessing’s This composite Islamic beast photography. [[email protected]] research resulted in a catalogue of several hundred inspired Juan Lessing ’05’s senior drawings, as well as a novel interpretation of their thesis. The Princeton University Jessica Lynn Inocencio ’05, who is in the Program meaning. In addition to stylistic analysis, he used Art Museum x1979.56, gift of in Visual Arts, created a thesis exhibition titled Harold K. Hochschild “Waterway Creatures,” a two-room video and infrared refl ectography to study the underdraw- sculpture installation that evoked the experience of ings and Raman spectroscopy to analyze the pig- an ocean pier. Working with Professors Su Fried- ments. Funding from the department and other rich and James Seawright, she designed a 44-foot- sources allowed him to travel to numerous muse- long pier, with a series of monitors beneath the ums throughout the U.S. and meet with curators planks showing videos that she created for the to discuss his work. Lessing plans to attend medical installation. Meanwhile, a soundtrack that she school after taking at least a year to work either in assembled provided appropriately aquatic sounds, San Francisco at the UCSF Breast Care Center or some familiar, and others more obscure. Last year in Africa on a Princeton-in-Africa fellowship in the Inocencio and a team of Princeton undergraduates area of AIDS treatment, prevention, and education. entered their short fi lm “After Prom” in the Imag- Of all his extracurricular activities, he is proudest of ine Cup, an international Microsoft-sponsored his work as chair of the Undergraduate Life Com- contest for college students. At the fi nals in São mittee, which led to the adoption of a new “smoke- Paulo, Brazil, her team placed second worldwide in free” policy for all undergraduate dormitories. the short-fi lm division. Outside the classroom, [[email protected]] Inocencio was an art editor for the Nassau Literary Rachel Lyon ’05’s work has been featured in the Review, wrote for the Daily Princetonian, played Nassau Weekly, Green Light Magazine, the Nassau bass clarinet in the Princeton University Wind Literary Review, and Bamn! The theme of her mul- Ensemble, pitched for a club softball team, and timedia senior thesis exhibition—which included served as assistant social chair at Colonial Club. sculpture, painting, and animation—was the frailty After graduation she will work in Knysna, South of the human body. Supervised by visual art’s Keith Africa, as a program developer for the nonprofi t Sanborn and Jim Seawright, along with the depart- organization Outward Bound. She then plans to ment’s Al Acres, it was shown at the Lucas Gallery as return to the U.S. to attend law school. well as the Frist Campus Center, where it was part [[email protected]] of an AIDS awareness benefi t. Outside the class- room, Lyon plays violin in the University orches-

10 S P R I N G     tra, teaches violin lessons on campus, writes and Anne Riker Purcell ’05’s senior thesis, advised by draws for the Nassau Weekly, and is a disc jockey Professor Hal Foster, looks at the audio walks of at WPRB. After graduation she intends to work at contemporary artist Janet Cardiff, which she fi rst Gallery Lelong, and possibly the Andrea Rosen Gal- encountered last summer while working for the lery in New York. [[email protected]] New York City Department of Cultural Affairs’s Julie McGinnis ’05 worked with Professor Alastair (DCA) Percent for Art Program. Her internship Wright on a senior thesis focusing on Ameri- with the DCA and another at the Princeton Uni- can painter John La Farge’s trip to the South Seas versity Art Museum have inspired her to look for in 1890–91, and in particular on the correlation work with nonprofi t arts organizations or institu- between photographic realism and his travel nar- tions in New York and nearby. Purcell’s particu- rative and watercolors from Tahiti created in those lar interests are in development, adult education two years. She is also earning a certifi cate in French and programs, and publishing. On campus, she and Italian language and literature, as well as one in worked at the Princeton University Art Museum, American Studies. McGinnis is a photographer, and but the Princeton Triangle Club has occupied most on campus she has been active as the president of of her extracurricular time ever since her freshman year. Her last appearance will be at the Reunions Rachel Lyon ’05, The Wrestlers 1, Princeton Against Cancer Together, a cancer aware- enamel on wood ness, research, and fundraising group. She worked show this May. [[email protected]; as an editorial intern at Art + Auction magazine in [email protected]] New York City a few days a week, writing for many Elisabeth Ramhorst ’05 examined the previous of their publications, including the French fashion criticism and reception of Anselm Kiefer’s work in magazine Spoon. After graduation, she is moving to her senior thesis, “Banality and American Infl uences New York City. [[email protected]] in the Art of Anselm Kiefer,” and suggests that Catherine Pack ’05 has concentrated on Islamic changing conceptions of the banal and the work art, under the supervision of Professor Thomas of American Pop artists play a role that has here- Leisten. Her senior thesis, “The American tofore been inadequately addressed. Kiefer himself Mosque,” explores Islamic architectural trends in has promoted both of these ideas to varying extents the United States over the past 50 years. A MacFar- in his few interviews, but neither has received seri- lane Grant from the department sponsored her trip ous attention. Her thesis was supervised by Profes- to the Southwest last summer to study the mosque sor Brigid Doherty from the German department. Dar al-Islam in Abiquiu, New Mexico. Visiting Dar Ramhorst is a member of the cycling team, works al-Islam proved to be invaluable to her research, for the department’s Visual Resources Collection, allowing her to study the architectural style, expe- and is currently an editorial intern at Artforum Inter- rience the environment, observe the relationship national magazine in New York. Her future plans of the structure to its setting, and better under- include graduate school in art history after working The Islamic Cultural Center in New stand the architectural traditions of the Southwest. for a few years, and she is seeking positions either as York City, one of the buildings Pack was a member of the varsity women’s fenc- a curatorial assistant at a museum or as an editorial studied by Catherine Pack ’05 ing team and captain during the 2003–04 season. assistant at an art publication. [ramhorst@alumni. She intends to remain professionally involved in the princeton.edu] arts. [[email protected]]

Catherine Pack ’05 traveled to Abiquiu, New Mexico, to study the Dar al-Islam mosque for her senior thesis.

S P R I N G     11 2004 Senior Dena Rothstein ’05, working under the guidance responsibility. Thompson fenced for the Princeton Thesis Prizes of Professor Anne-Marie Bouché, wrote her senior team this year and hopes to continue as a member thesis on Victorian children’s book illustrations. of the U.S. National Team and compete in the The topic interested her because the Victorian era 2008 Olympics. Another major interest is ceramics, Department of Art and Archaeology saw the evolution of the modern picture book, with and he is currently taking an advanced independent Senior Thesis Prize illustrations that are as signifi cant as the text. The study ceramics course in the Program in Visual Alexander Michael Toledano ’04, new genres of children’s literature that emerged dur- Arts. The combination of architecture and business “Illuminating the Canon: Institu- ing this period appealed more to the imagination, in real estate is very appealing to him, and he hopes tions and the Development of the and veered away from the earlier moralizing and to be in New York next year, working in the fi eld Canon of Abstract Expression” didactic content. Rothstein postulates that these of real estate development. [sorenthompson@ changes are related to evolving ideas about child olympian.org] Stella and Rensselaer development and the very concept of the child. On Caitlin Tormey ’05 wrote her senior thesis on W. Lee Prize campus, she and a friend initiated a group called Michelle Renee Everidge ’04, Robert Gober, specifi cally, on how Gober utilizes Fusion, which brings together humanists and sci- the convention of the diorama in his installations. “Desire, Disgust, and the Prosti- entists for dinner discussions with professors about tute Body: Implicating the Viewer Professor Hal Foster was her adviser. She is a four- topics that incorporate both disciplines. Their From Manet to Louie” year member of the varsity women’s indoor and meetings have ranged from talks about Dostoevsky outdoor track team, and at the 2005 ECAC cham- Frederick Barnard White and epilepsy to the relationship of music and math. pionships, she ran the third-fastest 1,000-meter Prize in Art and Archaeology She also has been involved in the Center for Jewish time in Princeton history. Tormey is also a member Rebecca Ann Farbstein ’04, Life and the Princeton Shakespeare Company. She of the University Cottage Club. She hopes to work “Chance Images: Considering hopes to continue studying art history and work- in a contemporary New York City art gallery next Geological Formations as Inspira- ing in the arts or education. [drothste@alumni. year, but is also interested in fi nding a position in tion for Upper Palaeolithic Art” princeton.edu] an auction house or art museum. Her long-range Grace May Tilton Prize Soren Th ompson ’05 was a member of the U.S. plans include graduate school and a Ph.D. in either in the Fine Arts Olympic fencing team, and advanced to the quar- modern or contemporary art. [ctormey@alumni. Emily Lenz ’04, “The Place of terfi nals in the men’s épée individual event at the princeton.edu] Tonalism: Nostalgia, Nature, and Athens Olympics, defeating Alfredo Rota of Italy Devon Wessman-Smerdon ’05, with the guidance the Emergence of Modernism” in a stunning upset. Rota was the world’s top- of Professor Slobodan Ćurčić, wrote a senior thesis continued on page 13 ranked fencer at the time. Thompson’s 7th-place on Byzantine infl uence on medieval Russian archi- fi nish was the best in nearly 50 years by a U.S. tecture, with a particular focus on the role of bell fencer in this event. Returning to campus, he wrote towers. She also earned a certifi cate in Slavic lan- his senior thesis on the architecture of Kendrick guages and literatures. Outside the classroom, her Bangs Kellogg, James Hubbell, and Drew Hubbell, main passions are community service and theater. three architects who practice an “organic” style. His She served as the publications and publicity admin- thesis, supervised by Professor Esther da Costa istrator for the Student Volunteers Council, and was Meyer, analyzes their work, with a focus on aes- the Community Action program coordinator for thetic beauty, community activism, and ecological Community Action 2004. Wessman-Smerdon also has served as general manager for Theatre Intime and has been active in other theater groups on cam- pus, acting as general manager of Princeton Summer Theater, vice-president/production manager for the Princeton Triangle Club, and designer/manager in various capacities for the Program in Theater and Dance and the Princeton University Players. In addition to theater management, she is also very interested in lighting design, and her most recent designs include for A Chorus Line and Tom Stop- pard’s The Real Thing, both for Theatre Intime. After graduation she hopes to explore her interest in theater and especially arts administration before applying to graduate schools. [[email protected]] Jennifer Elliot ’05, Garrett Charity ’05, and Dunham Townend ’05 celebrate the completion of their senior theses

12 S P R I N G     2004 Senior Thesis Prizes

Bruce M. White M. Bruce continued from page 12

Alanna Diane Phelan ’04, “Penetrating Portrayals of Children: The Psychological and Social Relevance of Helen Levitt’s Photographs and Films” Alexander Michael Toledano ’04, “Illuminating the Canon: Institu- tions and the Development of the Canon of Abstract Expression” Rebecca Elaine Zack ’04, “Femi- nism in Focus: the Photography of Daniela Rossell” Irma S. Seitz Prize in the Field of Modern Art Indre Maria Vengris ’04, “Combined Eff orts: Rauschenberg, Students in Art 354 selected Léonard Gaultier’s engraving The Forge for acquisition by the Princeton Uni- Cunningham, and Cage: Stage Art versity Art Museum. Museum purchase, Laura P. Hall Memorial Fund, 2004-64 and Life in Minutiae” Frederick Barnard White Art 354 Selects Prints list emerged, students lobbied for their favorites, Prize in Architecture often backing up their arguments with indepen- Rachel Marks ’04, “Back(f)lash: for Art Museum dent research. Image and Myth of Berlin After Students in Professor Al Acres’s spring 2004 class While this exercise might be useful for future the Wall” “The Art of the Print” took part in an innovative collectors, it is intended more as a way of learning John Capen Brough ’04 (architec- hands-on introduction to the world of curator- about how prints work in the art market. This is an ture major), “The Dark Forest and ship. During the last weeks of the semester, the class important historical point, since prints responded the Art of Inversion in the Work of examined dozens of prints from the stock of two to—and in many ways helped to build and shape Alvar Aalto” New York dealers, which they analyzed, researched, —the broader market for privately owned art that and discussed, both in class and electronically on emerged by the late 15th century and still exists the course’s Blackboard Web site. At the end of the today. Another aim of the project is to encourage semester they cast their votes to determine which thought about how a museum develops its collec- print would be purchased—working within a set tion: building on strengths, addressing weaknesses, budget—for the Princeton University Art Museum’s and acquiring things that might be useful in several permanent collection. Funding was arranged by the directions, both within the University and beyond. museum’s director, Susan M. Taylor, who fi rst sug- The 2004 class voted to acquire The Forge, a gested the program to Acres. striking 1581 engraving by Léonard Gaultier. The The search began when Acres and Laura Giles, print is a fi ne example of the rich, often dense the museum’s curator of prints and drawings, vis- fi gural inventions associated with the printmakers ited dealers and assembled a wide variety of prints of the School of Fontainebleau, which is otherwise ranging in date from the 16th to the early 20th lightly represented in the museum’s collection. century. Giles told the class about the strengths of With funds remaining in their budget, the class was the museum’s collection as well as areas that could able to acquire a chiaroscuro woodcut of St. James profi t from additions, but in general both instruc- by A. M. Zanetti, an early-18th-century Venetian tors gave guidance only when needed, so that the collector and printmaker. The print-acquisition students could formulate their judgments primarily project was fi rst undertaken in the spring 2001 among themselves. offering of Art 354, when students selected a 1656 In addition to examining the technique, con- etching by Jan Lutma the Younger and an 18th- dition, style, and subject matter of each print, the century engraving by Simon Thomassin. The class considered its potential value for the wider spring 2005 class anticipates its own acquisition by scholarly community, including other depart- the end of the semester, after visits and discussions ments at Princeton. As clear favorites and a short in April.

S P R I N G     13 Graduate Student News

Nikolas Bakirtzis presented a paper on “The But- tressed Tower at Hagios Vasileios near Thessaloniki” at the 30th annual Byzantine Studies Conference

Nikolas Bakirtzis in Baltimore last fall. His article “The Visual Lan- guage of Byzantine Fortifi cations: The Walls of Thessaloniki” will appear in the journal Mnemeio kai perivallon/Monument and Environment later this year. Last summer he participated in the interna- tional conference “Hierotopy: Studies in the Mak- ing of Sacred Space” in Moscow, and the paper he Nikolas Bakirtzis investigated gave there, “The Creation of a Sacred Landscape in the late Byzantine tower of the Byzantium: Taming the Wilderness of Mount Men- monastery of Chortaitou near oikeion,” will be published in the conference pro- Thessaloniki. ceedings. This June Bakirtzis will lead a fi eld-survey Jelena Bogdanović’s study of burials at Hilandar workshop at the monastery of St. John Prodromos monastery on Mount Athos included this niche near Serres, in northern Greece, which will focus on tomb, with a painting attributed to Uglješa aspects of monastic life and the creation of a “Holy Mrnjavčević, dating from before 1371. Mountain” through ascetic practice. The workshop, which will include students, members of the fac- on the Hilandar burials for publication. In addition to her scholarly work, she com- Masato NakagawaMasato ulty, and other scholars, is supported by Princeton’s Program in Hellenic Studies, and will be hosted by pleted training as an educational technology con- the monastic community of St. John Prodromos. sultant in the humanities at Princeton and worked Next year Bakirtzis will be at the Anatolian Civ- as a graduate associate in information technology. ilizations Institute of Koç University in Istanbul, She has also continued her volunteer work for the where he will hold a senior residential fellowship. Cultural Diversity Committee of the College Art [[email protected]] Association. Jelena Bogdanović is currently researching her dis- Nicola Camerlenghi has completed the fi rst of two sertation “To Kιβωριον´ : The Framing of Sacred years of his Kress Foundation Scholarship at the Space in the Byzantine Tradition,” supervised by Bibliotheca Hertziana in Rome, where he is work- Buckminster Fuller, a focus of Eva ing on his dissertation on the architectural history Professor Slobodan Ćurčić. This summer she will Diaz’s dissertation, with a model of the Basilica of San Paolo fuori le Mura in Rome. at Black Mountain College in 1949 travel to Russia, and probably Istanbul, to examine the rich material evidence for ciboria—free-stand- He is currently investigating a curious dividing wall, ing canopies above thrones, altars, and tombs—in constructed in the 12th century, that ran the length the churches of the Moscow region, the Kremlin of the transept. This wall, which proved disruptive Museums and the State Tretyakov Gallery, and the to the regular functioning of the church, was appar- Istanbul Archaeological Museum. Last December ently purely structural: it was not possible to fi nd wooden beams long enough to roof the transept. Bogdanović presented a talk “On the Architecture of the Konaks in Serbia after 1804” at the 36th Camerlenghi has discovered that the context for the annual national convention of the American Associ- commission is complex and exciting, involving a ation for the Advancement of Slavic Studies, held in pope, an antipope and his family of Jewish heritage, Boston. In the fall 2004 semester, she developed a and, as always, the abbots of the Monastery of San seminar presentation on the architectural setting of Paolo. He also has found evidence for a number of burials at Hilandar monastery on Mount Athos, comparable walls in contemporary Roman churches, Greece. Her research was facilitated by the depart- and his study has led him into the fi elds of statics, ment’s Hilandar archive, which contains 200 archi- forest management, and the availability of materials, tectural drawings and hundreds of fi eld sketches all factors that often determine architectural forms. and photographs made by the late Professor [[email protected]] Slobodan Nenadović of the University of Belgrade. Eva Diaz is preparing her dissertation titled For 30 years Nenadovi led an extensive program of “Chance and Design: Experimental Art at Black Kevin Hatch contributed to ć the new edition of Sculpture of study and conservation at Hilandar, and the depart- Mountain College,” advised by Professor Hal Foster. Princeton University ment acquired his archive in 1987. These records It focuses on rival methodologies of experimentation have taken on even more importance since the as elaborated, practiced, and disputed by three key monastery suffered serious damage in a fi re in Black Mountain teachers in the late 1940s and early March 2004, and more than half of its buildings 1950s: Josef Albers, John Cage, and Buckminster were lost. Bogdanović is currently revising her paper Fuller. A department Spears Grant funded her travel

