Number 49 – Spring 2014
newsletterAlumni institute of fine arts
Published by the Alumni Association of the Institute of Fine Arts 1 Contents
From the Director...... 3 Duke House: A Case Study in Architecture, Document Public Art in Wikipedia: Decoration, and Art History . . . 12 The Tony Smith Project. . . . .4 Remembrances: The Year in Pictures...... 5 Evelyn B. Harrison. . . . . 13 Walter W. S. Cook Annual Lecture. 8 Ada Louise Huxtable. . . . 14 My Dinner With Dr. King . . . .10 Outside Fellowships. . . . . 16
Remembering Professors: PhDs for 2012 - 2013. . . . .17
Sarah Schroth ...... 11 Alumni Updates...... 18
Janne Gallen-Kallela-Sirén . .11 Alumni Donors...... 25
Institute of Fine Arts Alumni Association
Officers: Committees:
President Jennifer Eskin Walter S. Cook Lecture Yvonne Elet Gertje Utley Susan Galassi Carol Krinsky [email protected] William Hood Jay Levinson Anne Hrychuk Anita Moskowitz Vice-President Jennifer Perry Kathy Schwab Alicia Lubowski-Jahn Debra Pincus Grants [email protected] Sabine Rewald Charles Little Marie Tanner Treasurer Newsletter Lisa Rotmil Phyllis Tuchman, Editor [email protected] Schuyler Swartout Oral Histories Rebecca Rushfield
CAA Reunion Mary Tavener Holmes
2 From the Director Patricia Rubin
considered the forms that our research, writing, and Selinunte, Institute teams have continued and pedagogy might take in order to meet the to make major discoveries, which we will report challenges in higher education today and to seize in the second edition of the IFA Archaeology the opportunities offered by new technologies. Journal. In the mean time, I urge you to look at Recognizing that our current students will be called the photographs posted on the Institute’s tumblr. upon to shape and to communicate their work account, accessible through our website (http:// in newly developing forms and formats, we aim fieldseason.tumblr.com/), which give breathtaking to be in the forefront of those developments. A views of our archaeologists in action. digital workshop is scheduled for February 2014. Organized by Jonathan Hay, the workshop will Given the wealth of content on our website, it is no feature student projects mentored by Jonathan, surprise that we can proudly claim to be responsible other members of the Institute faculty, and faculty for 55% of all web traffic to NYU’s Graduate members from relevant departments around the School of Arts and Sciences sites (since January 1, University. This follows on from the student grants 2013). And given the importance of the web to attached to the “Digital Art History” conference, our profile, I am glad to announce that we opened which resulted in posters and presentations by the new school year with a new look, thanks to the Adwoa Adusei on Island Hopping: Mapping the work of our webmaster Jason Varone. Anglophone Caribbean and by Emily Bauman, Sara Ickow, and Allison Young on Art and the Emergence We can claim another impressive statistic: the of Technology: Timeline and Terminology Project. Institute has the second highest alumni giving rate of any school at NYU (16%). The Medical Looking forward in this way, we did not neglect School holds the lead at 22% and Law is close F rom the Director the past. 2012 marked one hundred years since behind us at 15%. This is a remarkable statistic Patricia Rubin the construction of Duke House and we took the given our size in relation to those behemoths, occasion to use the building as a case history in and we are immensely grateful to all of you for “Stormy Weather” could provide the theme song the Belle Epoque architecture of New York. During your extraordinary support. Extraordinary and for the past year at the Institute, which weathered the summer of 2012 six students had grants to essential: alumni giving to the Institute and alumni Sandy during the autumn and suffered a serious work on relevant topics in archives and libraries in participation in the Institute are critical to all of our flood in the Conservation Center in the spring. New York, at the Getty Research Institute, and at activities and vital to securing our future. We are In both instances the dedication, expertise, and Duke University. In the autumn, Jean-Louis Cohen pleased to boast of your accomplishments – many resourcefulness of the Institute community saw us conducted a seminar, Architecture and Interior are reported here – so keep us informed by visiting safely through potential disaster. In the first case, Decoration in 1900 New York: The Case of Duke the Alumni section of our website and clicking the building supervisor Wil Manzo and members House. The results of this work were reported to a on “Update Your Contact Information”. We are of his staff, Rob Doucette and Arturo Martinez, conference in February 2013. We hope to publish eager to keep in contact with you and to build our remained on duty day and night throughout the a book based on the research, if we can find the network, which is powerful and influential. T o storm and its aftermath. In the second, the quick funding, since the findings were so rich, original, that end we have added to our alumni activities action of Conservation student Margarita Berg, and revealing. The conference also dedicated a day with the establishment of a Recent Alumni Circle who heard water pouring from a broken pipe and to the scholarly inhabitants of No. 1 East 78th and this September will launch the IFA Legacy sounded the alarm, brought staff and faculty to Street with papers and panels on a selection of Society. We have also launched IFA Mentors, and the scene to staunch the flood and begin salvage our eminent professors, opening with the voice of encourage you to sign up to mentor our current work. Conservation Center faculty and students Erwin Panofsky lecturing on Titian in a recording students and recent graduates, who can gain great were among the “first responders” toS andy, playing found by Alexander Nagel, who also provided benefit from your advice (as has been amply proven an important part in the rescue work in galleries the images before beginning his own lecture on by our annual Alumni Careers Panel). Following on and collections devastated by the flooding caused Panofsky’s legacy. This was but one of a total of from the splendid array of publications shown at by the storm. While such natural disasters are not more than eighty public events held in the course the Alumni Book Exhibition at the 2013 reunion, predictable, unfortunately poor construction and of the year, many of them available as pod casts on we have created the What to Read portal on the general wear and tear mean that problems at Chan our website. website, listing your latest books. For information House will continue until the building can be about these initiatives please go to the Alumni thoroughly renovated. Nor did we betray our deep commitment to the section of the website or contact our Alumni close study of original works, which we pursued in Relations Officer, Andrea Yglesias. In our desire Bracketed as it was by these dramatic events, there multiple ways including a return