14 S P R I N G     to various institutions nationwide in 2004–05 to Glass is the recipient of the Paul Mellon Fellowship New Dissertation conduct archival research on the college. She gave from the Center for Advanced Study in the Visual talks on her recent work on the history of experi- Arts for 2004–07; he will work abroad through the Topics mental performance at Black Mountain at the 2005 summer of 2006 and then spend a year in residence Maria Andrioti, “Pious Visitors: A College Art Association Conference in Atlanta, and at the Center, which is part of the National Gallery Study of the Sculptures of Cypriot the 2005 International Contemporary Art Experts of Art in Washington, D.C. [[email protected]] Type Found in the Eastern Mediter- Forum at ARCO in Madrid. Her art-critical writ- Kevin Hatch recently began research on his disser- ranean of the Archaic and Classical ing has appeared in Art in America and Time Out tation titled “Looking for Bruce Conner,” working Periods” (William Childs) New York, and she has contributed to the forth- with his adviser, Professor Carol Armstrong. He Jelena Bogdanović, “To Kιβώριον: coming book Curating Subjects x 21, edited by Paul contributed several entries to the new edition of The Framing of Sacred Space in the O’Neill, to be published by Open Editions in Lon- Sculpture of Princeton University, a guide to the Uni- Byzantine Tradition” don. Diaz recently authored the catalogue essay for versity’s collection of outdoor sculpture, published (Slobodan Ćurčić) the exhibition “The Book as Object and Perfor- by the Offi ce of Communications in collaboration Johanna Burton, “Source Hunting: mance,” curated by Sara Reisman, at Gigantic Art with the Princeton University Art Museum. Hatch’s Refi nding the Object of ’80s Appro- Space in New York. An essay drawn from her dis- essay “‘Something Else’: The Photographic Books of priation” (Hal Foster) sertation will appear in the book-length catalogue Edward Ruscha” was published in the winter 2005 Noam Elcott, “Cameraless Modern- for the exhibition on Black Mountain College to be issue of the journal October. [[email protected]] isms: Art, Media, Photograms” held jointly at the Arnolfi ni in Bristol and Kettle’s (Carol Armstrong) Yard at the University of Cambridge, England, in Elizabeth Kessler, a fi rst-year graduate student in 2006. [[email protected]] classical archaeology, spent a year working in the Denwood Holmes, “The Walls of Department of Greek and Roman Art at the the Well-Protected Domains: The Milette Gaifman received a Hanadiv Fellowship Metropolitan Museum of Art in New York before Development of Ottoman Fortifi ca- from the Rothschild Foundation for 2004–06. coming to Princeton. Last fall she took part in tion, 1400–1600” (Thomas Leisten) She is currently at Corpus Christi College, Oxford, Princeton’s Program in the Ancient World seminar, Francesca Leoni, “The Revenge where she is a lecturer in classical archaeology. In “Priests and Power in the Ancient World,” taught of Ahriman: Images of dîvs in the the course of the year she completed an article on jointly by Professor John Gager of the Department Shâhnâmeh from the 15th to the the aniconic image in the Roman Near East, which of Religion and Professor Michael Flower of the 17th Century” (Thomas Leisten) will be published in a new book, The Local Reli- Department of Classics. In January the group trav- Anna Swartwood, “The Fondaco gions of the Roman Near East, edited by Ted Kai- eled to Oxford to participate in a conference with zer, which explores the signifi cance of aniconism dei Tedeschi: Intersections of Art, Oxonian students who had taken a similar seminar. Culture, and Commerce in Six- in that region. In a forthcoming piece for Art His- Each participant presented a paper during the two- teenth-Century Venice” tory, Gaifman examines the dynamics of replicat- day conference in New College. Kessler’s paper, (Patricia Fortini Brown) ing monuments of cult. This July she will begin her titled “Priesthoods and the Question of Power in new position as assistant professor of Greek art in Diana Tuite, “Methods for Archaic Athens,” explored the infl uence of the Pei- Modernism: Arthur Wesley Dow the departments of classics and history of art at Yale sistratid tyranny on the religious growth and University. [[email protected]] Intersects the Steiglitz Circle” national identity of the Athenians. While in (John Wilmerding) Ludovico Geymonat completed his second year as Oxford, she made a pilgrimage to the home of the lecturer in medieval art at the Università degli late Sir John Beazley, scholar of Greek vase painting Studi di Milano, Italy. In May 2004 he delivered a and one of the most important infl uences on paper on the impact of the Fourth Crusade on the her studies. Kessler received the Frank J. arts of the early 13th century at the Istituto Veneto Mather Jr., Memorial Fund Fellowship for in Venice, and fi nished an article on late medieval 2004–05. [[email protected]] Robert Dimin mural painting in Venice. For the last chapter of Francesca Leoni is a third-year graduate stu- his dissertation, “The Pictorial Program of the dent in Islamic art and archaeology, working Parma Baptistery,” he studied the transmission of with Professor Thomas Leisten. Last summer images and peculiar iconographies through model she joined his team for the 2004 season of drawings, and he presented a paper on this topic at excavation in Bālis, Syria. In June she Villanova University in March. He will return to attended an intensive course on medieval Classical archaeologist Elizabeth Princeton this summer to defend his dissertation. manuscripts, offered by Johns Hopkins University Kessler at the Oxford home of From September to April he will be a fellow at the and held at the Walters Art Museum in Baltimore. Italian Academy for Advanced Studies in America the late vase-painting scholar Here she worked on both Western and Eastern Sir John Beazley at Columbia University. [ludovico.geymonat@ medieval manuscripts, analyzing in particular a unimi.it] 16th-century manuscript of Nizami’s Khamze in the Robert Glass is continuing research in Rome for collection of Islamic manuscripts at the Walters. his dissertation on Filarete’s sculpture, advised by After passing her general examination this spring, Professors Patricia Fortini Brown, Leonard Barkan, she is now developing her dissertation proposal, and John Pinto. His work this year has focused on which will focus on Persian and Indian miniature exploring papal patronage and artistic production painting from the 15th to the 17th century. Leoni is in Rome in the 1430s and 1440s, through extensive also currently writing entries on Islamic archaeologi- research in the state and Vatican archives in Rome. cal sites for the Italian encyclopedia Treccani, and

S P R I N G     15 Dissertations preparing an article exploring cross-cultural infl u- Julia Robinson is a fi fth-year modernist, working ences between European and Mughal painting, an with Professor Hal Foster on a dissertation titled Recently Completed idea that grew out of a paper written for a seminar “Toward Events: The Moment of the ’60s in the Art December 2004 on Persian painting. She plans to spend next year in of George Brecht.” Last year she contributed to Princeton, New York, Washington, and Cambridge, George Brecht: Works from 1959–1973, the catalogue Kyriaki Karoglou, “Attic Votive Massachusetts, where she hopes to be an exchange of an exhibition at the Gagosian Gallery in London. Plaques: A Study on Their Ico- scholar at Harvard in the spring semester. In March 2004 she presented a lecture at the gradu- nography and Function” (William Childs) [fl [email protected]] ate symposium at the Philadelphia Museum of Art Michelle Lim moved to Princeton from Singapore on the “inevitable relationship” between Marcel June 2005 in 2003 to begin her graduate studies in modern Duchamp and George Brecht. In the summer she Kevin Gray Carr, “The Lives of and contemporary Chinese art with Professor spent two months in Germany completing her dis- Shôtoku: Narrative Art and Ritual Jerome Silbergeld. In 2004 she had an internship sertation research, particularly at the Sohm Collec- in Medieval Japan” (Yoshiaki Shi- with the Asia Society museum’s curatorial depart- tion, a Fluxus Archive in the Stattgalerie, Stuttgart. mizu) ment in New York, where she worked closely with Returning to Princeton, she precepted for Foster’s Ingrid Furniss, “Strings, Winds, Melissa Chiu, organizing “Paradise Now,” an exhi- course “Modernist Art 1900–1950,” taking groups and Drums in China during East- bition of contemporary art from the Pacifi c of students to the Museum of Modern Art and giv- ern Zhou and Han (770 B.C.E.–220 Islands. She also did preliminary research for an ing one of the course lectures, “Marcel Duchamp: A.D.): An Archaeological Perspec- exhibition of contemporary Chinese art planned Agent Provocateur.” tive” (Robert Bagley) for 2007. Her curatorial internship was supported Last fall Robinson was named cocurator of a touring retrospective exhibition of the work of Francesca Toff olo, “Art and the by a grant from the Lee Foundation in Singapore. George Brecht, and she has subsequently made sev- Conventual Life in Renaissance In June, Lim returned to Singapore, where Venice: The Monastery Church of she curated a dual-venue site-specifi c exhibition, eral trips to Germany to conduct fi nal dissertation Santa Caterina de’ Sacchi” “Reconstruction of the City,” as part of the Sin- research, to interview Brecht in Cologne, and to (Patricia Fortini Brown) gapore Arts Festival 2004. More than 50 cura- work with the museum, selecting objects and docu- tors, artists, writers, architects, and designers were mentation for the exhibition. Titled “George Brecht involved in the exhibition, which was mounted at Events: A Heterospective,” the show will be at the the St. James Power Station, an abandoned power Ludwig Museum in Cologne, Germany, from Sep- station built in the 1920s, and at 21 Tanjong Pagar, tember 16, 2005, through January 6, 2006. It will a restored shophouse in the heart of the city. She then move to the Museum of Contemporary Art in also curated an exhibition of photo installations by Barcelona and the Museum für Moderner Kunst in New York-based fashion photographer/artist John Vienna. Other venues are currently being fi nalized. Clang. Titled “Clang: A Self Portrait,” this exhibi- Since the reopening of the Museum of Modern tion took place in June at the Jendela Gallery at the Art in Manhattan, Robinson has given general Esplanade in Singapore. Last October she joined tours of the new installation and has presented two other graduate students in Princeton’s Far East- lectures at the museum: “Liberating Color, Invent- ern program who helped with the “Family Model” ing Abstraction: From Post-Impressionism to symposium at Princeton. [[email protected]] Expressionism” and “Protest and Utopia: Dada, Suprematism, Constructivism, and De Stijl.” In Marina Mihaljević did extensive fi eld research last December her article on Alison Knowles, a fi gure of summer related to her dissertation on the impact of the Fluxus movement and a close colleague of 12th-century Constantinopolitan architecture in the George Brecht, was published in the Art Journal. Julia Robinson contributed to Balkans, which she is writing under the direction of [[email protected]] the catalogue of an exhibition of Professor Slobodan Ćurčić. She worked primarily in George Brecht’s works Bulgaria last summer, where she studied a number Victoria Sears recently conducted research on the of important, yet relatively understudied, Middle life and work of Victorian sculptor and illustrator Byzantine monuments. As a guest of the Ninth Benjamin Waterhouse Hawkins, with a particular Ephoreia for Byzantine Antiquities in Greece, she focus on his activities at Princeton. Hawkins, who was able to supplement her inquiry in the Balkans served as assistant superintendent of the Great Exhi- with visits to the ecclesiastical buildings of Macedo- bition of 1851, created the world’s fi rst full-size rep- nia and Thrace. In October 2004, she presented a licas of prehistoric animals for the grounds of the paper titled “Some Notes on Middle Byzantine Crystal Palace after the exhibition closed. He arrived Churches of Atrophied Greek-Cross Plan” at the at Princeton in the early 1870s to lecture on pale- 30th Annual Byzantine Studies Conference held in ontology, and while on campus produced a Hadro- Baltimore. As a department nominee, she presented saurus foulkii skeleton, the fi rst mounted dinosaur a talk on “Architectural Forms in Transition: Church to be exhibited at a university, for the Elizabeth and Its Enclosure” at the 10th annual Philadelphia Marsh Museum of Geology and Archaeology. The Symposium on the History of Art in March 2005. museum, which until 1906 was located in what is now the Faculty Room in Nassau Hall, also dis- Mihaljević will continue her work at Koç Universi- ty’s Anatolian Civilizations Institute in Istanbul, played 15 of Hawkins’s paintings of prehistoric life. where she will hold a junior fellowship for 2005–06. The Hadrosaurus skeleton was later lost, but in 1909 [[email protected]] 16 S P R I N G     Hawkins’s paintings were installed in the newly the Princeton University Art Museum in Septem- Fellowships for built Guyot Hall. ber. Titled “Bringing into Being: Materials and When Sears learned that 13 of Hawkins’s paint- Techniques in American Prints, 1950–2000,” the 2004–05 ings survived and were in storage at the Princeton exhibition showcased 30 works on paper from the Nicola Camerlenghi University Art Museum, she began research that museum’s collection. In addition to writing a bro- Kress Foundation Fellowship in included carrying out a detailed analysis of each chure essay on the history and themes of American the History of Art at Foreign Insti- painting and assembling a more complete picture of prints during this period, she wrote wall labels for tutions, Fellowship at the Biblio- the man and his work. Consulting the archives of many of the individual works and conducted gallery theca Hertziana, Rome (two years) the Academy of Natural Sciences in Philadelphia, talks in conjunction with the show. October also Milette Gaifman Princeton’s Seeley Mudd Manuscript Library, and saw the publication of the catalogue for the exhibi- Hanadiv Fellowship, Rothschild the archives of the geosciences department, as well as tion “West to Wesselman: American Drawings at Foundation (two years) interviewing emeritus geosciences professors and for- the Princeton University Art Museum,” to which mer directors of the museum, she produced a cohe- Tuite contributed several entries, and for which she Robert Glass Paul Mellon Fellowship, CASVA sive account of Hawkins’s activities, beginning with had performed summer research under the guid- (three years) his work at Crystal Palace Park and ending with his ance of her adviser, Professor John Wilmerding, scientifi c and artistic contributions to Princeton. and the curator of prints and drawings, Laura Giles. Elizabeth Kessler Sears will expand her research to include an [[email protected]] Frank J. Mather, Jr., Memorial Fund Fellowship exploration of the cultural conditions out of which Joshua Waterman spent this year writing his disser- Hawkins’s creations were born. She also has worked tation on art and literature in 17th-century Silesia, Yumna Masarwa with museum registrar Maureen McCormick to which he plans to fi nish by the end of the summer. Kress Foundation Travel Fellowship arrange the fi rst high-quality photographs of He is also preparing an article on Daniel Casper von Christina Stacy Hawkins’s paintings. Many of the paintings are in Lohenstein’s diplomatic work for the duchies of Metropolitan Museum of Art need of repair and conservation, and Sears hopes Legnica, Brzeg, and Wołów. [waterman@princeton. Fellowship that her research will provide the impetus for the edu] Marta Weiss conservation and study of these fascinating paint- Chester Dale Fellowship, Metro- ings that offer much insight into the Victorian Marta Weiss is currently a Chester Dale Fellow in politan Museum of Art (two years) scientifi c mind and visual imagination. the Department of Photographs at the Metropoli- [[email protected]] tan Museum of Art, where she divides her time between writing her dissertation, “British Staged Christine Tan is residing in Princeton and com- Photography and the Victorian Album, 1858– Fellowships for pleting her dissertation, “Accommodations of 1875,” and working on upcoming exhibitions. Last 2005–06 Desire: Woodblock Printed Illustrated Editions of October she published the article “Dressed Up and Tang Xianzu’s Mudanting (‘The Peony Pavilion’) Pasted Down: Staged Photographs in Victorian Nikolas Bakirtzis Senior Residential Fellowship, (1598).” Last fall she participated in the conference Albums” in Archive, the journal of the National Anatolian Civilizations Institute, “New Gender Constructs in Literature, the Visual Museum of Photography, Film and Television in Koç University, Istanbul and the Performing Arts of Modern China and Bradford, England. In April she gave a paper at the Japan” at the University of Heidelberg, Germany. Midwestern Victorian Studies Association confer- Sonja Kelley Her paper was titled “Prints, Seriality, and Baimeitu ence in Chicago. Her forthcoming publications Blakemore Freeman Fellowship (‘Pictures of One Hundred Beauties’) in 19th-cen- include an entry in the revised Dictionary of Marina Mihaljević tury China.” The Philadelphia Museum of Art National Biography (Oxford University Press) and Junior Residential Fellowship, invited Tan to give a four-part lecture series an essay for the exhibition catalogue Acting the Anatolian Civilizations Institute, “Women and the Arts of China,” which took place Part: A History of the Staged Photograph at the Koç University, Istanbul in October 2004. [[email protected]] Canadian National Gallery. Her fellowship at the Kristoff er Neville Diana Tuite kicked off the fall of her third year Met has been renewed, and she will remain there Kress Foundation Fellowship in with the opening of an exhibition she curated at through September 2006. [[email protected]] the History of Art at Foreign Institutions, Fellowship at the Zentralinstitut für Kunstge- schichte, Munich (two years) Bruce M. White M. Bruce

Detail of Benjamin Waterhouse Hawkins’s 1877 work Cretaceous Life of New Jersey, one of the Princeton paintings now being studied by Victoria Sears