January visit to to constantly strengthen our connection to you, were other, far more enjoyable, forms of excitement Villa La Pietra, where four conservation students we have cause to thank Andrea and, above all, the over the year. We added two highly successful were paired with four art history students for Alumni Association, its officers, and its President, series to our roster of distinguished seminars and two intensive weeks studying four works from Gertje Utley, for their abiding commitment colloquia: one dedicated to “Greek and Roman Art the collection. In June, the Conservation Center and work on behalf of past, present, and future and Architecture” led by Clemente Marconi and convened the second summer school in technical generations of Institute students. The publication the other exploring “Current Trends in Medieval art history taking “Theoretical Subjectivities of the Newsletter (with gratitude to its editor, Art” (we will pursue those trends this year in our and the Critical Eye” as the defining topic of the Phyllis Tuchman) is but one aspect of their concern search for a specialist in Western Medieval Art, session, which examined how technical art history to enhance the ties between and among Institute intending to make an appointment for fall 2014). might simultaneously clarify and complicate graduates. It is impossible to over-estimate the A combination of conferences, workshops, and established Post-war art historical narratives. significance of those ties, which are a living bond of meetings on “Publishing and the Ph.D.,” “Teaching During the winter and over the summer at our experience and which are crucial to the Institute’s Art History Today,” and “Digital Art History” excavations at Abydos, Aphrodisias, Samothrace, continued excellence. 3 Document Public Art in Wikipedia: The Tony Smith Project
Richard McCoy
Just about every day I use Wikipedia to look up some odd bit of trivia, check some fact or date, or to get the basic details of an artist or place. But have you ever used it to look up information about a specific artwork?
Quite a few articles exist in Wikipedia about individual artworks, but by comparison to the information about pop culture and military history, art is way behind. There really is no secret as to how knowledge is added to Wikipedia: it is by folks just like you who take the time to voluntarily add it.
Over the past few years, I have run a number of projects to help add knowledge about artworks, and in particular public art. Along with a number of graduate students in museum studies and a variety of collaborators, I created WikiProject Public Art < https://en.wikipedia.org/wiki/ Wikipedia:WikiProject_Public_Art > with the aim to document every single public artwork in the world. So far hundreds of artworks have been documented, with concentrations in the contributed good articles. The project also located in Louisville Kentucky. < https:// cities of Indianapolis, Milwaukee, Paris, and got some buzz, including a mention in the en.wikipedia.org/wiki/Gracehoper_(2/3) > Philadelphia. New York Times. But lately things have been 3. when you’re done, leave a note moving slowly. The project needs help. Your in the comment section below While I admit that trying to document every help. or on my Wikipedia Talk Page single public artwork in the world is a lofty < https://en.wikipedia.org/wiki/ goal, but it is the kind of goal Wikipedia is What’s in it for me, you ask? INCCA-NA User:RichardMcCoy > and tell me your purpose built to achieve. The idea came from is giving participants a limited-edition Tony t-shirt size (M, L, XL). I’ll have the late 1990s project called Save Outdoor Smith t-shirt. The front features a stylized INCCA-NA send you a t-shirt! Sculpture (SOS!), which was run by Heritage version of Smith’s sculpture Marriage. The Preservation out of Washington, D.C. With reverse bears a black and white INCCA-NA You might ask, but why is it important to have thousands of volunteers SOS! documented logo. a Wikipedia article about every single Tony over 32,000 sculptures in the United States; Smith sculpture in the world? Because art is all of these records are contained within the By contributing to this project you would important. Smith is important. And many of Smithsonian Institution Research Information be helping to document artworks by one of his works are not documented in a way that is System (SIRIS). the greatest American sculptors of the 20th- easily accessible online. century. You would also be helping to increase The most recent iteration of WikiProject the “sum of all human knowledge” about art If we are able to document all of his works, Public art is a collaboration with on the world’s fifth most viewed website. we can prove the effectiveness of this kind International Network for the Conservation of project and process. Then, we can start of Contemporary Art – North America For some, Wikipedia isn’t the easiest platform thinking about ways to collaborate on the (INCCA-NA) an the Tony Smith Estate as to work with. But here’s all you have to do: documentation of works by other, and part of the ongoing celebration of the sculptor 1. follow the instructions within the perhaps lesser-known, artists. Participants Tony Smith’s 100th birthday Wikiproject for selecting and researching of this project are helping everyone care for artwork. and about Smith’s sculptures a little more, We launched this rather ambitious project 2. using these instructions, write a and caring for art is really the first step in last year by posting instructions in Wikipedia Wikipedia article about the artwork you’ve preservation. to encourage folks to document artworks by chosen. To get a sense of what a good Tony Smith. When the initiative was first article looks like, check out the Wikipedia Go on, give it a try. announced, there were eager participants who article for Smith’s sculpture Gracehoper,
4 The Year in Pictures
Wade Guyton Lecture, Oct 18 2012 Dawn Ades Lecture, Oct 24 2013
Anne Wheeler, Wade Guyton, Jeffrey Uslip Dawn Ades, Edward Sullivan Robert Lubar, Anne Umland
Nicholas Adams, W.S. Cook Lecture, Nov 14, 2012 Melissa Chu Lecture, Nov 27, 2012
Anita Moskowitz, Nicholas Adams Yvonne Elet, Carol Herselle Krinsky, Anita Moskowitz Daniella Berman, Melissa Chu, Emily Dellheim
The Institute of Fine Arts Alumni Association Board seeks new members. Responsible for special projects such as the annual Cook lecture, alumni reunion, and Alumni Newsletter, the Alumni Association works closely with the Alumni Affairs Office to ensure that IFA alumni remain connected to the Institute and to one another. In addition to organizing alumni programming, the Alumni Association Board conducts fundraising to provide grants to IFA students for summer research travel. The Alumni Association Board meets three times annually to discuss special projects, opportunities to engage and assist the student body and to receive updates from the IFA Director’s Office.T o learn more about joining the Alumni Association Board, email Andrea in the Alumni Affairs Office at [email protected].