S P R I N G     17 Technology & Art History at Princeton

or centuries scholars have sought to OIT (the Offi ce of Information Technology) Aca- employ technology to facilitate their study of demic Services (www.princeton.edu/~as), Pinto complex subjects. The very fi rst attempt at developed an interactive database of texts and Fharnessing electricity to manipulate and display images based on Giovanni Battista Nolli’s 1748 digital data took place in Princeton in the early plan of Rome, which functioned as the database’s 1880s, when Allan Marquand, a young lecturer in front end. Clicking on buildings and urban spaces logic, drew up the wiring diagram for an electrical on the map opened links to a rich collection of relay machine that would perform logical inference. data, including over 1,500 digital images as well as Marquand had already assembled a mechanical thumbnail building histories, literary quotations, logic machine that was a clear advance over its and bibliographic records. The Nolli database was predecessor, the “logic piano” of British logician so sophisticated and fl exible that it was successfully William Stanley Jevons, and his electronic version used for freshman seminars, undergraduate lecture promised to be a further improvement. Marquand’s courses, and the online alumni course “Walks in electronic logic machine was apparently never Rome,” which remains among the most popular Allan Marquand’s mechanical constructed, at least in part because he was soon online courses ever offered by the Alumni Council. logic machine called to another, larger task: founding Princeton’s The Nolli database, which is still in active use Department of Art and Archaeology and becoming today, relies on technology that was cutting edge its fi rst professor. at the time, but recent developments in database Today, 120 years later, Marquand’s department information retrieval make it possible to deliver is deeply involved in developing digital technol- even more sophisticated tools. Pinto and Janet ogy that is opening new approaches to the study Temos ’82 *01, the director of ETC, are now using of another complex fi eld: the history of architec- these new capabilities to create an upgraded data- ture and urbanism. The most ambitious project base that will offer a new view of Rome and more currently underway had its beginnings 10 years fl exible access to an even richer array of data. The ago, when Professor John Pinto fi rst turned to the cornerstone of the new initiative is a 1730 version rapidly developing fi eld of interactive databases. of Giovanni Battista Falda’s map of Rome that was Teaching a course on the city of Rome as a cen- recently acquired by the Marquand Library specifi - ter of artistic production had made him aware of cally for this project. The Falda map, which depicts his students’ frustrations in attempting to grasp the the city from a steep bird’s-eye perspective, captures complex, multilayered, and always evolving urban the cumulative effects of three centuries of archi- context of buildings, which were traditionally pre- tectural and urban development that defi ned the Detail of the 1730 edition of Giovanni Battista Falda’s plan of sented as isolated monuments. papal city. Rome showing the gardens of Working with the staff of Princeton’s Educa- The Falda map has been digitized, and in the the Villa Medici tional Technologies Center (ETC), a division of next phase of the project, copyrighted images that were used in the original Nolli database will be replaced with high-quality scans taken from rare books in Marquand’s collection, as well as those donated by generous scholars, including Vincent J. Buonanno. Very appropriately, a number of these engravings will come from the publications of Falda himself, for example, his 1685 work on the foun- tains of Rome, Le fontane di Roma. The Falda plan will remain the key access point to the data, allow- ing users to stroll the streets of the 18th-century city digitally, clicking to see both recent photo- graphs and engraved views by Falda and his con- temporaries. The new version also will allow three different avenues to the images and texts, which will be stored in a searchable interrelational data- base. This enhancement will allow the Falda map to retain all of the features that made the Nolli data- base so useful for a wide range of teaching, and to serve as a high-level research tool. The Almagest multimedia database, developed entirely at Princeton, is the tool used for organizing and delivering digital images and other fi le types to 18 S P R I N G     Department Lecture Series Fall Term Monday, September 27 Michael Fried Johns Hopkins University Jeff Wall, Wittgenstein, and the Everyday Cosponsored by the Departments of German and Art and Archaeolo- gy and the Programs in Visual Arts and European Cultural Studies Tuesday, September 28 Dorothea Rockburne, painter The Fourth Dimension, A Painter’s Point of View Cosponsored by the Program in Visual Arts and the Department of Perspective view of the gardens of the Villa Medici from Giovanni Battista Falda’s Li giardini di Roma (1685) Art and Archaeology Tuesday, October 19 classrooms at Princeton. The Almagest code has the Parc Monceau, the Bālis excavations, and the Hugo van der Velden Harvard University recently been shared as open-source software, and Falda and Nolli maps, with the intention of making The Ghent Altarpiece: Micro-History is available on the Web to a wide community of them available on the World Wide Web. In addition to Meta-Painting users and developers. Kirk Alexander ’72 *75, to the open-source release of Almagest, ETC is now Wednesday, October 20 formerly of ETC and one of the chief creators of developing a public Web site that will make Jerrold Cooper Almagest, was the fi rst to adopt the database out- Almagest accessible to the public, and will allow Johns Hopkins University side of Princeton. Almagest is currently in use at anyone to contribute content for which they hold Early Writing in Ancient Iraq and the University of California at Davis, where Alex- the copyright. This site would enable the exchange Ancient China: A Comparative ander, who is the manager of educational technol- of projects, images, and other fi le types among Perspective ogy at IET Media Works, installed the software educators. For more information about Almagest Tuesday, November 16 over a year ago. Open Source Software or the Exchange, see www. James Trilling The Nolli plan was the fi rst large-scale data- princeton.edu/~almagest/opensource. This inno- The Textile Museum base developed using Almagest, but today Almagest vation has the potential to revolutionize teaching far The Secret Life of Ornament Since 1900 is used for a number of projects, including the beyond the confi nes of the campus and will keep department’s excavations at the Ummayad site Princeton on the cutting edge of digital technology Thursday, December 2 of Bālis in northern Syria, directed by Thomas for teaching. Bong Won Kang Visiting professor, Kyongju Leisten. ETC is working with Leisten to develop Development of the Falda project will also con- University, Korea a searchable database of the Bālis excavations that tinue. In the next phase, digital images from Fal- Mortuary Practices during the will include preliminary reports, photographs, da’s 1685 book Li giardini di Roma will be added Three Kingdoms Period in Korea information on small fi nds, interviews, and 3-D to the database. The book being digitized is Allan Cosponsored by the Department walk-through reconstructions. Marquand’s personal copy, now in the rare books of Art and Archaeology and the Another fascinating application of Almagest collection of the library that bears his name. So Tang Center for East Asian Art was developed by David Hayes *01, an alumnus of Marquand’s legacy is very much alive today, not only Monday, December 6 the School of Architecture, who created a digital through the library he bequeathed to the depart- Robin Kelsey map of the Parc Monceau in Paris. One of the fi rst ment, but also in the continuation of his quest to Sackler Museum, Harvard University landscape parks in Paris, the Parc Monceau was develop innovative digital technology for scholars. Thomas Ruff and the Industrial designed for the Duc de Chartres in the mid-18th Archive century and incorporated follies repre- senting a Roman ruin, an Egyptian pyramid, a minaret, and other fantastic structures. Using the original guidebook and prints commissioned by the duke, the Parc Monceau project provides a graphic interactive display that allows users to recreate the experience of follow- ing the itineraries planned by its owner. Almagest has until now been avail- able only to users on Princeton’s network, The “ruins of the temple of Mars,” a but ETC is developing projects such as folly in the Parc Monceau

S P R I N G     19 David Cook David Excavations

Excavations at Polis sands of terracottas from the two Polis sanctuaries may produce a clearer picture of how a local fertil- Chrysochous, Cyprus ity goddess related to Near Eastern models such as fter a major campaign of digging in the Astarte and Ishtar evolved into a more recognizably summer of 2003, a smaller team returned Classical Greek Aphrodite. A to the site of the ancient city of Marion/ In the summer of 2004, Serwint and her crew Arsinoe in 2004 for a season of intensive study. focused primarily on studying the techniques used Professor William Childs has directed excavations in the manufacture of the terracottas from the later at the site on the northwest coast of Cyprus sanctuary. Examination and precise measurement of since 1983. thousands of fragments have allowed her to identify Nassos Papalexandrou *98 with Assistant Director Nancy Serwint *87 and a recurring mold types as well as single molds that were a fragmentary 6th-century B.C. small group of her students continued the study in use through several generations of production. mask of Near Eastern type, one of more than 25,000 pieces of terracotta sculp- Amy Papalexandou *98 conducted a close of more than 20,000 terracottas ture recovered from two sanctuary complexes. The study of the Late Antique burials, both individual found in an Archaic/Classical older of the two complexes seems to have been in burials and mass inhumations associated with two sanctuary uncovered at Polis use sporadically from the mid-7th century until Early Christian basilicas. The mass burials were about 450 B.C. The subjects of the 20,000 terra- accommodated in a series of large, constructed pits, cotta votives found which contained an array of belt buckles, coins, there document the terracotta lamps, and an abundance of disarticu- worship of a female lated bone. This suggests some sort of devastation David Cook David divinity associated in the Late Antique city, either a natural disaster or with fertility, and their perhaps the Arab invasions of the 7th century A.D. similarity to fi nds The simultaneous existence of two divergent from the Levant and approaches to burial within a single community farther east suggests a makes Polis a particularly intriguing case study for Near Eastern pedigree mortuary practices both in Cyprus and the Late for this goddess. Inter- Antique world in general. estingly, two impor- Nassos Papalexandrou *98 continued his tant terracottas from study of the Archaic “palace” and the extraordi- this sanctuary seem to nary deposit of Cypriot and imported pottery of the The village of Polis Chrysochous, refl ect eastern ethnic types: a nearly life-size female 6th century B.C. that was retrieved from a cistern site of the Princeton excavations head that may represent a Nubian, and a head of a in 2003. He also conducted a detailed study of the of the ancient city of Marion/Ar- female statuette with features and hairstyle that are “palace” site and the excavation records. The scar- sinoe, and the Chrysochous bay of clearly Semitic. city of fi nds leads him to believe that this large ash- the Mediterranean; in the back- Thousands of terracottas were also lar block building had been deliberately emptied ground are the foothills of the found associated with a small rect- before it was allowed to fall into decay. Troodos Mountains angular temple of the later 5th Kit Moss *88 returned to identify and 4th centuries B.C. Many and study the more than 200 coins of the votives recovered found during the 2003 excava- from this sanctuary had tions. These included many been intentionally muti- Roman issues, ranging in date lated, and this systematic from the early Julio-Claudian destruction, along with a through the Late Roman layer of ash, suggest that period, as well as coins struck the complex was gutted by the Ptolemies and a single in 312 B.C., when the city Classical coin of Marion. The was destroyed by Ptolemy Marion issue was a particularly I of Egypt. The terracot- notable fi nd: only one other tas from this site are not only coin from the local mint has later than those from the other been recovered by the A nearly life-size 6th-century sanctuary, they are also clearly Princeton team. Moss also B.C. terracotta head, possibly more western—in other words, continued his study of representing a Nubian, from a Greek—in both style and form. the more than 700 terra- sanctuary at Polis excavated by Cyprus is the legendary birthplace of cotta lamps found by the the Princeton team the goddess Aphrodite, and the thou- dig, which include exam- Elisabeth Childs

20 S P R I N G     ples imported from Athens and North Africa as part of the Umayyad empire, and Ira- well as hundreds of lamps made on Cyprus, some nian infl uence appears in the local Syrian perhaps in local workshops. architecture. The numismatic fi nds thus Mary Grace Weir *96 (M.A.) continued her confi rm that the Bālis hall was built pre- study of the later sanctuary, which is the subject of cisely in the period when infl uence from her department dissertation being supervised by Iran was at its height. Childs. Professor Andreas Grüner of the This summer Childs plans another season of University of Munich returned as a guest intensive study, along with a series of focused exca- of the Princeton excavation to continue vations designed to clarify problematic areas. his work on the necropolis of Barbalis- sus, the Roman town that lay in the river Excavations at Bālis, Syria valley below Bālis. The remains of the town have now been completely covered In May 2004 Professor Thomas Leisten returned by Assad Lake, a reservoir formed when to the plateau perched high above the Euphrates the Tabqah Dam was built, and the cem- River in northern Syria, where he has conducted eteries are the only tantalizing remains excavations at the Roman/Islamic site of B is since āl of the once-thriving Roman river port. In the sum- Director Thomas Leisten (left) 1997. In seven seasons of work, Leisten’s team has mer of 2004 Grüner succeeded in locating approx- discusses excavations in the audi- dug parts of the Byzantine town and uncovered imately 160 tombs, all burial chambers cut into ence hall at Bālis with graduate the remains of a large “desert palace” built by an the low, rocky cliffs along the course of the ancient student Francesca Leoni (kneeling) Umayyad caliph in the late 7th or early 8th century road. Seven more tombs were excavated, revealing A.D. Last summer’s international crew was com- interior walls decorated with reliefs in the style of posed of students from Germany, Jordan, Kuwait, Palmyrene art. and the U.S., including Princeton graduate stu- Leisten plans one dents Francesca Leoni and Nancy Khalek. more season of exca- In 2004 Leisten’s team fi nished uncovering the vation, focusing on Thomas Leisten Thomas great audience hall, revealing it to be a perfectly the northeastern part square structure measuring about 90 feet on each of the complex, where side. The layout of the building is typical of Iranian some late domestic audience halls, but the large hall is divided from structures were con- the other rooms by corridors rather than walls, so structed after occupa- there is direct communication between the hall and tion at the rest of the the adjacent back rooms. While cleaning the walls, site had come to an excavators extracted a very surprising fi nd: a Hurrite end. Excavation of the cylinder seal of the 15th to 13th century B.C. The bath complex, a large style of the seal shows that it was imported from building measuring the kingdom of the Mittani in upper Mesopota- nearly 90 feet square, mia. Finds from that area are extremely rare in the will also be com- area of Bālis. pleted, and soundings will be done at other loca- Skilled workers peal the last layer The wall paintings that decorated the large tions where questions remain. A large, oblong of dirt from the painted walls of hall, mostly swirling patterns of faux-marble veneer depression south of the bath, which may have the Bālis audience hall and illusionistic engaged columns, are very well functioned as an open water reservoir, will also be preserved and are some of the fi nest examples of investigated. this type of Umayyad decoration. Last summer Bālis was a Shiite town in the medieval period, the frescoes were cleaned and photographed, and a and its neighborhoods were probably crowded with conservator began the work of stabilizing the more small chapels and oratories. One of these shrines, fragile areas. At the end of the season, masons built an 11th-century structure that is believed to enclose mud brick walls against the frescoes to protect a saint’s tomb, still stands about a mile to the east of them from weathering and other damage. the excavations. It was partially excavated in the A variety of marble columns and their capitals 1920s, and one of its stucco walls was moved to the have also been recovered from the audience hall. Damascus museum. The surrounding rooms and These architectural elements were mostly reused courtyard, however, have never been investigated, and originally belonged to Late Roman and Byzan- and Leisten also plans to excavate these in the tine buildings. Together, this material will permit summer of 2005. The shrine is still much revered a very accurate reconstruction of the audience hall by local worshippers, so the prayer niche itself will and all of its ornamentation. not be touched. Clearing the rest of the structure, Male portrait relief in a tomb exca- Excavation of this hall brought to light many however, may give us a clearer picture of the physi- vated at Bālis last summer early-8th-century A.D. coins, most of them struck cal setting of Shiite devotion in a medieval town of in northern Syria. In the 8th century, Syria was north Syria.

S P R I N G     21 Marquand Library

Powell, also contains aids for navigating print resources, instructions for using software, a list of all the books in the rare book vault, and a link to view

John Blazejewski new books catalogued in the past month. By popu- lar demand, the new book cart returned this year, and patrons can now view the new books before they are shelved. Two carts of new books often arrive each day, so frequent browsing is necessary. The staff continues to build on the existing collection strengths: classical, medieval, Far Eastern and pre-Columbian archaeology, and art and archi- tecture from Europe, the Far East, and America. The scope has expanded to include Islamic archae- ology and the art and architecture of Australia, Latin America, India, and the Middle East. The library has also responded to new interest in con- temporary art from the Third World, particularly Latin America and the Near East. With many faculty members now working in The renovated Marquand ince opening the doors to its expanded the fi eld of modern art, Marquand has energetically Library with its new third-fl oor and renovated quarters in the fall of 2003, built its collections in this area over the past decade, study and seminar area SMarquand Library has become one of the with a recent emphasis on acquiring complete runs premier campus locations for research and study. of turn-of-the-century periodicals related to the In the 2003–04 academic year more than 142,000 avant-garde. The library also has collected in many patrons came through the gates to work in the new formats: CDs, videos, and electronic databases, new library, a 210 percent increase over the previ- including image and full-text resources. ous year. During the January 2005 reading period, Marquand’s collection of artistic photography 1,000 people a day fl ocked to Marquand, and last books is now regularly consulted by an increasingly year patrons made nearly 250,000 photocopies— broad cross section of the Princeton scholarly com- including more than 65,000 in color—as well as munity, both from within the department and from 8,400 scans and literally hundreds of thousands of elsewhere on campus. Special emphasis has been pages printed from the computer clusters. Book devoted to expanding this collection in recent years, circulation within the library was up by 26 percent, and it is now one of the nation’s preeminent pho- and requests for reference service grew by tography research collections. A major addition 23 percent. arrived this year from Peter Bunnell, the David This crowd of eager scholars is drawn by the Hunter McAlpin Professor of the History of Pho- library’s unparalleled resources, elegant decor and tography and Modern Art, Emeritus, who donated campus views, availability of multiple comput- more than 600 volumes from his personal library. ers, Internet connections at every seat, wireless Marquand also purchased some rare titles in pho- access, and fl atbed scanners. Researchers and stu- tography this year, including the complete runs of dents from many departments on campus now use two journals: Kikan shashin eizō/The Photo Image the library regularly. Many have assigned carrels (1969–71), one of the most radical and important or shelf space, and there is a long waiting list for photography periodicals of its time, and Shashin assigned study space. Responding to this unprec- gakkō/Workshop (1974–76), the journal of the edented demand, Librarian Janice Powell has Japanese photography school that focused on extended Marquand’s hours during break periods, new trends. and the reference desk is now staffed on Sundays. For the last 15 years the library has acquired The library’s staff also provides frequent research actively in the area of Islamic art in response to the consultations—both in the classroom and one-on- addition of courses in that fi eld to the department’s one—and training in capturing, manipulating, and offerings. One of this year’s prime acquisitions was printing digital images. al-Maqāmāt al-Harīrīyah (London, 2003), a limi- Marquand’s completely revamped Web page, ted-edition facsimile of a sumptuously illuminated marquand.princeton.edu, went online this year, Maqamat manuscript produced in Baghdad in 1237. providing many links to an extensive list of elec- In the fi eld of Far Eastern art, a notable acqui- tronic resources, both texts and images. The Web sition this year was Genji monogatari emaki, a fac- page, created by Laurel Bliss, David Fox, and Janice simile of four handscrolls of The Tale of Genji, 22 S P R I N G     reproduced from the 12th- and containing nearly 500 Department century A.D. originals in the engravings of garden designs. Tokugawa Art Museum in Facsimiles added to the Lecture Series Nagoya and the Goto Art collection this year include Il Spring Term Museum in Tokyo. These libro d’ore di Lorenzo de’ richly colorful scrolls preserve Medici (Modena, 2004), the Thursday, February 24 the earliest known paintings, richly illuminated Book of Jonathan Weinberg Clark Art Institute and the earliest extant text, of Hours of Lorenzo de’ Medici, Male Desire: The Homoerotic in the romantic tale written by and Códice de Santo Domingo American Art Murasaki Shikibu, a lady of de Silos (Barcelona, 2001–03), Wednesday, March 23 the Heian court. a facsimile of the Silos Beatus, Clement Cheroux Marquand has recently one of the most spectacularly Gould Fellow, Department of Art made extensive additions to colorful of all the illustrated and Archaeology its rare book collection— Beatus manuscripts. “Avant l’avant-garde”: The including early imprints, Marquand also has acquired Recreational Photography facsimiles, and scarce titles— the facsimile L’Ystoire du bon Thursday, April 14 and the use of these materi- roi Alexandre (Stuttgart, John Clarke als has grown exponentially. 2002), the important manu- University of Texas at Austin One intriguing item acquired script of the Alexander Aeneas the Ape: Visual Parody in Elite Houses at Pompeii, this year is the short-lived Romance now in the Staatli- 40 B.C.–A.D. 45 Zeitschrift für Geschichte und The Ark of the Covenant and the Beast che Museen in Berlin, and Monday, April 18 Auslegung alter Kunst (Göt- Rising from the Sea, an illustration of Liber Precum: Vollständige Nancy Troy Revelations in the Silos Beatus, a facsimile tingen, 1818), the earliest Faksimile-Ausgabe der Hand- University of Southern California German periodical devoted added to Marquand’s holdings this year schrift Ms. Lat. O.v.I. 206 der Mondrian’s Afterlife entirely to the subject of Russischen Nationalbibliothek in Thursday, May 5 archaeology. Another important addition is the rare St. Petersburg (Graz, 2003), a richly illustrated Latin John Elderfi eld fi rst edition of Aedifi ciorum et Ruinarum Romae prayer book illuminated in Cologne in the 1480s. Museum of Modern Art (Rome, 1649), with 98 engravings of ancient In cooperation with Janet Temos ’82 *01, Reinstalling the Museum of Roman antiquities by Giovanni Maggi, who was director of Princeton’s Educational Technologies Modern Art among the fi rst artists to represent the ruins of Center, and Roel Muñoz, digital projects photogra- Rome in natural landscapes. pher in Firestone Library, Marquand staff are digi- Among the rare architectural titles added to tizing important rare texts for classroom use. A fi ne Marquand’s holdings this year is the monumental example of this is Giovanni Battista Falda’s 1730 11-volume Neubauten der Stadt Berlin (Berlin and map of Rome, which was acquired this year spe- New York, 1902–12) by cifi cally for a digitization Ludwig Hoffman, the city project initiated by Profes- architect for Berlin who sor John Pinto. Images of was responsible for many Rome in rare books from of the important pre-World the same period that were War I buildings in the city. already in Marquand’s col- The library also purchased lection will be incorporated Josep Puig i Cadafalch’s La into an interactive digi- Placa de Catalunya (Barce- tal database, which is dis- lona, 1927), the noted Art cussed on pages 18–19. Nouveau architect’s study This combination of and plan for the central high-tech capabilities, rich square of Barcelona. collections, rare materials, The holdings in land- elegant surroundings, and scape studies were enriched dedicated staff continues to A reading in a public library de- by a number of acquisi- draw increasing numbers picted in al-Maqāmāt al-Harīrīyah, tions, including the 2004 of scholars from around one of the facsimiles acquired by reprint of Georges-Louis the campus and beyond Marquand Library this year Le Rouge’s 22 large portfo- to what some of the lios titled Jardins anglo-chi- undergraduates call “the nois ou details des nouveaux Marquand experience.” jardins a la mode, fi rst pub- lished from 1775 to 1789, The amphitheatrum castrense, a small am- phitheater of the 3rd century A.D. in Rome, in an engraving from Giovanni Maggi’s 1649 work, Aedifi ciorum et Ruinarum Romae, acquired by the library this year S P R I N G     23 Tang Center Events Films Tang Center October 18, 2004 Devils on the Doorstep he P. Y. and Kinmay W. Tang Directed by Jiang Wen Center for East Asian Art 2000, People’s Republic of China Torganized an ambitious pro- February 17, 2005 gram of lectures, fi lms, and other City of Sadness events this year, including two interna- Directed by Hou Hsiao-hsien tional symposia. The center, which is 1989, Taiwan led by Director Jerome Silbergeld, the February 25, 2005 P. Y. and Kinmay W. Tang Professor Dust in the Wind of Chinese Art History, and Associate Directed by Hou Hsiao-hsien Director Dora C. Y. Ching *93 (M.A.), 1986, Taiwan promotes the understanding of East February 26, 2005 Asian art and culture through a variety Taipei Story of scholarly activities, including at least Directed by Edward Yang one major scholarly event each year. 1985, Taiwan February 27, 2005 The Terrorizer International Symposia Directed by Edward Yang In November 2004 the Tang Center presented the families from a Western perspective. “Real and 1986, Taiwan two-day international symposium “The Family Ideal: The Family in Ancient Times” dealt with the March 3, 2005 Model in Chinese Art and Culture,” which drew articulation of family kinship ties in early Chinese The Puppetmaster an audience of more than 200. Cosponsored by the societies. “Presenting the Family in Art” explored Directed by Hou Hsiao-hsien department and the Princeton University Art the convergence of family and architecture, paint- 1993, Taiwan Museum, the symposium focused on the multifac- ing, literature, and cinema. The fi nal session, “The March 10, 2005 eted aspects of the family model as an enduring Family as Site and Symbol of Artistic Production,” Yi Yi (One, One) force central to patterns of social organization and focused on family as a historical and socially formed Directed by Edward Yang cultural articulation throughout Chinese history. practice. Princeton alumni who participated in the 2000, Taiwan The overall aim was to gain a deeper understanding symposium included Anthony Barbieri-Low *01, of the ways in which the family shaped behavior Dora C. Y. Ching *93 (M.A.), Robert E. Harrist Jr. and artistic production, and the papers provided an *89, Yukio Lippit *03, Michael Nylan *82, and Jay interdisciplinary exploration of how the family and Xu *93 (M.A.). The Tang Center is now preparing the arts have intersected to inform artistic percep- these papers for publication. tions, content, and production. On April 30 and May 1, 2005, the Tang Cen- Four panels addressed different themes con- ter joined the Princeton University Art Museum to Director Jerome Silbergeld (cen- cerning “family.” “The ‘Real’ Family in China” cosponsor the international symposium “Recarving ter) with graduate students Xiao- sketched out the social, political, and ideological China’s Past: Art, Archaeology, and Architecture of jin Wu, Michelle Lim, Kim Wishart, parameters that shape traditional notions of the the ‘Wu Family Shrines,’” which explored the archi- and Sonja Kelley at the “Family Chinese family and provided a comparative view of tecture, art, and culture of China’s Han dynasty Model” symposium luncheon (206 B.C.–A.D. 220). This symposium, held in con- junction with the major exhibition at the museum, focused on the pictorial wall carvings commonly Zoe Kwok Zoe recognized as constituting the Han-dynasty funerary structures of the Wu family cemetery. The exhibi- tion, with its impressive assemblage of notable works of art, attracted a large audience. The well-attended symposium raised signifi cant questions about how the Wu shrines have been identifi ed and interpreted, suggesting that our understanding of Han art, archi- tecture, history, and culture may require reevalua- tion. The Tang Center and the Princeton University Art Museum will publish a selection of the papers given at the symposium. This symposium was organized by the Princeton University Art Museum in memory of Frederick W. Mote, and cosponsored by the Chiang Ching-kuo Foundation, the Program in East Asian

24 S P R I N G     Studies, and the P. Y. and Kinmay W. Tang Center nar. The Tang Center also sponsored a trip to the Tang Center Events for East Asian Art at Princeton University, with the Sackler Museum at Harvard University and the support of the Asian Studies Center at the Univer- Museum of Fine Arts in Boston for Professor Rob- Lectures sity of Pittsburgh and the history department and ert W. Bagley and his seminar students, and cospon- October 12, 2004 the East Asian Library at the University of Califor- sored the Seventh Annual Buddhist Studies Lillian Lan-ying Tseng, nia at Berkeley. Graduate Student Conference in April. Yale University Art, Science, and Religion: The Painted Han Tomb at Xi’an Tang Center Programs Upcoming Events Jiaotong University The lecture program brought seven speakers to The Tang Center is pleased to announce its fi rst Cosponsored by the Tang Center campus this academic year, including two scholars publication, Persistence/Transformation: Text as for East Asian Art and the East from China and Korea, who presented papers on a Image in the Art of Xu Bing, a volume of papers Asian Studies Program Yuan dynasty landscape map and mortuary prac- given at the center’s dedication conference in 2003. November 1, 2004 tices in Korea, respectively. Other topics included This book, which will be published later this year Robert E. Harrist Jr., art, science, and cosmology in a painted second- and distributed by Princeton University Press, inau- Columbia University Big Writing: The Monumental century Chinese tomb; monumental Buddhist cliff gurates a series of Tang Center publications. Sutras of Shandong Province and the writing; infl uences across Eurasia in ornament; the The Tang Center and the Princeton Univer- Question of Scale in the Visual Arts relationship between authenticity and connois- sity Art Museum have coorganized a guided trip to Cosponsored by the Buddhist seurship in Chinese sculpture; and “strange” writ- China, “Recarving the Past: Tombs, Temples, and Studies Workshop and the Tang ing in 17th-century China. Many of these lectures Historical Sites in China,” which will take place Center for East Asian Art were cosponsored with other departments on cam- from October 16 through October 31, 2005. This November 12, 2004 pus, which increased the interdisciplinary appeal of tour offers a unique opportunity to visit signifi - Lin Meicun, Peking University these events. cant art and archaeological monuments in Beijing, Mongolian Landscape Map: A This year’s fi lm series combined one major Xi’an, Shanghai, and especially Shandong prov- “World Map” of the Middle Ages fi lm that is very rarely screened in America— ince, an area of China that is rich in archaeologi- Newly Discovered in Japan Cosponsored by the East Asian Devils on the Doorstep (Guizi laile, 2000)—with a cal sites, yet rarely visited. Highlights of the tour Studies Program and the Tang series organized by Richard Suchenski ’05 titled will include the tomb of the First Emperor of Qin Center for East Asian Art “Taiwanese New Wave Cinema.” Set at the end of and his 7,500 terracotta soldiers in Xi’an, the Wu November 15, 2004 World War II, Devils on the Doorstep is a daring Family Shrines and the ancestral temple of Con- James Trilling, fi lm made in the People’s Republic of China by fucius in Shandong, and the world-class Shang- The Textile Museum actor-director Jiang Wen. The fi lm explores the hai Museum, among many other sites. Space is still Cultural Boundaries and Artistic desire for vengeance, justifi ed by events, as it con- available, and more information about the tour can Fusion: Eurasian Art of the First fl icts with the longing for peace in a better world— be requested from Dora Ching at 609-258-3795, Millennium A.D. an allegory shaped by the complexity of the human or via e-mail at [email protected]. December 2, 2004 soul. The “Taiwanese New Wave Cinema” series On April 1 and 2, 2006, the Tang Center will Bong Won Kang, visiting profes- focused on the fi lms of directors Hou Hsiao-hsien sponsor a symposium in honor of Wen C. Fong, the sor, Kyongju University, Korea and Yang Dechang (Edward Yang). Rarely have so Edwards S. Sanford Professor of Art History, Emeri- Mortuary Practices during the Three many major Chinese fi lms been made available to a tus, at Princeton. The papers given at the conference Kingdoms Period in Korea Cosponsored by the Department Princeton audience. will be published as a festschrift for Fong, who of Art and Archaeology and the The Tang Center continues to assist graduate taught Chinese art history in the department from Tang Center for East Asian Art education through several programs that enable 1954 to 1999, while also serving for 30 years as the February 14, 2005 faculty in East Asian art to invite visitors to partici- consultative chair of the Asian art department at the Stanley Abe, Duke University pate in their graduate seminars, and to take their Metropolitan Museum of Art. During his long Authenticity and Connoisseurship: seminars to museums for fi rsthand experience with tenure at Princeton he trained many Chinese art Making Chinese Sculpture Art art objects. This year the center brought Professors students, who now hold prominent positions at Cosponsored by the East Asian Qianshen Bai of Boston University and Marek universities, colleges, and museums around the Studies Program and the Tang Wieczorek of the University of Washington in world, and he simultaneously built the Chinese art Center for East Asian Art Seattle, to Princeton to give presentations on “bad collections at both Princeton and the Metropolitan April 13, 2005 art” in Professor Jerome Silbergeld’s graduate semi- Museum. Professor Fong’s colleagues and students Qianshen Bai, Boston University in Chinese, Japanese, and Korean art history will The Cultural Climate of Late Ming–Early Qing China and Play present their current research on a range of topics with Strange Characters that demonstrate the breadth and depth of critical inquiry in the fi eld of East Asian art history. For more information about Tang Center symposia and other events, please visit the Tang Center’s Web site at web.princeton.edu/sites/ TangCenter.

Still from Devils on the Doorstep, one of the fi lms screened by the Tang Center this year

S P R I N G     25 The Pentecost from a Parisian book of hours of circa 1415–20 in the Philadelphia Free Library (Ms. Index of Christian Art Widener 6, fol. 155r), part of the Index’s recent cataloguing project he Index of Christian Art, under the Firestone Library will shortly publish a catalogue direction of Colum Hourihane, advanced of its entire collection of Western medieval man- Tthe Index’s ongoing projects this year as uscripts, including the illuminated examples that well as extended the archive’s activities to a number were the focus of the Index’s work. John Blazejewski of entirely new initiatives. The largest project cur- Again making use of University resources, the rently underway is the cataloguing of the images in Index collaborated with the Princeton University the Western medieval manuscripts owned by the Art Museum this year, digitizing all of the images in Pierpont Morgan Library in New York City. Dig- the medieval manuscripts in the museum’s fi ne col- itizing and cataloguing these images was origi- lection. Encompassing nearly 4,000 images, this nally expected to take six years, and the project is project nearly completes the Index’s ambitions to nearing the end of its funding period. More than digitize all of the images in medieval manuscripts 400 manuscripts have now been catalogued and in campus collections. While the museum’s manu- are available on the Index’s Web site at http://ica. scripts are not as well known as Firestone Library’s, princeton.edu. The Morgan manuscripts have they nevertheless form a valuable collection with proved to be an even richer source of iconography some real treasures, including a superb 15th-century than expected: more than four times the number of Missal and an early-15th-century book of hours. photographs estimated for the entire project have Work also continued on incorporating some of already been taken by Index photographer John the rich photographic assemblages that the Index Blazejewski—a total of 99,000 has collected over the last few years. Chief among images—and the number con- these is the personal slide collection of Erica Cruik- tinues to grow. This undertaking shank Dodd, professor emeritus at the University of represents the single largest addi- Victoria. An avid photographer for many years, she

John Blazejewski tion to the Index’s holdings and built up an amazing and unparalleled archive of has introduced new iconographic over 40,000 slides, focusing mainly on Islamic concepts to the Index’s records as culture and its relationship to Christian art. These well as extended its terminus date valuable images include documentation of monu- to the middle of the 16th century. ments that no longer survive, and the collection as a Last year the Index began whole complements the recent initiatives by the photographing and catalogu- Index to expand its holdings of medieval Christian ing the illustrations in the West- art in the Near East. Professor Dodd has graciously Initial Q with the apostle Paul, a ern medieval manuscripts owned provided many thousands of images, which have cutting from a manuscript pro- by the Free Library of Philadelphia. The Free now been digitized and are gradually being made duced in Lombardy in the 1440s, Library’s collection of manuscripts, truly an under- available on the Index’s Web site. one of the Princeton University appreciated gem, includes over 200 books and This growing focus on the medieval art of the Art Museum works recently cata- 2,000 separate leaves, ranging in date from the Near East was also refl ected in the topic of a major logued by the Index (y1937-4) 9th to the 18th century. Among its treasures are conference organized by the Index in April. The some 50 books of hours, as well as Bibles, Psalters, two-day conference, “Interactions: Artistic Inter- antiphonaries, missals, and other texts. change between the Eastern and Western Worlds in The Index has already photographed the Medieval Period,” featured papers by 15 scholars more than 5,000 medieval miniatures who work in areas including Egypt, Cyprus, Geor- in the Free Library’s manuscripts, and gia, and Ethiopia, where the artistic traditions of all of these images, along with detailed East and West met and interacted. cataloguing, will be available to sub- Since last year the Index has made the Mills- scribers to the Index’s Web site. Kronberg database of medieval Danish church Three years ago the Mellon Foun- wall paintings available without charge on its Web dation generously funded an Index site. This archive of photographs is just one of the project to photograph and catalogue resources the Index intends to offer free of charge The Expulsion of Adam and Eve, a all of the images in the medieval manuscripts in through its Web site. Other examples are the Met- wall painting of ca. 1480 in Aas- trup, Denmark, part of the Mills- Firestone Library. This year Index staff completed calf database of stained glass, which is currently Kronberg database that is now that initiative. Nearly 4,000 illustrations in works being edited, and a general bibliography on art available on the Index’s Web site dating from the 10th to the 16th century are now of the medieval period. The bibliography was the analytically catalogued in the electronic fi les of the work of four librarians and was originally part of an Index and are available on its Web site. Parallel- ARLIS-sponsored session that is being published on ing this endeavor, and also funded by the Mellon the Index Web site. Foundation as part of its grant to the Index,

26 S P R I N G     The 7th volume of the Index’s series of occa- The Dorot Foundation’s grant will enable the Index sional papers was published last November. This to fund scholarships at Ben-Gurion University of most recent volume gathers 13 papers in honor the Negev in Israel. These scholarships will support of Peter Harbison, the distinguished art historian postgraduate students who work in the fi eld of and a longtime friend and supporter of the Index, Christian art in the Holy Lands. As they carry out who has been very generous with both his knowl- their own research, the students will also gather edge and his photographs. The collection of essays, images and data for the Index’s database. This titled Irish Art Historical Studies in Honour of Peter innovative program resurrects one of the earliest Harbison, was published by Four Courts Press, and means used by the Index for gathering data for includes artwork by Louis Le Brocquy and Imo- its fi les. gen Stuart. Andrea Campbell resigned this year to take a Last September the Index hosted a gathering teaching position at Randolph Macon Women’s to celebrate the 50th anniversary of the founding College in Virginia. Andrea had been with the of the International Center of Medieval Art. Fol- Index for nearly three years and was employed in lowing a tour of Firestone Library’s manuscript updating the sculpture card fi les and adding them collection led by Don Skemer, curator of manu- to the database. Her position has been fi lled by Irish Art Historical Studies in Hon- scripts, and a tour of the Index of Christian Art, Adoracion Maria Teresa Garcia Lechner, a post- our of Peter Harbison, edited by the afternoon culminated with a lecture by Erica graduate from the University of Amsterdam, who Colum Hourihane Cruikshank Dodd on the infl uence of Lebanese specializes in the fi eld of Spanish Romanesque style on the western Mediterranean area, which sculpture. Maite, as she is known, studied under coincided with the publication of her new book Claudine Chavannes-Mazel and wrote her master’s on Lebanese wall paintings of the medi- thesis on the sculptural program of Santa eval period. Maria la Real in Sangüesa, one of the The Samuel H. Kress Founda- northernmost Spanish churches tion and the Dorot Foundation on the pilgrim’s route to Santi- generously awarded grants to ago de Compostela. She is the Index this year. The Kress currently writing an article on Foundation’s grant supports the theme of lust, which the ongoing digitization of the appears prominently in the

Index’s paper fi les. This project John Blazejewski facade sculpture of Santa is already well underway, with Maria la Real. At the Index over one-third of the photo- Maite will continue the work of graphs and close to the same electronically cataloguing the amount of text cards already digitized. Index’s fi les. Maite Lechner Visual Resources Collection

Pictor Database database of over 15,000 image records of Far he Visual Resources Col- Eastern art assembled by lection’s (VRC) database, Xia Wei, the depart- TPictor, was inaugurated in ment’s curator of Far the summer of 2003. Pictor fea- Eastern slides and photo- tures an enhanced level of cata- graphs, has now been loguing, and is a powerful tool for integrated into Pictor, fi nding not only images, which can and duplicate entries be searched by subject, but also rel- have been weeded from evant data. Since it conforms to the two merged reposi- national image-cataloguing stan- tory lists. Far Eastern dards, it also allows Princeton to images can now be One of the Far Eastern images share data with other institutions. exported to Almagest, the now in the Pictor database: Shitao, Director Trudy Jacoby has Princeton database used Luofu Mountains, ca. 1701–1705, overseen the second major phase for organizing and deliv- ink and colors on paper, Princeton of the project: the migration of the ering digital images and University Art Museum y1967- East Asian image records to the media to classrooms and 17d, gift of the Arthur M. Sackler Pictor platform. The separate Foundation Bruce M. White S P R I N G     27 New Web Page VRC unveiled its expanded and redesigned Web page in 2004: www.princeton.edu/~visres. The new home page was developed by Jacoby and Julie Angarone, the department’s computing support spe- cialist, to serve as a source of infor- mation on image resources in general, as well as to provide a guide to all of VRC’s services. The site now includes more links to online image resources, tutorials on digital imaging, proce- dures, information on equipment, and copyright guidelines. The Web page’s new design makes all of this information easier to fi nd. Digital Imaging and Teaching Princeton has been using digital image capture for more than 10 years, and the Almagest database now con- The Visual Resource Collection’s tains the images for more than 45 new Web page the entire University community. courses in the department, in addition to research This accomplishment moves VRC one step images. Jacoby and her staff have begun an ini- closer to the goal of having all of the department’s tiative to replace the earliest digital images with image collections in a single database. In the next higher-resolution images. stage of the project, Pictor will be used to catalogue VRC has also initiated instructional sessions the holdings of Research Photographs, beginning designed specifi cally for graduate students. Jacoby with the department’s large collection of 19th-cen- and Janet Temos ’82 *01, director of Princeton’s tury albumen prints. These historic photographs Educational Technology Center (ETC), teach an are being catalogued and scanned for inclusion in ongoing series of classes that cover many technical VRC’s database. aspects of producing, locating, managing, and using digital images. VRC staff also worked with the staff UCAI Project at ETC, making recommendations for the new version of Almagest that is now in use. Recent The Visual Resources Collection has joined the improvements in hardware include a public high- second phase of the UCAI (Union Catalog of Art resolution slide scanner in the Visual Resources Images) project as one of six partners nationwide. Collection and a new top-end digital projector in The goal of UCAI (http://gort.ucsd.edu/ucai), the department’s small lecture hall. which is funded by the Andrew W. Mellon Foun- dation, is to develop a means of sharing catalogu- ing data for art images. Unlike other digital Staff News image-related projects, the focus of this effort is VRC Director Trudy Jacoby taught in the fi rst joint on image metadata, specifi cally on developing Art Libraries Society/Visual Resources Association a robust and effi cient mechanism for collect- Summer Educational Institute for Visual Resources ing, sharing, and building relationships (www.vraweb.org/2005sei), and she is cochair of between metadata records for images. In the the Summer Educational Institute 2005 implemen-