5 The Year in Pictures (continued)
Christmas Party, Dec 5, 2012
Gertje Utley, Günter Kopcke, Joan Leibowitz Charles Little, Jonathan Hay Priscilla Soucek, Phillipe de Montebello
IFA/CAA Reception, Feb 15, 2013
Allison West, Phyllis Tuchman, Gertje Utley Lee Mendelsohn, Suzanne Boorsch, Beth Holman, Sarah Wilk Joyce Hill Stoner, Anne Rorimer, Wanda Corn
Francisco Javier Rodriguez, Blanca Serrano, Jonathan Brown, Kate Holohan Janice Orseman, Marie Tanner Peter Kalb, Tricia Paik
IFA Mentors The Institute of Fine Arts is pleased to announce IFA Mentors, a program that connects established alumni with students and recent alumni who are just starting out on their career paths. Mentors will be paired with students based on field of interest and geographic location.T o learn more about the program or sign up to be an IFA Mentor, email Andrea in the Alumni Affairs Office at [email protected].
6 Conference on Mapping: Geography, Power and the Imagination, Mar 8, 2013 Haim Steinbech Lecture, Mar 13, 2013
Jennifer Raab, Jennifer Roberts Robert Slifkin, Thomas Crow
Rhonda Kasi Lecture, Mar 28, 2013 Richard Kagan Lecture, Apr 11, 2013
Rhonda Kasi, Suzanne Stratton-Pruitt Richard Kagan, Priscilla Soucek
Have you checked out the new, improved IFA website? You’ll want to refer to it several times a month. The incomparable Jason Varone runs it, and he’s constantly replenishing the site. You’ll find the dates and names of speakers participating in conferences, symposia, and all sorts of seminars. Lectures, too. Some are streamed live; many are archived for future reference. This is a great resource for IFA alum.
www.ifa.nyu.edu
7 Walter W. S. Cook Annual Lecture
Walter W.S. Cook Lecture Series Archive 2004 Dale Kinney, Graduate School of Arts and 2013 Sciences, Professor, of History of Art, Bryn Emilie E.S. Gordenker, Director, Royal Mawr College Picture Gallery Mauritshuis When Objects become Spolia: Lessons from Are Cross-Sections Boring? The Case of Saul and Historiography David 2003 2012 Isabelle Hyman, Professor of Fine Arts, New Nicholas Adams, Mary Conover Mellon York University Professor in the History of Architecture, Brunelleschi to Breuer: An Art Historian’s Vassar College Passage Gunnar Asplund’s Courthouse Extension in Gothenburg (1913-1936): The Ironies of its 2002 History Philip Pearlstein, Distinguished Professor Emeritus, Brooklyn College 2011 When the Dada Daddies got Real A.A. Donohue, Department of Classical and Near Eastern Archaeology, Bryn Mawr College 2001 IFA Director Patricia Rubin’s Introductory Contradictions in Greek Naturalism Phyllis Prayer Bober, Leslie Clark Professor in Remarks for the Walter W.S. Cook Annual the Humanities Emerita, Bryn Mawr College Lecture, November 14, 2012 2010 Art, Culture and Cuisine: The Defining Gary M. Radke, Dean’s Professor of the Characteristics of the Early Renaissance As you will know from the announcement, Humanities, Syracuse University the lectures take their name from the man, “As will please the ladies”: Planning Choirs, 2000 who as director, gave the IFA its defining Kitchens, and Latrines in Fifteenth-Century San Sachs II, Director, The Frick Collection identity as a research institute dedicated Venetian Convents The Frick That Might Have Been to advanced teaching and scholarship and decided its equally defining location hard 2009 1999 by the Metropolitan Museum. Expert in Christine Smith, Robert C. and Marion K. Vicki Goldberg, Author and Photography Spanish Romanesque and medieval art, from Weinberg Professor of Architectural History, Critic for The New York Times his student days at Harvard Cook was an Harvard University War at a Distance: Camera and Combat inveterate traveler (eventually dying – in 1962, Leon Battista Alberti: Old and New aged 74 – at sea, returning home from Italy). 1998 His experience of direct contact with works 2008 Richard E. Stone, Conservator, The Sherman of art translated into a credo for the fledging Anne Litle Poulet, Director, The Frick Fairchild Center for Objects Conservation, the Institute, famously saying “we are going to Collection Metropolitan Museum of Art move right next to a museum and let them The Lodge of the Nine Muses: Houdon and Donatello and Verrocchio: Casting Technology buy our works of art, while we spend it on the Freemasonry and Sculptural Form professors and get the best there are.” And so he did, eventually assembling what one of his 2006 1997 colleagues eventually characterized as “a chorus Leo Seinberg, Benjamin Franklin and Sarah Bradford Landau, Professor of Fine Arts, line made up of prima ballerinas.” With such a University Professor Emeritus, University of New York University faculty, international and multi-lingual, diverse Pennsylvania Inventing the New York Skyscraper in background and approaches, it is no wonder Beware of Texts that Cook could maintain that “the fine arts 1996 have not developed stereotyped routines that 2005 Bill Hood, Professor of Art, Oberlin College discourage initiative,” and was convinced that Naomi Miller, Professor Emerita, Boston Figs and Leaves: On Writing a History of the there was “abundant material for the exercise University Male Nude of scholarly interest and scientific method, From Babel to Broadway: Building Towers and those materials are of immediate, vivid Towards Infinity 1995 value and significance.” Nor is it an accident Susan Vogel, Henry J. Heinz II Director, Yale that following such a conviction, the IFA has a University Art Gallery tradition of promoting work of great value and Exhibition Dilemma: African Art Not Meant to significance. Be Shown
8 1994 1986 1969 Adam Gopnik, Art Critic of The New Yorker Priscilla E. Muller, Curator of the Museum, Joachim Gaehde, Brandeis University The Overabundant Larder and the Luminous The Hispanic Society of America Ingeniosa Manus: On the Originality of Oblong Blur. A Theory of Everything in Goya’s ‘Mundus Tenebrosus’? The Politic Patriot’s Carolingian Artists American Art Last Projects in Spain 1968 1993 1984 Alfred K. Frazer, Department of History and Lucy Sandler, Helen Gould Sheppard William D. Wixom, Chairman of the Archaeology, Columbia University Professor of Art History, New York University Department of Medieval Art, Metropolitan An Antiquarian Emperor Builds: Architecture in From Heraldry to Portraiture: The Image of the Museum of Art Claudius’s Rome Owner of the Book in the Age of Chivalry A Reliquary Chasse Attributed to Canterbury: Style, Iconography, Patronage 1967 1992 Howard Saalman, Professor of Architectural Heather Lechtman, Professor of Archaeology 1983 History, Carnegie-Mellon University and Ancient Technology, Massachusetts Carol Herselle Krinsky, Professor of 20th Haussmann’s Paris Revealed Institute of Technology Century Architectural History, New York Style in Technology: Metal and Cloth in Andean University 1966 Prehistory Creighton Gilbert, Sidney and Ellen Wien 1982 Professor of History of Art, Brandeis 1991 Tom Freudenheim, Director of the Worcester University Marcel Franciscono, Professor of Art History, Museum Change in Piero della Francesca University of Illinois at Urbana-Champaign Disappearing Act: The Art Historian and the Art Paul Klee and the Promise of Childhood Museum 1965 Milton Brown, Professor of Art, Brooklyn 1990 1981 College Edward Sullivan, Associate Professor, New Bernard S. Myers, Editor in Chief for Art Art Nouveau York University Books, McGraw-Hall National Identity, Tradition and Innovation in The Expressionist Idea 1964 20th Century Mexican Painting James Ackerman, Professor of Fine Arts, 1980 Harvard University 1989 Wanda M. Corn, Professor and fellow, the Palladio’s Villas Marilyn Aronberg Lavin Wilson Center The Place of Narrative in Italian Mural Overcoming Cultural Inferiority: The Case of the 1963 Decoration American Artist John P. Coolidge, Professor of Fine Arts, Harvard University and Director, Fogg Art 1988 1979 Museum William L. Barcham, Associate Professor, Walter Cahn, Carnegie Professor of the Fashion Institute of Technology History of Art, Yale University 1962 ‘Sancta dei Genetrix:’ Tiepolo’s Mary and the The idea of the masterpiece: Medieval and Frederick Hartt, Professor of the History of Enlightenment northern Renaissance origins Art, University of Pennsylvania Love in Baroque Art 1987 1972 A Symposium in Honor of Richard John McCoubre, Department of Art History, 1961 Krautheimer University of Pennsylvania Phyllis Williams Lehmann, Professor of Art, James Ackerman, Arthur Kingsley Porter Figures on the Beach: Reflections on a 19th Smith College Professor of Fine Arts, Harvard University Century Scene The Pedimental Sculptures of the Hieron in The Early Planners of Rome: 1450 – 1560 Samothrace Frederick Hartt, Paul Goodloe McIntire 1971 Professor Emeritus of Art History, University J. Edward Kidder, Jr., International Christian 1959 of Virginia University, Japan Millard Meiss, Professor of Art, Institute for Michelangelo: Imprint and Image Early Buddhist Art: Horyu-ji Advanced Study, Princeton University Irving Lavin, Professor of Art History, The Giotto and Assisi Institute for Advanced Study, Princeton 1970 Bernini’s Image of the Sun King Linda Nochlin Pommer, Vassar College Holman Hunt’s ‘Awakening Conscience’: The Theme of the Fallen Woman in Nineteenth- Century Realism 9 originally published in the New York Times, April 4, 2013
10 Remembering Professors: Sarah Schroth
Sarah Schroth students. As a new director, I feel I have a Mary D.B.T. and James H. Semans Director supportive network of IFA Alumni who are Nasher Museum of Art at Duke University museum directors today, directors who will readily share the wisdom of their experience As I begin the directorship at the Nasher Museum at Duke University, I will draw on the many lessons I learned at the Institute. Foremost, the self-reliance and intellectual courage taught to me by Jonathan Brown is crucial in all that I undertake. The need to support (and find funding for) good exhibitions that will advance scholarship Attributed to: Vicente Carducho, Italian/ was illustrated to me by Donald Posner. Spanish 1570-1638, (formerly attributed to And I will never forget Egbert Haverkamp- Luis de Morales), The Virgin Contemplating the Instruments of the Passion, ca. 1620-30. Oil on Begemann once telling me that one of the canvas. 52 3/4” x 43 11/16”. Purchased with important benefits of theI nstitute lies in the funds from the John and Anita Swartz Endowment. relationships developed with our fellow IFA 2011.2.1. Nasher Museum of Art at Duke University.