David Connelly David second phase, additional data, including tation committee. Senior art cataloguer Lisa Man- records contributed by Princeton, were incor- ganello is working on her M.L.S. degree at Rutgers. porated. The database’s processing tools were Last fall VRC welcomed art cataloguer Martha also refi ned, and new tools were created to Perry, who fi lled the position previously held by enable the database to support day-to-day image- Paula Yeager. Perry earned a B.A. in English litera- cataloguing operations. ture at SUNY Plattsburgh, with a minor in art Martha Perry history, which she discovered in part during a semester abroad in Florence, but too late for a

28 S P R I N G     major. An internship at Rensselaer Polytechnic Kenfi eld also launched Research Photographs’ Institute’s architecture school kindled her interest fi rst online exhibition, “Polis Chrysochous, Cyprus: in the fi eld of visual resources, and she went on to Twenty Years of Excavations,” focusing on the earn a master’s degree in library science at SUNY department’s dig on the northwest coast of Cyprus, Elisabeth Childs Albany. Perry held an internship at the library of which began in 1984 and continues today. The the Shelburne Museum in Vermont, where she exhibition showcased the work of Elisabeth Childs, catalogued the collection of books that the depart- an accomplished photographer who has spent ment’s Professor John Wilmerding donated to the many summers working in Polis with her husband, museum. She is also a graduate of the inaugural Professor William Childs, the director of the exca- Summer Educational Institute for Visual Resources vations. She not only has done a great deal of held last summer at Duke University. Perry, who object photography for the excavation but also has enjoys traveling, has lived in Japan and Ireland as assembled a portfolio of evocative landscapes, well as Vermont. portraits, and candid photographs of day-to-day work at the dig. Some of the most striking images Research Photographs in the exhibition are portraitlike photos of terra- cotta Cypro-Archaic and Cypro-Classical heads, Curator of Research Photographs Shari Kenfi eld found both in the excavations and in rescue opera- Third-century B.C. terracotta worked with Professor Slobodan Ćurčić to assem- tions conducted when ancient tombs were head of a youth found in a ble the exhibition “The House in Late Antique unearthed by chance at construction sites. rescue excavation near Polis Syria,” which accompanied Ćurčić’s spring 2004 Since the department maintains the records Chrysochous, Cyprus, one of the seminar on the Byzantine house. The exhibition in of the Antioch excavations, conservators restoring photographs by Elisabeth Childs McCormick Hall displayed original photographs mosaics found at Antioch frequently request pho- and drawings by Howard Crosby Butler, docu- in the online exhibition orga- tographs of the mosaics taken in situ in the 1930s. nized by Research Photographs menting Syrian domestic architecture of the 3rd This year Kenfi eld provided photographs and doc- to 6th century A.D. Butler, Princeton professor of umentation from Antioch and other Princeton art and archaeology and architecture, led a series excavations to researchers at the Museum of Fine of expeditions to Syria between 1899 and 1909, Arts in Boston, Dumbarton Oaks in Washington, and the archives of those expeditions are now part D.C., the Universidad de Villanueva in Cuba, the of the department’s collection of research photo- University of California at Santa Barbara, the Uni- graphs. Some of the buildings documented by But- versity of Virginia, the Australian National Uni- ler a century ago have long since disappeared, and versity, the University of Georgia, and elsewhere. his photographs provide rare glimpses of the life- A number of photographs and documents from style in one of the most important eastern prov- the department’s Antioch archive were published inces of the Roman and Byzantine empire. A in The Arts of Antioch: Art Historical and Scientifi c digital version of this exhibition will be available Approaches to Roman Mosaics and a Catalogue of the on the Research Photographs Web site at www. Worcester Art Museum Antioch Collection (Worcester princeton.edu/~visres/rp. Art Museum, 2005, distributed by Princeton University Press).

A modest Late Antique house at Il-Mu’arribeh, Syria, in a 1904 photograph by Howard Crosby Butler that was part of Research Photographs’ recent exhibition on the house in Late Antique Syria

S P R I N G     29 News from Alumni

Undergraduate Alumni of South Carolina. Last August she took the posi- tion of director of fi nance and administration at the Chloé Atreya ’98 has published Invisible Cities: Carolina Art Association/Gibbes Museum of Art in A Metaphorical Complex Adaptive System (Festina Charleston, South Carolina. The Gibbes Museum Lente Press, 2004). Her new book takes the con- houses over 10,000 works of art that present the his- tent and unusual narrative structure of novelist Italo tory and impact of the visual arts in the Lowcountry, Calvino’s book Invisible Cities as the starting point from Charleston’s founding in 1670 to the present. for an exploration of the principles of complex Highlights of the collection include the Southeast’s adaptive systems (CAS). The book gives examples most comprehensive collection of works by artists of of CAS drawn from the physical and the biologi- the Charleston Renaissance (1915–40), Lowcoun- cal sciences, the arts, philosophy, and games. It also try landscapes from the 17th century through today, contains 50 original illustrations by Chloé, with and an extensive portrait collection, with works by contributions from Jeffrey Benjamin. More infor- Benjamin West, Rembrandt Peale, and Gilbert Stu- mation about the book and ordering information art. This year marks the centennial anniversary of can be found on the publisher’s Web site: www. the museum’s opening to the public at 135 Meet- festinalentepress.com. Chloé earned a Ph.D. in ing Street, and the celebration includes a series of pharmacology at Yale University and is now com- special exhibitions. For more information about the pleting her M.D. at Yale. She continues to be active museum, visit the Web site: www.gibbes museum. in the visual arts, participating in several exhibitions org. [[email protected]] each year, including New Haven’s City-Wide Open William A. Camfi eld ’57 retired from the Depart- Studios. [[email protected]] Chloé Atreya ’98, Invisible Cities ment of Art History at Rice University in 2002. At Dana Brintz ’02 earned her postgraduate diploma his retirement, his department announced the estab- in fi ne art at the Chelsea College of Art and Design lishment of the William A. Camfi eld Fellowship, in London, and has just begun working on her which offers a stipend to one undergraduate art his- Masters in Fine Art at Chelsea College. In January tory student each year, along with the opportunity her fi rst solo exhibition opened at the Agency Con- to work as an intern for one year at the Museum of temporary Gallery in central London. The draw- Fine Arts, Houston. Bill originated and nurtured ings in her show are made up of layers of resin that the current internship course that sends a number of are then drawn on with enamel, paint marker, and Rice students to the museum each semester. He con- permanent ink. In addition to positive feedback, tinues to contribute occasional texts to exhibition the show generated an offer for a solo show at 120 catalogues in Europe and the U.S. and is currently galerie in Ghent, Belgium, to open in late 2005 or writing a chapter for a forthcoming book on the col- early 2006. [[email protected]] lectors John and Dominique de Menil. His major Katherine Healy Burrows ’90 created a new endeavor at the moment is a catalogue raisonné of ensemble piece commissioned by the Ice Theatre of the work of Francis Picabia. Picabia’s widow invited New York to celebrate the company’s 20th anniver- Bill to be the art historian in charge of the catalogue, sary. Her piece, titled “Cracked Ice,” was a playful which is being produced by the Comité Picabia in Dana Brintz ’02, R3, dyed resin, interpretation of a ballet class choreographed for 11 Paris. The work should be published within fi ve paint marker, enamel and skaters. It premiered in October at the company’s years, thanks in part to a Mellon Foundation Emer- permanent ink 20th-anniversary gala at the Chelsea Piers complex itus Fellowship for research on the project. Bill and in Manhattan and was performed again in Decem- his wife Ginny travel regularly, and in 2004 they ber. The show also included a solo choreographed spent a month in China (Yunnan Province), Cam- and performed by Katherine. Last year she was also bodia, and Thailand. [[email protected]] a guest performer at the 35th annual “Evening with Ibby Caputo ’03 lives in New Orleans and works as Champions” at Harvard University, an event that a consultant for the Healing Arts Program at Ochs- benefi ted the Jimmy Fund. Her performance was ner Clinic Foundation, a major medical provider broadcast on CN8 television. Katherine continues in southeast Louisiana. Her responsibilities include to perform as a solo guest artist in professional fi g- facilitating art workshops for pediatric patients, ure-skating shows and to choreograph and coach writing grants, researching, and doing other special competitive fi gure skaters in the New York area. projects. [[email protected]] [[email protected]] Josh Conviser ’96 served as executive consultant for Eliza Knox Buxton ’86 worked as an appraiser HBO’s upcoming television series “Rome.” His fi rst of antiques and fi ne art, and as an archivist at the novel, Echelon, will be published by Del Rey Books, Virginia Museum of Fine Art in Richmond before an imprint of Random House, and he is currently at earning an International M.B.A. at the University work on a sequel. 30 S P R I N G     Jamie Crapanzano ’00 lives in Manhattan, where degree in art and art education at Teachers College she works as a fi xed-income portfolio analyst at at Columbia University, and will spend time this BlackRock Financial Management, a provider summer working with fellow educators to create of asset-management and risk-advisory services. a curriculum for the Museum of Modern Art, [[email protected]] based on its Latin American collection. Paige Roberts Curtis ’88 entered the fi eld of ele- [[email protected]] mentary education soon after graduation from Richard Ferrugio ’71 has pursued several careers Princeton. She continues to combine her love of since graduation. He has been an actor, special teaching and art history, and has spent much time events caterer in New York City, senior project volunteering in the Art Goes to School program designer for Home Depot’s Expo Design Center in in Marlton, New Jersey, where she lives with her Denver, and, currently, an innkeeper. He also has husband Patrick ’88 and their two children. This painted over 100 works, primarily in oils on canvas, program takes art of all periods into elementary over 90 of which are now in private collections. classrooms, and in the Delaware Valley alone there Many of his works can be viewed on his Web site are more than 50 chapters with 700 active members www.arctophile.com/richard. Last June, Richard who bring art appreciation classes to nearly 155,000 and his partner Claude Bélanger purchased Saratoga Katherine Healy Burrows ’90 on elementary school children. In addition to work- Rose Inn & Restaurant, an 1885 Queen Anne Vic- the cover of Ice Theater of New ing with the kids, Paige enjoys the volunteer train- torian mansion set on a wooded hilltop at the con- York’s Winter Festival program ing, which includes lectures and presentations at vergence of the Hudson River and Sacandaga River the Philadelphia Museum of Art and other nearby in Hadley, New York. The inn features guestrooms museums. [[email protected]] with fi replaces and indoor hot tubs, or outdoor hot Richard Dupont ’91’s major sculpture Three in tubs on private decks that overlook formal Victorian One (Self Anointed) was recently acquired by the gardens. The inn also has four dining rooms that Museum of Modern Art for its permanent col- can seat 90. For more information about Saratoga lection. He is currently preparing for a solo exhi- Rose Inn, please visit the Web site: www.saratoga bition at Tracy Williams, Ltd., in New York, the rose.com. [[email protected]] gallery that now represents him. The show will Robert Gambee ’64 has been photographing for open in September at the gallery, which is located 40 years, primarily in the United States but also in in a 1880s West Village townhouse renovated by Western Europe and Asia. Approximately 1,300 of Richard Gluckman. Additional information as well his black-and-white images of New York are in the as images of Three in One and other works can be permanent collections of the New-York Historical found on the gallery’s Web site: www.tracywilliams Society, the Museum of the City of New York, the ltd.com. [[email protected]] New York Public Library, and the National Mari- Sabrina Dupre ’98 spent her fi rst two years in New time Historical Society. His photographs are also York working as a visual strategist and designer for in the permanent collections of the Guggenheim Richard Dupont ’91, Self Anointed, the branding fi rm Desgrippes Gobé. Since 2001 she Museum, the Whitney Museum, and the Smithson- sculpture, detail has worked for the model and entrepreneur Christy ian Institution, as well as other museums and Turlington in many capacities, including researcher corporate and private collections around and editor for the book Living Yoga: Creating a Life the country. Bob has served as the offi cial Practice. Sabrina is currently getting her master’s photographer for the Federal Reserve Bank of New York, Cunard Lines, Phillips Exeter Academy, the Scottish Develop- ment Authority, and others. His book Wall Street Christmas (1990) was selected by the New York Times as the “cream of the coffee-table books.” Another book, A Day in the Life of the Fed, is a continual best- seller at the Federal Reserve Bank of New York. His photographs have appeared in the New York Times, the Boston Globe, the Washington Post, Boston Magazine, Forbes Magazine, Richard Ferrugio ’71, Colonial Homes, VAR I A, Nantucket Journal, Cape The Golden Hour Cod Life, and publications of the Commonwealth of Massachusetts. Bob’s most recent book is Nan- tucket Impressions (2001), and he is presently work- ing on his 10th book of photographs, this one on Princeton. More of his photos can be seen on his Web site: www.princetonphotographs.com. Ceiling at Upper Pyne, photograph by Robert [[email protected]] Gambee ’64

S P R I N G     31 Donald Goddard ’56 wrote reviews for newyork berger” to a Roethlisberger miscellany published in artworld.com of work by Amelie von Wulffen, Geneva, “Farewell to the American Art Journal” in Willie Doherty, Keith Cottingham, Barry Sigel and the American Art Journal, and “Gertrude Traubel: Jeff Way, Nicole Eisenman, David Smith, Franc- Keeper of the Flame,” in the Mickle Street Review. esca Gabbiani, Dora Maar, Lee Bontecou, Robert His article “The Rose Valley Press and The Artsman” Ryman, Lee Lozano, Mark di Suvero, Barry Fry- was also reprinted in the Mickle Street Review. As dlender, Alfred Leslie, Stan Douglas, Conrad an avocation, he continues to make photographs of Atkinson, and Todd Siler, all exhibiting in New landscapes in the Brandywine Valley. York City; Barry Le Va, in Philadelphia; and Will Johnson ’68 will publish his 6th book in July. Theodore Robinson, in Phoenix, Arizona. Yoga of the Mahamudra: The Mystical Way of Balance, [[email protected]] like all of his books, deals with the body’s role in Henry Graham ’60 *75 has news in the graduate spiritual practices. His new book focuses in particu- alumni section. lar on the evolution of consciousness as a refl ection Alexandra Greist ’03 was an intern at the Peggy of the body’s ability to come to ever-more refi ned Guggenheim Collection in Venice, Italy, in 2003, and effortless conditions of structural balance. Evo- lution in our species, he points out, has been the Lori Hayes ’95, Convergence, and in the Department of Prints and Drawings at story of learning how to stand up straighter. Will oil on canvas the Art Institute of Chicago in 2004. She is now in her fi rst year of Ph.D. studies at the University of says that it all began when he was an undergraduate Pennsylvania, where she is working with Professor art history major looking at all those paintings and Michael Cole *99. Alexa is specializing in Italian sculptures of bodies. [[email protected]] Renaissance prints; she will travel to Italy and David Maisel ’84’s oversized monograph The Lake Vienna this summer to visit museums and collec- Project, a portfolio of his surreal aerial photographs tions and further focus her studies. [agreist@sas. of Owens Lake, was published by Nazraeli Press upenn.edu] (www.nazraeli.com) last fall and has been the sub- Lori Hayes ’95 graduated this April with a Master ject of feature articles in the New York Times, Aper- of Fine Arts degree from the Burren College of Art, ture, Camera Arts, and Harper’s. The Village Voice which is affi liated with the National University of named it one of the top 25 photography books of Ireland, Galway. The Burren College program is 2004. David’s most recent project, “Terminal the fi rst of its kind in Ireland. Lori has studied in Mirage,” a photographic exploration of the Great the Burren for two years, where ideas of landscape Salt Lake in Utah, was the cover feature of the and body, and macro and micro universes have spring/summer 2004 issue of European Photogra- crept into her work. In her painting, she has partic- phy. Photographs from that series were exhibited ularly focused on the way in which the properties earlier this year in a solo show at the Von Lintel of paint have poetic qualities. [lehayes@alumni. Gallery in New York City. Last fall David’s aerial princeton.edu] landscapes appeared in group shows at the College Will Johnson ’68, of Charleston and the Armory Center for the Arts Yoga of the Mahamudra William I. Homer ’51, the H. Rodney Sharp in Pasadena, and in the 30th-anniversary exhibi- Professor Emeritus at the University of Dela- tion of SF Camerawork in San Francisco. ware, retired in 2000 but remains very active in [[email protected]] the fi eld of art history as both writer and consul- tant. He continues to vet manuscripts and to serve Shelly (Belfer) Malkin ’86 had a solo exhibition on various boards, including those of the Ameri- of her paintings this April and May at the Arcadia can Art Journal, the American Art Review, and the Coff ee Company in Old Greenwich, Connecticut. Henry Luce Foundation’s American Art Program. Shelly, who is also a rock climber, lives with her hus- He has now placed much of his extensive research band and two sons in Connecticut and Colorado. materials in appropriate institutional collections. [[email protected]] His early American Modernism collection is now Anthony Mastromatteo ’92 moved to New York in the Georgia O’Keeffe Museum; the Thomas City after graduation and worked in the 19th-cen- Anschutz and Robert Henri papers are at the Del- tury European paintings and American paintings aware Art Museum; his Seurat archive has gone to departments at Christie’s East. Exposure to those the Archives of American Art; and his books on pic- paintings and to the wide range of painting in the torial photography and his professional correspon- Christie’s East warehouses sparked his desire to dence have been added to the Special Collections make paintings rather than sell them. He subse- Department of the University of Delaware Library. quently met the artist Jacob Collins, who was about Shelly Malkin ’86, Cliff at He is actively using his Thomas Eakins and Albert to open the Water Street Atelier, an intimate art Independence Pass, watercolor Pinkham Ryder materials for his current research, school in Brooklyn, focused on teaching drawing an edition of the complete letters of Eakins, and a and painting in the tradition of the 19th-century catalogue raisonné of Ryder’s paintings. Bill recently French ateliers. Anthony began his studies at the contributed “Reminiscences of Marcel Roethlis- atelier in May of 1997 and continued through

32 S P R I N G     2002. Since then he has worked as a painter, with who does work for papers, weddings, family por- gallery representation in various cities and private traits, and others. She is also a librarian at South- clients interested in commissioned paintings. west Harbor Public Library and works as a freelance [[email protected]] grant writer and academic researcher, with a focus José Mateo ’74, the founder and artistic direc- on education. [[email protected]] tor of José Mateo’s Ballet Theatre in Boston, has Sarah Hermanson Meister ’94 is associate curator recently received several awards honoring his work in the Department of Photography at the Museum with the ballet company and school. He was one of Modern Art. Her second book with the Museum Anthony Mastromatteo ’92, A of 12 nonprofi t leaders in the Boston area selected of Modern Art, Michael Wesely: Open Shutter, was Spanish Still Life, oil on linen to receive the Barr Foundation’s 2005 fellowship. published in 2004 to accompany an exhibition on board The award, which recognizes leadership, includes a project she organized with this young German pho- three-month sabbatical, international travel, a series tographer. The show opened last November, along of retreats, and peer learning. As part of his sabbati- with the rest of the museum, and a slightly modi- cal, José will participate in a two-week learning trip fi ed installation is now on view on the third fl oor to southern Africa. José’s spring repertory concert, outside the photography galleries. Sarah also worked “The Cuban Condition,” was selected by the Bos- on several catalogue entries for the exhibition ton Globe as one of the area’s top ten dance events of “Greater New York 2005,” organized collaboratively the year. The concert was a sold-out, six-week run with curators from P.S.1 and MoMA, which opened of premiere ballets choreographed by José, who was in March. She and her husband Adam are expecting born in Cuba, and set to rarely heard Cuban music. their second child in May; their daughter Madeline This marks the 6th time that one of his concerts was born in June 2003. Sarah’s younger sister Merril has earned a “Top Ten in Dance” citation from the is a junior at Princeton and has decided to major in Boston Globe. José was also recently awarded the art history. [[email protected]] Massachusetts Cultural Council’s Artist Fellowship A work by Jim Melchert ’52 was selected for the in Choreography, honoring his prolifi c contribu- exhibition “A Secret History of Clay: From Gauguin tions to choreography. Now in its 19th season, José to Gormley” at Tate Liverpool last summer. The Mateo’s Ballet Theatre (www.BalletTheatre.org) is work, titled Changes, is a video document of an the second-largest ballet company in New England, event that he conducted in Amsterdam in 1972. and the only one that presents a full repertory by its The Baltimore Museum of Art’s recent exhibition W. Barksdale Maynard ’88, own resident choreographer. “Slide Show” included Jim’s work “Location Project Walden Pond: A History W. Barksdale Maynard ’88 teaches art and archi- #4.” The show will move to the Contemporary Arts tectural history at Johns Hopkins University and Center in Cincinnati this summer, and will be at the University of Delaware. He recently com- the Brooklyn Museum of Art from October 2005 pleted Buildings of Delaware, which is forthcom- through February 2006. Jim was also a panelist at a ing in Oxford University Press’s series “Buildings three-day symposium on Japanese ceramics at of the United States.” His book Walden Pond: A Harvard last November, where he spoke on John History (Oxford University Press, 2004) has just Cage and Peter Voulkos. Later this year he will have appeared in paperback, and he was interviewed a solo show at the Gallery Paule Anglim in San about it on National Public Radio’s “Talk of the Francisco. Throughout his career Jim has worked in Nation” and on the BBC. In a recent review, Ohio a variety of media, including drawing, fi lm, and History called Barksdale’s Architecture in the United ceramics. Now professor emeritus at the University Sarah Hermanson Meister ’94, Michael Wesely: Open Shutter States, 1800–1850 (Yale University Press, 2002) of California at Berkeley, where he chaired the art “one of the most signifi cant books written on his- department for many years, he also served as direc- toric American architecture in the last half century.” tor of the American Academy in Rome, and as head In November 2004 he married Susan Matsen, of the visual arts division of the National Endow- curator of Nemours Mansion, an historic du Pont ment for the Arts. [[email protected]] home, and moved to Wilmington, Delaware. Christine Mugnolo ’01 completed her M.F.A. in [[email protected]] painting and printmaking at the University of Con- Lucy Martin McBride ’95 currently practices necticut in May 2004. Her thesis show, which took medicine at Johns Hopkins but this fall will join place at the William Benton Museum of Art, was a private practice called Foxhall Internists. She later exhibited at the Sideshow Gallery in Brooklyn. is married to Thad McBride ’95, who is now an She is now pursuing an M.F.A. in painting at Indi- attorney at Fulbright and Jaworski LLP. Lucy ana University. [[email protected]] and Thad live in Washington, D.C., with their Daniel O’Leary ’65 is pleased to report that after two sons, Henry, age three, and George, age one. A still from Jim Melchert ’52’s years of careful effort, the Portland Museum of Art video Changes [[email protected]] in Maine, where he is the director, has entered into Catholyn Pickup McMullin ’96 lives in Seal Cove, an agreement with the heirs of the artist Winslow in mid-coast Maine. She is a freelance photographer Homer to acquire and preserve the Winslow Homer

S P R I N G     33 studio at Prouts Neck, Maine. The museum is topic of her junior paper, The Gates, Christo and indebted to the owner of the studio, Homer’s great- Jeanne-Claude’s project for Central Park, New York, grand nephew, Charles Homer Willauer ’59, and was fi nally mounted 20 years after she wrote an his brother, Bradford Willauer ’66, for their gener- argument supporting its creation. The massive tem- osity, help, and dedication in planning for the porary work of art (see www.christojeanneclaude. future of this unique and remarkable resource. The net), comprising 7,500 saffron-colored fabric pan- Homer studio, where the artist spent the fi nal 26 els mounted over the pathways of Central Park and years of his life and painted the major portion of his enlivening the winter landscape with their vivid greatest works, has long been considered one of orange color, was the ultimate reminder of her America’s most signifi cant art historical sites. The Princeton art history education. [lpodos@ studio is beautifully placed near the cliffs, rocks, yahoo.com] and waves that provided Homer with the vistas for Clare Rogan ’90 was recently appointed curator of his most admired works. A two-year fundraising the Davison Art Center at Wesleyan University in campaign to acquire and care for the studio is now Middletown, Connecticut. [[email protected]] underway. The department’s Professor John Wil- Christine Mugnolo ’01, merding is serving on the national advisory com- Sean Sawyer ’88 coedited the book Polshek Partner- Charlie and Catherine, drypoint mittee for this project. [[email protected]] ship Architects, which was published by Princeton Architectural Press in 2004. He has begun work Christopher Pastore ’88 completed his on a monograph on Irwin Chanin, also for the dissertation and was awarded a Ph.D. in Princeton Architectural Press. Sean is the execu- the history of art from the University of tive director of the Wyckoff House & Association, Pennsylvania in May 2003. The title of a nonprofi t organization that operates the Wyck- his dissertation is “Expanding Antiquity: off Farmhouse Museum in East Flatbush, Brook- Andrea Navagero and Villa Culture in the lyn. The museum is in the midst of a major capital Cinquecento Veneto.” He lectured in art and redevelopment plan that will transform its site into architectural history at Penn and Drexel in a regional center for the study of the 17th- through Philadelphia, and received a Getty Non-Res- 19th-century Dutch-American agrarian society. The idential Post-doctoral Research Grant for project includes relocating the 200-year-old Wyckoff 2004–05 to refi ne and expand elements of Daniel O’Leary ’65 is leading a cam- Durling barn from Somerset County, New Jersey, his dissertation and further explore the relationship to the site of the Wyckoff Farmhouse, where it will paign to preserve Winslow Homer’s between the villas of the Renaissance Veneto and studio at Prouts Neck, Maine serve as a visitor and education center and African- villa culture in early-modern Florence and Rome. American history interpretation project funded by Robert McCracken Peck ’74 recently cocurated the National Endowment for the Humanities. an exhibition on the life and art of the English sci- [[email protected]] entist, artist, and publisher John Gould (1804–81) Mark Sheinkman ’85 had a solo exhibition of for the Academy of Natural Sciences of Philadel- recent large paintings at the Kemper Museum of phia, where Peck serves as curator of art and arti- Contemporary Art in Kansas City, where he has facts, librarian, and senior fellow. The exhibition been a visiting artist, from January through April was shown at the Australian Embassy in Washing- 2005. This year he will also have solo shows in Ber- ton, D.C., and at the South Australia Museum in lin, Boston, and Japan. Mark is currently working Polshek Partnership Architects, Adelaide in 2004, and at the Tasmanian Museum on prints with Pace Editions in New York. To be coedited by Sean Sawyer ’88 and Art Gallery in Hobart from December 2004 to notifi ed of upcoming exhibitions, e-mail April 2005. In December Bob made a fi ve-city lec- [email protected]. ture trip through Australia on behalf of the U.S. State Department. His article on the art collections Joanna S. Smith ’87 continues to explore the of the Explorers Club appeared in the December research interests that she developed as an under- 2004 issue of Antiques. [[email protected]] graduate, which center on artistic interconnec- tions between the Near East and the Mediterranean Lisa Beth Podos ’86 is vice president for visitor worlds in the Bronze and Iron Ages. She earned a experience at COPIA: The American Center for Ph.D. in classical and Near Eastern archaeology at Wine, Food & the Arts, a new museum and cul- Bryn Mawr College in 1994 and has since worked tural center located in Napa, California. In that for the Anastasios G. Leventis Foundation in Nic- capacity, she oversees all activities that impact the osia, Cyprus, and taught at Boston University and visitor’s experience, including exhibitions, adult Bryn Mawr College. She is now assistant profes- and youth programs, interpretive tours, and infor- sor at Columbia University, where she recently orga- mational services. She recently moved to the Bay nized the exhibition “Settlement and Sanctuary: Area, where she lives with Michael Wais ’85, fol- Views from the Columbia University Excavations at lowing almost 10 years as the founding director of Phlamoudhi, Cyprus” (www.learn.columbia.edu/ public programs at the Bard Graduate Center for phlamoudhi). Currently Joanna is completing two Studies in the Decorative Arts, Design, and Cul- volumes about the excavations at the settlement of Mark Sheinkman ’85, 9.5.2004 ture in New York City. Lisa was thrilled that the

34 S P R I N G     Phlamoudhi-Melissa for the American Schools of Johnson & Johnson Corporation also has added Oriental Research. She also has edited and authored some of Richard’s photographs to their permanent a book, Script and Seal Use on Cyprus in the Bronze collections, and he had a very successful showing at and Iron Ages (Archaeological Institute of America, Houston’s FotoFest 2004. Silicon Gallery in Phila- 2002), and has published articles about the archae- delphia continues to show his work, and Burton ology of writing, cylinder seals, textiles, ceramics, Gallery on Long Beach Island began representing and cult places. She continues to be a member of his photography in 2004. For the 5th consecutive the Princeton Cyprus Expedition, directed by Wil- year, Richard is producing a series titled “Photo of liam Childs. Smith has been awarded a fellowship the Week,” and he continues developing new photo from the National Endowment for the Humanities, series. After teaching for one year online, he is which will support her work on a book about the applying for a teaching post in Philadelphia. exchange of artistic ideas and the nature of histo- [[email protected]] ries of art in the second-millennium B.C. Mediterra- nean. [[email protected]] Graduate Alumni E. Landry Smith ’99 is completing his third and fi nal year in the graduate program of Princeton’s Gerald M. Ackerman *64 recently edited and School of Architecture. Last year he was selected to wrote most of the text for the book Charles Bargue Script and Seal Use on Cyprus in the participate in the Department of Education’s Fund Drawing Course (Paris, ACR Edition, 2003, distrib- Bronze and Iron Ages, edited by for the Improvement of Postsecondary Education uted in the U.S. by the Dahesh Museum in New Joanna S. Smith ’87 program for Princeton, and he traveled to London York City). The core of the book is the Drawing and Houston for two 10-day design charrettes with Course published by Goupil et Cie in Paris between fi ve other schools from the U.S. and the E.U. He 1867 and 1871, which consisted of 180 full-sheet also was nominated as Princeton’s American Insti- lithographs as models to be copied in the schools tute of Architects/American Architectural Foun- and academies of France. The director of the project dation scholar. Last summer, in preparation for was the painter Jean-Léon Gérôme, and the litho- his thesis project, he was awarded the Butler Trav- graphs were drawn by his assistant, Charles Bargue. eling Fellowship, and spent two months research- The program was designed to guide not only stu- ing underground systems in London, Paris, Berlin, dents but also teachers in art and design schools, Copenhagen, and Stockholm. His thesis project and to improve their taste as well as their skills. will be a proposal for the Les Halles area in Paris. Gerald spent fi ve semesters in the Florence Acad- emy of Art in Italy, where the Bargue drawings were [[email protected]] still in use, in preparation for editing the work. Sara E. (Bush) Turner ’94 is an intelligence analyst He is now working on a book titled “In Praise of for the FBI’s San Diego offi ce. She previously Academic Painters” that will examine the differ- worked at the Timken Museum of Art and the San ence between their aesthetics and modern ideas. Diego Museum of Art. [[email protected]] [[email protected]] E. Landry Smith ’99’s studio Indre Vengris ’04 spent the summer and fall after Linda S. Aleci *91, who teaches in the Depart- project for a BMW event and delivery center in Munich graduation dancing with a professional ballet and ment of Art and Art History at Franklin and Mar- modern dance company in Washington, D.C. She shall College, is curating an exhibition titled moved to New York in December and since then “MarketPlace: Lancaster Central Market and the has been working for Thea Westreich Art Advisory Making of Community.” This exhibition, which Services. [[email protected]] coincides with the 275th anniversary of Lancaster’s Jessica (Robertson) Wright ’99 moved from Central Market, is funded by a grant from the Berkeley, California, to the Washington, D.C., Pennsylvania Humanities Council, and will open at area in March of last year. She currently works as a the Lancaster County Historical Society on Octo- gallery coordinator for the Jerusalem Fund Gallery, ber 1, 2005. The show will explore Lancaster’s which promotes the work of Arab artists, with identity as the last remaining market town in the particular emphasis on contemporary Palestinian U.S., and the Central Market’s enduring multiple artists. The gallery’s Web site is www.thejerusalem functions as a public space. Last year Linda pub- fund.org/gallery/index.php. Jessica also teaches lished the article “On Market,” on the spatial con- Arabic in the evenings to an ever-expanding popu- structions of place and identity, in Slow, the journal lation of people wanting to learn the language. of the international association Slow Food. She [[email protected]] cofounded the Local Economy Center, a multidis- ciplinary public-policy research center at Franklin Richard Wright ’87’s photograph New Landscape Seurat Sidewalk, photograph by and Marshall College, and coorganized the sympo- #4 was recently acquired by the Philadelphia Richard Wright ’87 sium “The Lancaster Economy Forum: Toward a Museum of Art for its permanent collection, and Research Agenda” in October 2004. At the forum the Yossi Milo Gallery in New York City is now she presented a paper outlining trends in the representing his “New Landscape” series. The regional food system, the results of her research

S P R I N G     35 supported by the Christian A. Johnson Founda- 20th-century American history and popular cul- tion. [[email protected]] ture. In 2005 Gregory plans to return to research- Anthony Barbieri-Low *01, assistant professor in ing and publishing on late medieval illuminated the Department of History at the University of manuscripts. [[email protected]] Pittsburgh, has completed a book manuscript, James Clifton *87 has been the director of the “Artisans in Early Imperial China.” His work, Sarah Campbell Blaffer Foundation and curator of which was supported by a fellowship from the Renaissance and Baroque painting at the Museum National Endowment for the Humanities, is a con- of Fine Arts, Houston, since 1994. He has pub- textualized social history of craftsmen in China lished essays on Italian, German, and Netherlandish from 221 B.C. to A.D. 220 which discusses the social art in the Zeitschrift für Kunstgeschichte, the Art Bul- status, craft techniques, marketing methods, and letin, Art History, Storia dell’arte, The Sixteenth Cen- living and working conditions of both male and tury Journal, the Nederlands Kunsthistorisch Jaarboek, female craftsmen. Anthony also contributed to the and elsewhere. In 1997 he organized the exhibition Charles Bargue Drawing Course, Princeton University Art Museum’s exhibition “The Body of Christ in the Art of Europe and New edited by Gerald M. Ackerman *64 “Recarving China’s Past,” including the creation of Spain, 1150–1800” at the Museum of Fine Arts, a virtual reality tour of the Wuzhai Shan Houston, and was the chief writer for the two-hour archaeological site and a short movie documentary fi lm “The Face: Jesus in Art” (2001). that played in the gallery. Last Septem- He recently returned to the topic of his Princeton ber he and his wife Jeannie celebrated dissertation, contributing an essay on Neapolitan the birth of their third child, daughter painting to the exhibition catalogue Hope and Heal- Julia Renee. [[email protected]] ing: Painting in Italy in a Time of Plague, 1500– Virginia Bower *77 (M.A.) coauthored 1800 (Worcester Art Museum, 2005). Most essays on the games of pitchpot, polo, recently, he organized the exhibition and accompa- and kickball for Asian Games: The Art of nying catalogue A Portrait of the Artist, 1525–1825: Contest, edited by Colin Mackenzie and Prints from the Collection of the Sarah Campbell Irving Finkel (Asia Society, 2004). This Blaffer Foundation (Museum of Fine Arts, Houston, catalogue accompanied a major exhibi- and the Herbert F. Johnson Museum of Art, Cornell tion at the Asia Society on the art and University, 2005). [[email protected]] legacy of games and sports in Asia, Laura Coyle *92 (M.A.) is the curator of European exploring Asia as a source of chess, art at the Corcoran Gallery of Art in Washington, Parcheesi, Ludo, Snakes and Ladders, D.C., where she recently organized the exhibition playing cards, polo, and other games. “Dutch Royal Silver: Celebrating the Silver Jubi- Using paintings, prints, and decorative lee of Her Majesty Queen Beatrix.” The show of arts that depict people playing games, as splendid 19th-century silver, which is on display Asian Games: The Art of Contest, with contributions by Virginia well as the paraphernalia of games themselves, this in the Salon Doré, the Corcoran’s 18th-century Bower *77 (M.A.) was the fi rst major exhibition to examine their role French period room, opened in April, and contin- both as social activity and as indices of cultural val- ues through July 4, 2005. Laura is also preparing the ues. Virginia also contributed catalogue entries to exhibition “Maiden, Militant, and Martyr: Joan of Recarving China’s Past: Art, Architecture, and Archae- Arc in French and American Culture, 1429–1929,” ology of the “Wu Family Shrines” by Cary Liu ’78 collaborating with Professor Nora Heimann of the *97, Michael Nylan *82, Anthony Barbieri-Low Catholic University in Washington. The centerpiece *01, and Michael Loewe (Princeton University Art of this show is a group of six large paintings in the Museum, 2005). This exhibition at the Princeton Corcoran by the French artist Louis-Maurice Boutet University Art Museum presented a new investiga- de Monvel. The exhibition will open at the Corco- tion of the architectural, iconographic, and stylistic ran in January 2006. Laura reports that she is fi nish- interrelationships of the structures and reliefs on the ing the last few footnotes of her dissertation, “The “Wu family shrines” cemetery complex. Still Life Paintings of Vincent Van Gogh and Their [[email protected]] Context,” supervised by Professor John Wilmerding. Gregory Clark *88, who teaches at the University [[email protected]] of the South, spent the better part of 2004 creating Blake de Maria *03 has joined the faculty at Santa a new course on American animation. His course Clara University as an assistant professor, specializ- presented a chronological examination of the most ing in the art and culture of the early-modern A Portrait of the Artist, 1525–1825, signifi cant short and full-length animated features Mediterranean world. In addition to teaching, she edited by James Clifton *87 made in the United States, beginning with the has participated in a number of scholarly confer- experiments of Winsor McCay (Little Nemo, ences and symposia, including presenting papers at 1911), and ending with the rise of made-for-televi- the College Art Association and the Renaissance sion cartoons in the early 1960s. One aim of the Society of America. Her publications in press course was to place the work of the studios, direc- include “The Patron for Pordenone’s Frescoes tors, and animators within the larger contexts of on Palazzo Talenti, Venice,” in the Burlington