Remembering Professors: Janne Gallen-Kallela-Sirén
Janne Gallen-Kallela-Sirén and mentors, notably Jonathan Brown, politics of images and of life in general, but Director Colin Eisler, Robert Lubar, Donald Posner, also about the art of moving mountains and Albright-Knox Art Gallery, Buffalo, NY Robert Rosenblum, Kathleen Weil-Garris of getting things done expeditiously. In April Brandt, and, of course, my advisor and 2013, after working as a museum director in Between 1993 and 2000, I had the awesome intellectual beacon, Linda Nochlin. They are Finland for nine years, I began my tenure as privilege of studying at the Institute of Fine the reasons behind all of my achievements, the eleventh director of the Albright-Knox Arts in the company of brilliant, inspiring, first as a graduate student, then as a university Art Gallery in Buffalo, New York. I assume and compassionate intellects. I owe a deep professor, and now as a museum director. the helm of this great American museum with debt of gratitude to all of my IFA professors Collectively, from my IFA professors I learned wings I earned at the IFA from a remarkable the joy that can be derived from the pursuit band of teachers and friends. Thank you! of excellence and the pleasure that dwells in the art of asking questions and in academic discovery in general. From them I also absorbed a passion for exploring the endlessly fascinating matrimony of words and images, the art of art history and criticism that is so relevant to us today as we confront the digital world and the most visual of centuries.
Robert Rosenblum’s legacy in my life is significant, as he continues to remind me— in spirit—that there is a noble beauty to all aspects of art’s prolific history, even in Jackson Pollock (American, 1912-1956). Paul Gauguin (French, 1848-1903). Spirit of the those chapters that are mostly forgotten and Convergence, 1952. Oil on canvas. Support: 93 Dead Watching, 1892. Oil on burlap mounted on go unnoticed by the general public. Linda 1/2 x 155 inches (237.49 x 393.7 cm). Collection canvas. Support: 28 3/4 x 36 3/8 inches (73.025 x of Albright-Knox Art Gallery, Buffalo, NY. Gift of 92.3925 cm) Nochlin is one of bravest people I know, and Seymour H. Knox, Jr., 1956. © 2011 Pollock- Collection of Albright-Knox Art Gallery, Buffalo, NY. I walk through my days in her company. She Krasner Foundation/ Artists Rights Society, New A. Conger Goodyear Collection, 1965. taught me mountains, not only about the York. Photograph by Tom Loonan.
11 Duke House: A Case Study in Architecture, Decoration, and Art History
F ebruary 1-2, 2013
2012 marked the hundredth year since the completion of the Duke House – originally designed for tobacco magnate, James B. Duke by the Philadelphia architect, Horace Trumbauer. In 1958, Mrs. James B. Duke and her daughter Miss Doris Duke donated the structure to New York University to house the Institute of Fine Arts. Architect Robert Venturi was charged with adapting the house for the Institute’s use, which he did without altering its original architecture.
On February 1-2, 2013 the Institute marked the close of the centennial celebrations with the conference Duke House: A Case Study in Architecture, Decoration, and Art History. The conference considered the IFA’s presence at the Duke House by looking at the building – from its commissioning by the Dukes to its eventual transformation into an educational and research facility, as well as the work and influence of some of the professors who have been its inhabitants – Donald Hansen, Richard Krautheimer, Erwin Panofsky, and Kirk Varnedoe. Video of portions of this Session II: Decorating and Furnishing Christie Mitchell (M.A. candidate, Institute conference can be viewed at
Remembrances: Evelyn B. Harrison Nevertheless, Eve knew who she was. One day By Elizabeth Milleker she was with Professor von Blanckenhagen and Dietrich von Bothmer who began talking We’ve all had extraordinary teachers, who were about their backgrounds. While the two men mentors, models or simply an unforgettable went on about their European forebears, presence. Eve Harrison was all of these. She Eve said nothing, but then, at a pause in the taught for over 50 years, at the University of conversation, she quietly interjected, “I’m Cincinnati, Columbia, Princeton, and the descended from Pocahontas,” and put an end Institute of Fine Arts, touching the lives of to the whole discussion. hundreds of students, whether they spent a decade getting a doctorate, took one class, Her presence around the Institute was or encountered her only once, at the School powerful. Stephanie Dickey, a student of in Athens, perhaps on a tour to the National Baroque Art, wrote recently, “Although I Museum. am not a classicist, Evelyn Harrison had a profound influence on my conception of what What did she teach? She taught a way to it means to be an art historian and a serious work. It was not based on abstractions or female scholar in what was then still largely theories. It rested on two foundations: one, a man’s world. I will never forget her lectures her profound knowledge of the language, on classical Greek sculpture, especially when history, literature and mythology of the this dignified southern lady wrapped herself ancient world; the second, close examination in a white sheet to demonstrate the draping of individual works of art, a skill honed in I found her moving around her office with of a peplos, or her quiet presence in the her many years with the Agora marbles. She a large pole, trying to recall exactly how she neighborhood, lunching at the local deli in her would then attempt to meld the two and find had poled a raft through shallow waters, sensible suit with her handbag on her arm.” how the individual work relates to others and in her youth. She explained she was toying its possible meaning. with the idea that the arm position of one of Make no mistake, Eve could be terrifying. the wounded Amazons meant that she had Who amongst us has not approached her Her lectures gave us her findings, but it was been poling through the swamps to safety at office with trepidation, sure we were going to primarily in the museum that she taught us to Ephesus. We poled around the room for quite say something foolish. And Eve did not suffer see. Armed with a flashlight, she gathered us a while. fools gladly. Her zinging remarks are famous close around each marble statue. She seemed and remembered to this day when former to approach each work as though for the first The results of her work appeared in the dozens students gather. time. No detail was too small or insignificant of articles we know. They were models of – the size of crystals, tool marks and style academic prose that couched lucid description, But she was always in her office when you of carving, the stance, the drapery, the hair, analysis, and rich supporting evidence in an came. If you had a question she might start the attributes. She worked like an Athenian unassuming, almost conversational style. quoting Homer in Greek, then pull down painter, who always drew the body first and books, lend you off-prints and discuss the then dressed it. That style was like Eve herself. Charles matter, with no attention to the clock. She Edwards, so dearly missed, once told us about fulfilled her esponsibilitiesr as an adviser Betsy Pemberton, who was her student at an incident in the Agora. “In the early 80s in an exemplary way, something very Columbia, puts it well: “ Above all she taught the growing numbers of Japanese tourists important to nervous graduate students. me how to see, not just to look at a pot or became obvious. At morning tea in the Agora Papers were returned on time, she had advice statue, but to really see it, slowly carefully, someone remarked on them and jokingly said about scholarships and jobs, and letters of patiently analyzing the characteristics and “I wonder what the Japanese word is for…. recommendation went out promptly. In one thinking before coming up with a hasty and mentioned some archeological term, like case she even went to a necessary face-to- face interpretation. In Greek the verb “I know,” Doric temple or votive relief. And Eve quietly interview for a student who was overseas, and oida is the perfect of the verb “I see,” eido. gave the answer. Most of the people at the when the all-male committee said it would be And this is what Eve taught her students. table were not aware of her work during the silly to give the girl as scholarship as she would Seeing leads to knowing or at least to a war on Japanese codes. Eve was self-effacing, surely marry, Eve simply sat there and looked supportable interpretation. never putting herself forward. She was a at them until the penny dropped and they private person, and it took a long time to gave the fellowship. Eve’s interpretations were sometimes worked really know her. But this was part of her focus out with her students. She gave seminars on on her work. She did not publicize herself, it continued on page 15 the problems at hand and quietly took notes was not about her, it was about her scholarship while each student gave a report. One day and her students. 13 Remembrances: Ada Louise Huxtable
Like Edith Wharton extraordinary. She produced in Chanel, but Tough: her final piece, a plea that Remembering Ada Louise the New York Public Library Huxtable (1921–2013) reconsider its plan to insert By Paul Goldberger a new circulating library Originally published in by Norman Foster into its Vanity Fair, January 8, 2013 great Carrere and Hastings building on Fifth Avenue, No, Ada Louise Huxtable just a month before she died. wasn’t really the first architecture critic. Lewis She loved old buildings Mumford was at The New and may well have done Yorker decades before more than anyone else in Huxtable started writing for the United States to build The New York Times, in 1963; the historic-preservation and a generation before movement into a serious Mumford, Montgomery force. But she never wanted Schuyler was writing for to retreat into the past and The New York Tribune. Huxtable wasn’t even too sophisticated to be prim, but it seemed never thought much of new buildings that the first woman, if you count Mariana Van always to emerge from an extraordinary sense mimicked old ones; she had no patience for Renssalaer, who wrote for several newspapers of propriety. She knew what was right, and trite sentiment and nostalgia. She wanted the and magazines in the 1880s, and Esther she had no fear of telling us so, in a tone that new to take pride in its newness and show McCoy, the pioneering California critic. somehow managed to be both gracious and a way to reinvent the world. She came of absolutely blunt. architectural age, so to speak, in modernism’s But we all know that architecture criticism ascendance after World War II, and a part of really began with Ada Louise Huxtable. She When I worked with Ada Louise at the Times her heart always belonged to the avant-garde. was the first full-time architecture critic on in the 1970s (I was brought in as a daily critic any American newspaper and the first whose while she concentrated on a Sunday column Many of her lines will not, I suspect, ever writings truly captured the public imagination. and editorial writing), I thought of her as be forgotten. She dismissed Edward Durell Huxtable, who died on Monday at the age something akin to Edith Wharton, if Edith Stone’s Kennedy Center in Washington as “a of 91, spent less than two full decades at the Wharton had only dressed in Halston and great marble sarcophagus in which the art of Times, but she effectively invented a modern worked in a newsroom, which is to say that architecture lies buried.” She went to Miami profession and set a tone of elegance, clarity, she was a brilliant woman writer who seemed Beach and returned, she wrote, “with a bad and strength. She made architecture a part all-seeing, rather grand, and possessed of case of the Fontaine-blues.” After Pennsylvania of the cultural discourse. She wrote about brilliant taste and total self-assurance. She was Station, whose demolition she ardently fought, buildings and cities, and she understood in every way a lady, and she was tough as nails. was gone, she wrote that “we