36 S P R I N G     Magazine and “Visual Biography in Renaissance Henry Graham ’60 *75 has retired from his middle Venice,” which is forthcoming in Art History. She school post in Lakeport, California, where he taught plans to spend her 2005–06 sabbatical in Venice, sixth grade and the gifted and talented program for completing her book manuscript, “Becoming the last 15 years, concluding a career that spanned Venetian: Immigrants and the Arts in Early 33 years of teaching at colleges, universities, public Modern Venice.” [[email protected]] schools, and afl oat in the Mediterranean. In recent Pierre du Prey *73 was recently elected a fellow of years he particularly delighted in producing a daily, the Royal Society of Canada and appointed Queen’s live on-campus television broadcast with gifted mid- Research Chair at Queen’s University in Kingston, dle-schoolers. In his fi nal year he was named Dis- Ontario, where he teaches in the Department of trict Teacher of the Year. Henry and his artist wife Art. He guest-curated the exhibition “Ah, Wilder- Claudia are looking forward to building their dream ness! Resort Architecture in the Thousand Islands,” house on the Missouri farm near Mizzou that is one which was shown at the Agnes Etherington Art of the earliest land grants in the state and has been Centre at Queen’s University from May through in his family since 1813. [[email protected]] Ah, Wilderness! Resort Architecture in the Thousand Islands, edited by September 2004. Pierre also edited and contrib- John Hand *78, curator of Northern Renaissance Pierre du Prey *73 uted to the accompanying catalogue, which was paintings at the National Gallery of Art in Wash- published by the Etherington Art Centre. For more ington, D.C., published two major books last information about the exhibition, which will be year. National Gallery of Art: Master Paintings shown this summer at the Antique Boat Museum from the Collection (National Gallery of Art in Clayton, New York, see the Web site www. in association with Harry N. Abrams, 2004) queensu.ca/ageth/ahwilderness. presents nearly 400 masterworks in the col- J. David Farmer ’81 has been named Chevalier de lection, from Leonardo da Vinci’s Ginevra de’ l’Ordre d’Arts et de Lettres by the French govern- Benci to Jackson Pollock’s magisterial Number ment in recognition of his work as director of the 1, 1950 (Lavender Mist). The book, which Dahesh Museum of Art in New York. David, who includes John’s commentaries, also features retired three years ago, was the founding director acquisitions of the past 20 years by artists of the Dahesh, an institution devoted to European such as Cézanne, Degas, Matisse, Newman, academic art of the 19th and early 20th centu- Rothko, and Van Gogh. His second book, ries. The award recognized his accomplishments Joos van Cleve: The Complete Paintings (Yale in leading the museum and its extensive program University Press, 2005) is the fi rst major in French art of the 19th and early 20th centuries. study of Joos van Cleve in nearly 80 years, [lftfi [email protected]] and it addresses a wide range of topics con- cerning the artist’s style, chronology, iconog- Marcy B. Freedman *81 (M.A.) taught as an raphy, infl uences, and many commissions. adjunct at Fordham University and Westchester The book also includes a complete catalogue Community College this year, and was very active of his paintings, including workshop versions as a curator, lecturer, artist, and fi lmmaker. Her and copies of his paintings. This book grew video exhibition “Stay Tuned: Hypnotic Videos by “Peekskill: The Movie” by Marcy out of John’s Princeton dissertation, advised by B. Freedman *81 (M.A.), debuted Contemporary Artists” was reviewed by William Professor Robert A. Koch. [[email protected]] Zimmer of the New York Times, and an exhibi- in 2004 tion of her own digital work on paper and video, Andrew Hershberger *01 is in his fourth year as “Childhood Obsessions,” was shown in Armonk, assistant professor of contemporary art history in New York, and the Tyler School of Art in Phila- Bowling Green State University, Ohio. Last sum- delphia. Marcy’s short fi lm “Peekskill: The Movie” mer he was an Ansel Adams Research Fellow at the was screened at the Paramount Theater in Peekskill, University of Arizona’s Center for Creative Photog- New York, where it attracted an enthusiastic audi- raphy, where he worked on a project titled “The ence of 400. At the end of 2004, she presented a Dark Side of Photography: A Short History of the live art performance called “Listen” in a sculpture Negative Print.” At this year’s “Computers and the garden in Peekskill. Last year the Croton Film Fes- History of Art” conference in London, Andrew tival awarded Marcy a silver medal for her short presented a paper titled “The Medium Was the video “Eyesight.” She recently completed a video Method: Photography and Iconography at the installation for Maryland Hall in Annapolis, Mary- Index of Christian Art,” and he spoke on “The land, and spoke about her work there in March. In Flow of the Sequence in Minor White’s Cinema of April she presented some of her recent video work Stills” at the College Art Association conference in in a program sponsored by the Hudson Valley Cen- Atlanta. He also gave an invited lecture on “Teach- John Hand *78, Joos van Cleve ter for Contemporary Art in Peekskill. She also gave ing the History of Photography with ARTstor, a three-part lecture series, “Rebels with a Cause: AMICO, and OhioLINK” at the conference of the From Caravaggio to Duchamp,” at the Katonah Midwest Society for Photographic Education. Museum of Art from April through June 2005. Andrew’s article “Art’s Digital Database(s): On [[email protected]] Flexibility and Other Potential Benefi ts” was

S P R I N G     37 published last September in a special issue of the Princeton associates have lectured in conjunction CAA News devoted to the digital debate. His forth- with the show, including Professor Martin Collcutt coming publications include a chapter on Minor and former Professor Christine Guth, Nicole Fabri- White’s photographic sequences, for a volume to cand-Person *01, Greg Levine *97, Kio Lippit *03, be published by Springer Press, and an article on Brian Ruppert *96, and Alex Vesey *03. Anne Rose’s photographer Jay Dusard and his collaboration current writing project is a monograph about an with the Border Art Workshop/Taller de Arte important early-16th-century Tale of Genji album in Fronterizo that will appear in the Art Journal. The the Harvard University Art Museums. [Anne_Rose_ journal History of Photography recently invited [email protected]] Andrew to contribute an essay to their upcoming Evonne Levy *93 has published Propaganda and the 30th-anniversary issue. [[email protected]] Jesuit Baroque (University of California Press, 2004). Cathleen Hoeniger *89 is associate professor of art This revisionist book begins with Nazi architecture history at Queen’s University in Kingston, Ontario. as a gateway to the issues raised by the term “propa- Her most recent research concerns the physical his- ganda,” and then considers three central aspects of tory of Raphael’s paintings, and her chapter titled Jesuit art as components of propaganda: authorship, “Restoring Raphael” appeared in The Cambridge message, and diffusion. The fi rst extensive analy- Evonne Levy *93, Propaganda Companion to Raphael (Cambridge University Press, sis of the aims, mechanisms, and effects of Jesuit and the Jesuit Baroque 2005), edited by Marcia B. Hall and dedicated to art and architecture, her book also evaluates how John Shearman. She also contributed the term “propaganda” functions in art history in the chapter “The Illuminated a broader sense. With Maarten Delbeke and Ste- Tacuinum sanitatis Manuscripts ven F. Ostrow *87, Evonne also recently completed from Northern Italy, c. 1380–1400: Bernini’s Biographies: Critical Essays, which will be Sources, Patrons, and the Creation of published by Penn State University Press. Her next a New Pictorial Genre” to Visualizing project, for which she is reinventing herself as a Medieval Medicine and Natural 19th-century historiographer, is a book to be titled History, 1200–1550 (Ashgate, forth- The Jesuit Style: Art History and Politics from Burck- coming). Last year her fi rst Ph.D. hardt to Hitler. Evonne is associate professor of art student, Sally Hickson, successfully history at the University of Toronto. defended her thesis on women in the [[email protected]] circle of Isabella d’Este, and secured a Robert S. Mattison *85, the Marshall R. Metzgar tenure-track position at Brock Uni- Professor of Art History at Lafayette College, is versity in St. Catherine’s, Ontario. working on his 5th book, Defi ning Moments: Six [[email protected]] Contemporary Artists at Mid-Career. He recently Lisa Hostetler *04 has accepted the completed a chapter for a book on Richard position of assistant curator of prints, Pousette-Dart, edited by Princeton’s Professor Kevin Moore *02, drawings, and photographs at the Emeritus Sam Hunter (Skira, forthcoming), and is Jacques Henri Lartigue Milwaukee Art Museum. For the last three and a in the process of organizing a traveling exhibition of half years she was a research associate in the Depart- works by Franz Kline. Bob is the founding director ment of Photographs at the Metropolitan Museum of the Lehigh Valley Center for Modern Art, which of Art, where she worked under Malcolm Dan- will open in 2006 in a renovated 30,000-square- iel *91, who is curator of photography at the Met. foot building. The collection specializes in Lichten- [[email protected]] stein, Rauschenberg, Nancy Graves, and James Kiki Karoglou *05 has received a two-year Andrew Turrell. The center will also focus on modern artists W. Mellon Foundation Postdoctoral Fellowship in who have used new technologies. Greek art and architecture in the Department of [[email protected]] Fine Art at the University of Toronto. Mark Mitchell *02, following two years work- [[email protected]] ing on an exhibition of American watercolors and Anne Rose Kitagawa *95 (M.A.) was hired in drawings at the Hood Museum of Art at Dart- 1995 as assistant curator of Japanese Art in the mouth, was recently appointed assistant curator of Department of Asian Art at the Arthur M. Sackler 19th-century art at the National Academy Museum Museum at Harvard University, and in 1996 she in New York. Last summer he organized his fi rst married comic book artist Ian Coleman. In addi- exhibition there, titled “Into the Storm: Expressions tion to her curatorial duties, she organized the in the American Landscape, 1800–1940.” He is December 2004–April 2005 exhibition “Marks of currently writing a collection handbook for the St. Nassos Papalexandrou *98, The Enlightenment, Traces of Devotion: Japanese Cal- Johnsbury Athenaeum in St. Johnsbury, Vermont, Visual Poetics of Power ligraphy and Painting from the Sylvan Barnet and and planning an exhibition on the art and collec- William Burto Collection,” for which she and tion of luminist painter James A. Suydam (1819– Yukio Lippit *03 wrote a lengthy brochure. Many 65) that will open at the National Academy in the fall of 2006. [[email protected]]

38 S P R I N G     Elizabeth Moodey *02 is enjoying a semester at Sheryl E. Reiss *92 in 2004 and 2005 presented New Staff Member Yale, teaching the medieval survey course and an papers at the annual meetings of the Renaissance interdisciplinary seminar on the medieval book. Society of America (RSA) in New York and the Col- In January the department [[email protected]] lege Art Association in Atlanta, as well as a paper at welcomed receptionist Trish Kevin Moore *02 is the photography specialist for a conference on Renaissance cardinals held in Lon- Doskoczynski. Trish came to the department from the Building Thea Westreich Art Advisory Services. His book don. For RSA in 2004 she coorganized two sessions Services offi ce, and she replaces Jacques Henri Lartigue: The Invention of an Artist with Tracy Cooper *90, and for the 2005 meet- Karen Nanni, who moved to the was published by Princeton University Press in Sep- ing in Cambridge she coorganized four sessions on Alumni Council. Trish enjoys the tember 2004. Kevin has recently contributed to a Renaissance fountains and waterworks with Rob- challenges of working in an aca- catalogue of American paintings in the Fogg Art ert Gaston of La Trobe University. Sheryl also orga- nized fi ve sessions dedicated to the memory of John demic department, particularly Museum at Harvard University that will be pub- interacting with a wide range lished later this year, and to the Oxford Compan- Shearman for the meeting of the Sixteenth Century Studies Conference in Toronto in October 2004, of faculty, undergrads, graduate ion to the Photograph (Oxford University Press, students, and staff . Outside the where she gave a paper titled “Remembering John forthcoming in 2005). He is the coauthor of a offi ce, she is a dedicated fan at her Shearman.” She has an article on Raphael and his book on little-known photographer William Van 13-year-old son’s baseball games patrons in the recently published Cambridge Com- der Weyde, forthcoming from Aperture Foun- and wrestling tournaments. Her edited by Marcia B. Hall, and the dation in 2005, and is currently writing an essay panion to Raphael, 10-month-a-year position will al- for a French anthology of theoretical writings on book she coedited (with Kenneth Gouwens of the low her to enjoy another favorite photography, which will be published in 2006. University of Connecticut), titled The Pontifi cate of pastime—spending time at the [[email protected]] Clement VII: History, Politics, Culture, was published Jersey shore. by Ashgate in the spring of 2005. Her own contri- Nassos Papalexandrou *98 has just published The bution to this collection of essays is titled “Adrian Visual Poetics of Power: Warriors, Youths, and Tripods VI, Clement VII, and Art.” [[email protected]] in Early Greece (Lexington Books, an imprint of Rowman and Littlefi eld, 2004). A revised version of Peter Rohowsky *75 (M.A.) is still ensconsed his Princeton dissertation, the book is a study of the in Far Hills, New Jersey, where he works with multiple dimensions of the Greek tripod cauldron, his wife buying, selling, and advising clients the most revered religious symbol in ancient Greek on American and European pictures, mostly culture. At its core is an analysis of the iconography 19th-century and Impressionist. (If you have of the early bronze tripods, which as early as the a stray Sargent or Cassatt in the attic that

you no longer need, please let him know.) He John Blazejewksi 8th century B.C. took the form of spear-brandishing warriors. The study examines the tripod as a sym- also has successfully placed several paintings bol of authoritative discourse and political power in by his father, the painter and sculptor Mey- early Greek culture, the role of images in the pre- ers Rohowsky, in public and private collections, literate contexts of early Greek sanctuaries, and the including the Museum of the City of New York, social function of early Greek works of art. Nassos which acquired On the Alert, Bryant Park. Peter also Trish Doskoczynski teaches in the Department of Art and Art History organized an exhibition of his father’s Monhegan at the University of Texas at Austin. watercolors from the 1930s and 1940s in Northeast [[email protected]] Harbor, Maine. Peter hopes to have a second exhibit of his father’s works this summer. In addition, he Véronique Plesch *94 was on sabbatical leave this has been doing consulting work on digital-image year from her position as associate professor in the archive development. [[email protected]] Department of Art at Colby College. She is work- ing on a book on graffi ti on frescoes, and this spring Nancy Serwint *87 was an Onassis Foundation she lectured on this topic at the École des Hautes- Senior Scholar in 2004. She is associate director of Études en Sciences Sociales in Paris. With Claus the School of Art and associate professor of art at Clüver and Leo Hoek, she has been coediting Ori- Arizona State University, where she has taught since entations: Space/Time/Image/Word, Word & Image 1987. From 1995 to 1999, she was director of the Interactions 5 (Rodopi, forthcoming), a collection of Cyprus American Archaeological Research Institute essays from the Sixth International Conference on (CAARI) in Nicosia. CAARI, one of the three over- Word and Image Studies, held in Hamburg, Ger- seas centers of the American Schools of Oriental many, in 2002. She is also preparing an exhibition Research (ASOR), is the preeminent international of the livres d’artiste of Lucie Lambert, and has research center for scholars who work in the fi elds completed an article on Lambert for Québec Studies. of Cypriot archaeology, history, and culture. While Last fall she was invited to lecture at the Société director of CAARI, Nancy coorganized the fi ve-day The Pontifi cate of Clement VII, Savoisienne d’Histoire et d’Archéologie in Cham- international conference “Engendering Aphrodite: coedited by Sheryl E. Reiss *92 béry, France, and at the Centro di Studi Piemontesi Women and Society in Ancient Cyprus,” which in Turin, Italy. At this year’s College Art Association brought scholars from 11 countries to Cyprus to conference, she organized the session “Beyond the present their recent research on issues of gender Written Source,” which she cochaired with Laura from antiquity to the present. She also served as Saltz. [[email protected]] coeditor of the proceedings, which were published