may be known that architecture’s great aesthetic power was as a culture not by the monuments we have inextricably enmeshed with political and She welcomed me as a young colleague, in built, but by the ones we have destroyed.” social realities. She could be brutal in her part, I realized years later, because I was young dismissal of architects who gave in too quickly and inexperienced enough to pose no threat Several years ago, when Ada Louise received to the pressure of these realities, but she never to her reputation. She was not without vanity an important award from the Museum of pretended that the real world did not exist. and pride. But as she grew older and moved the City of New York, I was asked to speak She never sought utopia—she was too smart on from the Times to a life as a scholar and about her. My job as the architecture critic for that—but she never gave up believing that writer of books, and then to a late coda as of The New York Times, I said, had been easy there was integrity, nobleness even, to the architecture critic of The Wall Street Journal, “for one simple reason: that before me came pursuit of architecture, and that good design she began to feel a mellower kind of pride, the Ada Louise Huxtable. Do not believe anyone could make the world better. pride of recognition that she truly had inspired who tells you that an extraordinary talent is a generation of younger critics and set them difficult to follow. Ada Louise Huxtable is Her passions never overflowed into fawning on their way. about as difficult to follow as a man with a excess, but they ran deep. She loved buildings, lantern in a blackout: you have to follow her. and she loved New York, and when things Her writing for the Journal would have been She compels you to follow her. There is no weren’t right, she always had the tone of a notable had it been produced by a writer other way except to follow her, since she is parent who told you that she wasn’t angry, 50 years younger; that she was still doing the one who has made the path, laid out the just disappointed, because she knew you it at 91, with every bit of the sharpness road, determined the direction, and set us all were capable of better. Her writing was far and style her writing has always had, was going.” 14 Duke House (continued)
Session I: Erwin Panofsky and the Palazzo Francesco Benelli (Associate Professor, Session IV: Kirk Varnedoe: Teaching, Ducale Department of Art History and Archaeology, curating, and talking about Modern Art Chair: Alexander Nagel (Professor of Columbia University): Richard Krautheimer, Chair: Jean-Louis Cohen (Sheldon H. Solow Fine Arts, Institute of Fine Arts, New York the Tree and the Forest Professor in the History of Architecture, University) Institute of Fine Arts, New York University) Dale Kinney (Professor of History of Art, Christopher Heuer (Assistant Professor, Bryn Mawr College): After the Institute: Jonathan Hay (Deputy Director; Ailsa Department of Art and Archaeology, Richard Krautheimer at the Bibliotheca Mellon Bruce Professor of Fine Arts, Institute Princeton University) Hertziana of Fine Arts, New York University): The Primitivism Debate Revisited Christopher Wood (Professor, History of Art, Session III: Donald Hansen: Leaving No Yale University): Panofsky’s ultima poesia Stone Unturned Robert Slifkin (Assistant Professor of Chair: David O’Connor (Lila Acheson Fine Arts, Institute of Fine Arts, New York Session II: Richard Krautheimer: The years Wallace Professor of Ancient Egyptian Art; University): Quicksilver and Lead before the Institute, and afterwards Co-Director, Yale University-University of Chair: Marvin Trachtenberg (Edith Pennsylvania-Institute of Fine Arts, NYU Leah Dickerman (Curator of Painting and Kitzmiller Professor of the History of Fine Excavations at Abydos) Sculpture, The Museum of Modern Art, New Arts, Institute of Fine Arts, New York York): The Scholarly Curator University) Irene Winter (William Dorr Boardman Professor of Fine Arts, Emerita, Harvard Pepe Karmel (Associate Professor of Art Elizabeth Sears (George H. Forsyth Junior University) History, Department of Art History, New Collegiate Professor of History of Art, York University): Rethinking Modernism: Kirk University of Michigan): Humanistic Endeavor Zainab Bahrani (Edith Porada Professor of Varnedoe and his Students in the Diaspora: Krautheimer’s Breakthrough, Ancient Near Eastern Art and Archaeology, 1942 Columbia University) The centennial programming was made possible in part by a generous grant from the Doris Duke Charitable Foundation.
Evelyn B. Harrison (continued)
How we all admired and loved her. The parties produced in marzipan by Marjorie Venit as and then with a party for 150 organized by for her were famous. One in the mid seventies topping for the cake and a gift for Eve. Eve Professor McCredie. It included the singing of followed a seminar. Everyone gathered at Eve’s loved it and kept it for years. At first she a Homeric Hymn to Pallas Evelyna, “glorious apartment; one girl brought a pasta machine worried that roaches would attack, but they teacher, grey-ey ed and ethically true”. and took over the kitchen; Charles Edwards never dared touch it. delivered a mock seminar report that had been Evelyn Harrison was certainly favored by written and illustrated with slides by several And in June 2000, her 80th birthday was the gods. I like to think that right now she is students. But the piece de resistance was the celebrated for an entire week in Athens, first having ouzo and pistaccio nuts with Athena Marzipan Shield. Eve’s reconstruction with a group of students who brought a on Mt. Olympus. And you may be sure, her of the Shield of Athena Parthenos was gift, to which many others had contributed, peplos is perfectly pinned.
15 IFA Students Who Won Outside Fellowships for 2012-2013
F ellowships granted by outside foundations, museums, research institutes, and universities redound greatly to a student’s scholarly and professional benefit and credit.T he IFA expects students to apply for outside funding and supports their applications with workshops and faculty advice.