S P R I N G     39 by the ASOR in 2002. Nancy remains very active distributed by Marlborough Gallery New York. She in ASOR, an international consortium of academic also assisted with the publication of facsimile edi- institutions that focus on Near Eastern studies. She tions of two important photography books of the currently serves on the Program Committee, the 1920s: Karl Blossfeldt’s Urformen der Kunst and Committee on Archaeological Policy, Germaine Krull’s Métal, both originally published and the Committee on Publications. in 1928, and republished by Ann and Jürgen Wilde She has participated in Princeton’s exca- (Cologne, Stiftung Fotografi e und Kunstwissen- vations at Polis Chrysochous since their schaft). Ulrike continues work on her dissertation, inception in 1983 and currently serves “Karl Blossfeldt: Neue Sachlichkeit and Classicism as the assistant director of the project. in Weimar Germany,” under the direction of Pro- When not excavating at Polis, she works fessor Peter Bunnell. [[email protected]] on the publication of the more than Robert Weir *98 and Mary Grace Weir *96 25,000 pieces of votive terracotta sculp- (M.A.) are surprised to report that they are still in ture found at the site. She also contin- Windsor, Ontario, where Robert is in the third year ues as a member of the editorial board of a tenure-track appointment in the Department of the Bulletin of the American Schools of of Languages, Literatures, and Cultures at the Uni- Nancy Serwint *87 with a White Oriental Research and is the editor of the versity of Windsor. Robert and two colleagues were Painted amphora from a tomb Annual of the American Schools of Oriental Research. hired in 2002 to revise and reinvigorate the classics at Polis Chrysochous, Cyprus [[email protected]] program, and since then the number of majors has Andrew Shanken *99 has been appointed assistant risen from about 30 to 80. In June and July of professor in the Department of Architecture at the 2004, Mary Grace joined the Princeton team work- University of California at Berkeley. ing at Polis Chrysochous in Cyprus while pregnant [[email protected]] with her second daughter. Meanwhile, Robert was Eva Siroka *95’s historical novel Maddalena was part of the Canadian team at the city of Stymphalos published by Semele Books (www.semelebooks. in Greece, where he has worked every summer since com) in May. The book—in which art, music, 1999, as both trench master and numismatist. Their science, religion, and the supernatural come to the four-year-old daughter Elissa accompanied her fore in post-Tridentine Rome—is illustrated with father to Greece, her second trip there. Robert gave 23 of her own watercolors inspired by Titian’s papers in Quebec City and Victoria this past year. Penitent Mary Magdalen. The story fi rst came to Mary Grace’s and Robert’s second daughter, Sabrina her 10 years ago, and she gradually created, in both Rachel Weir, was born on January 13, 2005. words and images, the characters Alessandro, a prel- Kurt von Meier *66, emeritus professor at Califor- ate born to a life of enormous prestige and wealth nia State University, Sacramento, is enthusiastically but with few scruples; his colorful servant Berti, a supervising a project to reconstruct a “Mirrored young, inexperienced painter who craves success; Room,” inspired by Marcel Duchamp’s notes. The and Maddalena, the converted Monna Rebecca, project is threatening to grow into a much grander Eva Siroka *95, Maddalena intelligent, dedicated, and oblivious to the fate that and more ambitious enterprise than he originally would change her life forever. [[email protected]] imagined, as he has found serious interest in the Joel Smith *93’s new book Steinberg at The New Bay Area and Japan, as well as Sacramento, for real- Yorker (Abrams, 2005) surveys Saul Steinberg’s 60 izing the idea in terms of actual construction. His years of art for The New Yorker magazine. The pub- daughter Alexandra is now a professor of energy and lication is the fi rst part of Joel’s extended project on resources at nearby Sonoma State University, and Steinberg; the next phase is a touring exhibition, Kurt has joined one of her research teams, address- with a large scholarly catalogue, a fi rst for this art- ing the design of a long-term marker for nuclear ist. “Saul Steinberg: A Retrospective” is slated to waste sites. This issue raises some profound prob- open in New York City in late 2006, and will travel lems, not the least of which involves art history and to venues in Washington, D.C., and Cincinnati semiotics, or how future generations are to “read” before concluding at Vassar College in early 2008. iconic warning signs. [[email protected]] Joel is the curator of photography and modern and Justin Wolff *99 is the recipient of a fellowship contemporary art at the Frances Lehman Loeb Art from the National Endowment for the Humanities Center at Vassar College. [[email protected]] for the 2005–06 academic year. The fellowship will Joel Smith *93, Steinberg at support his work on a critical biography of Thomas The New Yorker Ulrike Meyer Stump *96 (M.A.) teaches the his- tory of photography at the University of Zurich as Hart Benton, to be published by Farrar, Straus and well as at the University of Art and Design in Zur- Giroux. Justin teaches courses on American art in ich, Switzerland. She recently published “Blue- the Expository Writing Program at Harvard Univer- prints of a Natural History,” the introductory essay sity. [[email protected]] to Michele Oka Doner’s Workbook, an artist book

40 S P R I N G     Art Museum News

Recarving China’s Past: Art, scholarship led by Cary Y. Liu ’78 *97, curator of Asian art Archaeology, and Architecture and organizer of the Recarv- of the “Wu Family Shrines” ing China’s Past research White M. Bruce project. Collaborating with March 5–June 26, 2005 Cary Liu were Michael Nylan This spring the museum opened “Recarving *82, professor of history at China’s Past: Art, Archaeology, and Architecture of the University of California at the ‘Wu Family Shrines,’” a groundbreaking exhi- Berkeley, and Anthony Barb- bition of Chinese art. For more than a thousand ieri-Low *01, assistant profes- years, the burial site known as the Wu family sor of history at the University shrines has served as a benchmark for the study of of Pittsburgh, as well as a the Han dynasty (206 B.C.–A.D. 220), a period that team of scholars in the fi elds helped shape the foundations of Chinese civiliza- of art history, archaeology, tion. The interiors of the “Wu family shrines,” architecture, calligraphy, covered with intricately carved scenes of life in ceramics, history, literature, Han-dynasty China, have been the basis for much painting, and religion from of what is now known about critical dates concern- the United States, Canada, ing artistic, literary, cultural, and architectural Europe, and China. Their developments—including aspects of “Confucian” work prompts a reexamina- intellectual thought—from one of ancient China’s tion of the site’s long-accepted richest eras. In the exhibition, the elaborate picto- implications—including its rial wall carvings are reinterpreted through related attribution to the Wu family. displays of ink-on-paper rubbings, architectural Their reinterpretations of the site are based on Earthenware statuette of a reconstructions, computer modeling, and more discoveries since the 1980s of additional structures sleeve dancer, Western Han than 60 works of art drawn from the museum’s dynasty (206 B.C.–A.D. 9), and archaeological materials, and evidence that permanent collection, as well as from public and private collection some of the writing and pictorial carvings may have private collections in the United States, Canada, been recut over the intervening centuries, essentially and Europe. The exhibition also includes carved recarved to fi t prevailing attitudes and assumptions pictorial stones on loan from China. about the Han era. The centerpiece of the exhibition is the muse- An exciting component of the exhibition is a um’s set of rare, 19th-century ink-on-paper rub- computer-generated architectural reconstruction bings of the “Wu family shrines” pictorial carvings. of the Wu cemetery site, developed for the exhi- Highly regarded as an art form, rubbings are bition by Anthony Barbieri-Low. His interactive dependent upon the skill and artistic ability of the models recreate and reinterpret the original layout person making the impression. The shrine rub- of the shrines, allowing visitors to explore the struc- bings depict scenes of fi lial piety, legendary rulers, tures and enter each reconstructed stone chamber. heroic women, battles, and myths long associated Partially sponsored by the Collaborative Research with Han-dynasty beliefs and tenets of exemplary Grant Program of the Getty Trust and by fund- behavior. Bringing the rubbings to life are works of ing from the Central Research Development Fund art that refl ect the scenes on the walls of the “Wu Grant from the Offi ce of Research and the Vice- family shrines,” including sculptures, bronzes, Provost’s Offi ce at the University of Pittsburgh, the lacquer, ceramics, glass, and jade artifacts from the interactive architectural model will also be incor- Han-dynasty era. An actual carved pictorial stone porated into the museum’s new Asian art Web site, from the Wu cemetery site is also on view for the developed by the museum in conjunction with the fi rst time in the United States. The lending institu- University’s Educational Technologies Center, with tions include the Art Institute of Chicago, the funds from a multiyear grant from the Freeman American Numismatic Society, the Brooklyn Foundation. The Asian art Web site will be offi - Museum, the Cleveland Museum of Art, the Los cially launched in May 2005. Angeles County Museum of Art, the Metropolitan The exhibition is accompanied by a fully Museum of Art, the Royal Ontario Museum, the illustrated catalogue that includes research essays by Yale University Art Gallery, and the Shandong contributing scholars and a complete listing of the Provincial Museum and the Shandong Stone ink-on-paper rubbings and other works of art in Inscriptions Art Museum in China. the exhibition. The subjects of the essays include a The groundbreaking aspect of the exhibition discussion of Han funerary rituals, an exploration and the accompanying catalogue centers on new

S P R I N G     41 of the architecture of the structures and reconstruc- tradition in American art as it was absorbed from tion of the Wu cemetery site, a study of the artistic European precedents. By the second quarter of the representations depicted in the carvings, and a 19th century, nature and geography would become discussion of artisan practice and stone workshops America’s primary preoccupations, signaled by the in Shandong Province during the Han period. The decisive turn of many artists from portrait and object listing includes essays by 20 scholars, who history to landscape painting, whose popularity approach selected works in the exhibition from signifi ed a celebration of national expansion and different disciplines and points of view. optimism in the decades leading up to the Civil In conjunction with the exhibition, the museum War. This development was represented in the large organized an international symposium at Princeton number of Hudson River School works on view, on April 30 and May 1, 2005, to explore the archi- beginning with poetic, generalized studies of identi- tecture, art, and culture of China’s Han dynasty. fi able sites in New England and New York by Thomas Cole and Thomas Doughty, and continu- West to Wesselmann: ing with more precisely observed drawings of pic- New Publication turesque settings at home and abroad by John American Drawings and Casilear, Jasper Francis Cropsey, and George Inness. Recarving China’s Past: Art, Watercolors in the Princeton Later examples demonstrate how the Hudson River Archaeology, and Architecture of University Art Museum aesthetic evolved in several directions, with some the “Wu Family Shrines” painters—including Seth Eastman, William Trost 620 pp., 392 illustrations, including October 16, 2004–January 9, 2005 Richards, and Aaron Draper Shattuck—moving 107 in full color and 60 in duotone. Last fall the museum presented a major exhibi- toward the open, light-fi lled panoramas associated Available in the museum shop or tion of works from its outstanding collection of through the publications offi ce at with Luminism, while others, notably Charles (609) 258-3228; hardcover, $75; American drawings and watercolors, ranging from Herbert Moore, mastered the Pre-Raphaelite refi ne- paperback, $45. the late 18th through the 20th century. “West to ments of meticulous detail advocated by the British This fully illustrated catalogue, Wesselmann: American Drawings and Watercolors artist and critic John Ruskin. In addition to this published by the museum to in the Princeton University Art Museum” offered a rich survey, there were representative examples of accompany the exhibition, in- comprehensive overview of the nation’s artistic 19th-century portraits, genre, and still-life subjects, cludes essays by Cary Y. Liu ’78 *97, traditions, featuring 77 masterpieces by such emi- including drawings by Eastman Johnson and Wil- curator of Asian art, Princeton nent artists as Benjamin West, Winslow Homer, liam Sydney Mount, and an exquisite watercolor of University Art Museum; Michael Thomas Eakins, Mary Cassatt, John Singer Sargent, a bough apple by Sarah Hoding. Nylan *82, professor of history at Georgia O’Keeffe, Charles White, Lee Bontecou, The later decades of the 19th century were the University of California at and Tom Wesselmann, as well as members of the represented by works that refl ect the dramatic shift Berkeley; and Anthony Barbieri- Hudson River and Ashcan Schools. Organized by in mood of American art and culture, brought Low *01, assistant professor of Laura M. Giles, curator of prints and drawings, about by numerous factors, including the Civil War early Chinese history in the De- and John Wilmerding, the Christopher Binyon and Reconstruction, which disrupted political and partment of History, the University Sarofi m ’86 Professor in American Art, the exhibi- social life. As America passed through this diffi cult of Pittsburgh; a keynote essay by tion celebrated the publication by the art museum period, a number of artists traveled to Europe for Michael Loewe, professor emeritus of American Art in the Princeton University Art study and inspiration, some spending the better and director emeritus of Oriental Museum, Volume I: Drawings and Watercolors. This part of their career abroad, most notably Mary studies, Cambridge University; and fully illustrated catalogue includes an introduction Cassatt, whose pastel vividly documents her contributions by Susan L. Bening- by Wilmerding, and an essay by Kathleen A. Foster, response to French Impressionism. At home, Amer- son, Virginia Bower *77 (M.A.), the Robert L. McNeil Jr. Curator of American Art ican painters emphasized the human fi gure, seen in Albert Dien, Susan N. Erickson, at the Philadelphia Museum of Art, on the histori- the sequence of watercolors depicting solitary Ingrid Furniss *05, Eileen H. Hsu, ography of American drawings and watercolors. Annette L. Juliano, Hiromi Kinoshi- women by Alfred Bricher, Thomas Eakins, and The entries were written by Professor Wilmerding; ta, Guolong Lai, David T. Liu ’99 Winslow Homer. Together with scenes of Tahiti Robert T. Cozzolino, assistant curator at the Penn- *04 (M.A.), Sheri A. Lullo, Filippo and Venice by John La Farge and Thomas Moran, Marsili, Elinor Pearlstein, Klaas sylvania Academy of the Fine Arts; Laura M. Giles; these works illustrate the rising interest in the Ruitenbeek, David A. Sensabaugh Mark D. Mitchell *02, assistant curator of 19th- medium among American artists during the 1870s *90, Nancy S. Steinhardt, Lydia century art at the National Academy of Design and 1880s, which continued into the next century, Thompson, and Haicheng Wang in New York; and Princeton graduate student as shown in the New England coastal scenes by *03 (M.A.). Diana K. Tuite. Childe Hassam and Maurice Prendergast. The exhibition, arranged in roughly chrono- Illustrating the early modernist period were a logical order, complemented the better-known group of directly observed and energetically drawn collection of American paintings on regular view in fi gurative works from the 1900s to the 1930s by the museum’s galleries. It was anchored in the late George Bellows, Robert Henri, George Luks, Ever- 18th century by fi gure studies of allegorical and ett Shinn, and John Sloan—known as the Ashcan historical subjects by the country’s so-called “old School for their frequently gritty subject matter. masters,” Benjamin West and John Singleton Following the legacy of Thomas Eakins’s teaching Copley, which mark the beginning of the academic in Philadelphia, these artists sought to capture the

42 S P R I N G     John Pohl, Peter Jay Sharp New Publication Curator of Art of the Ancient American Art in the Princeton Bruce M. White M. Bruce Americas University Art Museum, Volume I: Drawings and Watercolors John M. D. Pohl, an eminent authority on Amer- 386 pp., 565 color and 120 black- ican Indian civilizations, has been named the fi rst and-white illustrations. Available Peter Jay Sharp Curator and Lecturer in the Art of in the museum shop or through the Ancient Americas at the museum. He succeeds the museum’s publications offi ce at Gillett G. Griffi n, faculty curator of pre-Colum- (609) 258-3228; hardcover, $65; bian and Native American art. paperback, $40. A graduate of Hampshire College in Amherst, This fully illustrated catalogue, Massachusetts, Pohl received his M.A. and Ph.D. published by the museum to ac- Childe Hassam, Newfi elds, New Hampshire, detail, degrees in archaeology from the University of Cali- company the exhibition, includes watercolor and graphite on cream wove paper, fornia at Los Angeles. He has published extensively an introduction on Princeton’s gift of the American Academy of Arts and Letters. on subjects ranging from human origins to the rise history of collecting American art Princeton University Art Museum x1944-566 of the Aztec empire, including The Legend of Lord by John Wilmerding, Christopher Eight Deer: An Epic of Ancient Mexico (Oxford B. Sarofi m ’86 Professor of Ameri- dynamism of the new urban landscape and work- University Press, 2002) and The Politics of Symbol- can Art; an essay on the historiog- ing-class life. Representing the next generation, ism in the Mixtec Codices (Vanderbilt, 1994). He raphy of American drawings and watercolors by Kathleen A. Foster, bold compositions by members of the Stieglitz also has directed numerous archaeological excava- the Robert L. McNeil Jr. Curator of circle—Charles Demuth, Arthur Dove, John Marin, tions and surveys in the United States, Canada, American Art at the Philadelphia Georgia O’Keeffe—conveyed the different responses Mexico, and Central America. His specialization is Museum of Art; and scholarly of these progressive painters to avant-garde Euro- the ancient art of the Aztec, Mixtec, and Zapotec entries by Wilmerding, Robert pean art in their incorporation of abstract forms, civilizations of highland Mexico, particularly deci- T. Cozzolino, assistant curator at dynamic transparent planes, and other devices phering ancient pictographic writing systems. the Pennsylvania Academy of the inspired by Cubism and Expressionism. He is noted for bringing the ancient past to life Fine Arts; Laura M. Giles, curator The fi nal portion of the exhibition juxtaposed using a wide variety of innovative skills and tech- of prints and drawings at the the tensions between abstraction and realism that niques. His unusual background in archaeology, Princeton University Art Museum; existed throughout much of the 20th century. The art history, and media production has taken him Mark D. Mitchell *02, assistant evolution of Abstract Expressionism was repre- from museum exhibition design at the Los Ange- curator of 19th-century art at the sented by the Surrealist imagery of Arshile Gorky les County Museum of Art to the entertainment National Academy of Design in and Jackson Pollock, followed by the classic gestur- industry, where he won a CLIO Award for his tele- New York; and Princeton graduate alism of the 1950s, as seen in the drawings of Lee vision animation design. student Diana K. Tuite. Bontecou, Robert Motherwell, and David Smith. In addition to teaching in the Department of The watercolors of Charles Burchfi eld, Edward Art History at the University of Cali- Hopper, and Andrew Wyeth signal the attention to fornia at Los Angeles, and serving America’s regional landscapes, beginning in the as research associate at the Fowler 1920s, while Ben Shahn’s scene from the trial of Museum of Cultural History for Sacco and Vanzetti and Charles White’s portrait of eight years, John Pohl worked as Paul Robeson address the powerful current of a production designer for political and social commentary in American art Dreamworks, and writer and during the Great Depression and World War II. A producer for the CBS television

different type of realism, based on the banalities of documentary series on American DeenGeorganne commercial imagery and advertising culture, Indian history, “500 Nations.” He inspired Pop artists such as Claes Oldenburg, has designed exhibitions on North John Pohl, Peter Jay Wayne Thiebaud, and Tom Wesselmann. and Central American Indian peo- Sharp Curator of Art of The exhibition concluded where it began, with ples, including those at the Museum of the Ancient Americas drawings of the human fi gure, still of powerful the Cherokee Indian in Cherokee, North interest to American artists two centuries after West Carolina, and a new museum for the Moundville and Copley. Affording provocative comparisons Archaeological Park in Moundville, Alabama. were works by Eric Fischl, Sidney Goodman, and Peter Jay Sharp ’52 was a member of the muse- Alex Katz, which together demonstrate the continu- um’s advisory council from 1987 until his death in ing energy and strength in American drawing today. 1992. The Peter Jay Sharp Foundation was “West to Wesselmann” will travel to the Musée established in 1984 to fund programs d’Art Américain in Giverny, France, from April 1 in education and the arts. to July 3, 2005, and to the High Museum of Art in Atlanta, from April 1 to June 25, 2006. Support for the exhibition and catalogue was provided by an anonymous donor and the Brown Foundation.

S P R I N G     43 The Department of Art and Archae- Comments and news or information ology Newsletter is pro duced by the from our readers on recent activities are Publications Offi ce of the Depart- ment of Art and Archaeology and always welcome, as are inquiries re gard ing the Offi ce of Com mu ni ca tions, the program. Please submit news items for Princeton Uni ver si ty. the next issue to News let ter, Department Editor: Christopher Moss of Art and Ar chae ol o gy, McCormick Hall, Design: Megan Peterson Photography: Nikolas Bakirtzis, Princeton University, Princeton, NJ - John Blazejewski, Elisabeth , or e-mail [email protected]. Childs, David Connelly, David Cook, Georganne Deen, Robert Dimin, Jeff Evans, Zoe Kwok, Thomas Leisten, Bruce M. White ■ CHECK HERE IF NEW ADDRESS Illustrations: JoAnn Boscarino Cover illustration: Lorenzo Ghiberti or follower, terracotta NAME study for or after “Moses on Mount Sinai,” from the Gates of ADDRESS Paradise, Baptistery of Florence Cathedral (1425–52). Princeton University Art Museum y1950-13, given in memory of Mr. and Mrs. Allan Marquand by their daughters (photo: Jeff Evans) TELEPHONE E-MAIL Department of Art and Archae- ology newsletters are available in PDF format on the Web at www. princeton.edu/~artarch/newsletter.

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44 S P R I N G    