Peter Bell Nicholas Herman Lindsay Rabkin Robert Lehman Pre-Doctoral Rome Prize, Samuel H. Kress Institutional Fellowship, The Kosciuszko Foundation Scholarship American Academy in Rome Warburg and Courtauld Institutes, London Visiting Graduate Student Fellow, NYU Susanna Temkin Global Research Institute, Villa La Pietra, Amanda Herrin Graduate Studies Enhancement Grant The Florence Belgian American Education Foundation Social Science Research Council Jane and Morgan Whitney Fellowship, Fellowship Metropolitan Museum of Art (declined) Francisco Rodriguez-Chaparro Cindy Kang Fulbright Fellowship Caitlin Breare Predoctoral Fellowship, The Getty Institute American Australian Association Fellowship Iraida Rodriguez-Negron Kat Koh Meadows/Kress Prado Fellowship, Meadows Lauren Cannady Curatorial Fellowship at The Kitchen Center Museum, SMU Getty Graduate Internship, Paintings for Video, Music, Dance, Performance, Film Department, J. Paul Getty Museum and Literature Ileana Selejan Joan and Stanford Alexander Award in Kara Fiedorek Abigail Lapin Photography Research Museum of Fine Arts, Kosciuszko Foundation Scholarship Kosciuszko Foundation Scholarship Houston
Maryl Gensheimer Sajda van der Leeuw Blanca Serrano Fulbright Fellowship to Italy Fulbright Scholarship La Caixa Foundation Fellowship Dean’s Dissertation Fellowship Graduate Royal Prince Bernhard Cultural Award School of Arts and Science, NYU (declined) VSBfonds Scholarship Anooradha Siddiqi Antonia S. Ranieri Fellowship Center for Hendrik Muller Fund Award Dean’s Dissertation Fellowship Graduate Ancient Studies, NYU School of Arts and Science, NYU Matthew Levy Pinar Gokpinar Henry Luce Foundation/ACLS Dissertation Juanita Solano Hagop Kevorkian Curatorial Fellowship, Fellowship in American Art Universidad de Los Andes Fellowship, Bogotá, Islamic Art Department Metropolitan Colombia and Foundation for the Future of Museum of Art Berit Potter Colombia (Colfuturo) Scholarship Terra Foundation Predoctoral Fellowship in Galia Halpern American Art Smithsonian American Art Jeffrey Uslip Research Fellowship, Max Planck Museum The Engberg Fellowship Graduate School of Kunsthisorisches Institute in Florence Arts and Science, NYU J.B. Harley Research Fellowship in the History Jeongho Park of Cartography Anne L. Poulet Curatorial Fellowship The Frick Collection Betty Hensellek State of Ohio Electrical Inspectors AnnMarie Perl Scholarship, Ohio Chapter of the Remarque Doctoral Fellowship, École International Association of Electrical Normale Supérieure, Paris Inspectors
2012-2014 IFA Alumni Association Awards will be printed in our upcoming 2014 issue.
16 Doctors of Philosophy Conferred in 2012-2013
Mark B. Abbe Melanie Hanan Lelia Packer “The Polychromy of Roman Marble “Romanesque Casket Reliquaries: Forms, “Imitation and Innovation in Materials in Sculpture: Aphrodisias and Corinth” Advisor: Meanings, and Development” Early Modern Northern European Art: Pen Katherine Welch Advisor: Jonathan Alexander Prints, Pen Drawings, and Pen Paintings, c 1580-1670” Denise Birkhofer Genevieve Hendricks Advisor: Mariët Westermann “On and Off the Streets: Photography and “Collision and Collusions: Interactions in Le Performance in Mexico City, 1974-1984” Corbusier Art and Architecture, Purism and Alexander Rich Advisor: Edward Sullivan Beyond” “Artist or Critic: Guy Pène du Bois and the Advisor: Jean-Louis .Cohen Search for Artistic Identity” Cathleen Chaffee Advisor: Linda Nochlin “Décors: Marcel Broodthaers’s Late Exhibition Alison Hokanson Practice, 1974–5” “The Soul of Solemn Places: The Interior Hannah Sigur Advisor: Robert Storr Scenes of Henri De Braekeleer (1840-1888)” “Neoclassicism and National Identity: Advisor: Linda Nochlin Japan, the United States, and International Liam Considine Expositions 1862-1915” “New Realisms: Pop Art in France, 1962- Jai Imbrey Advisor: Jean-Louis Cohen 1968” “Fictive Frames in Mantegna’s Devotional Art” Advisor: Thomas Crow Advisor: Colin Eisler Denise Teece “Vessels of Verse, Ships of Song: Persian Jason Dubs Abby Kornfeld Anthologies of the Qara Quyunlu and Aq “Making a Scene: The Colectivo Acciones de “Meanings in the Margins: Between Text and Quyunlu Period” Arte, the Chilean Neo-Avant-Garde, and the Image in the Medieval Haggadah” Advisor: Priscilla Soucek Politics of Visibility, 1975-1989” Advisor: Jonathan Alexander Advisor: Edward. Sullivan Rosemarie Trentinella Laura Leaper “The Roman Villa in Calabria: Case Studies in Rachel Federman “Time, Memory and Ritual: deciphering Visual Culture” “Framing Los Angeles: Artists’ Environments visual rhetoric in Diego Valades’ Rhetorica Advisor: Katherine Welch and Institutional Space, 1962-1994” Christiana” Advisor: Thomas Crow Advisor: Jonathan Brown Derek Weiler “Serial Aesthetics and the Concept of Ross Finocchio Beth Merfish Technique: Mel Bochner and the 1960s” “Henry Clay Frick: The Making of an “Stars in Complex Constellations: Mexico Advisor: Jeffrey Weiss American Collector, 1880-1905” City’s Taller de Gráfica Popular through Inside Advisor: Jonathan Brown and Outside Histories” Michele Anne Witjegoonaratna Advisor: Edward. Sullivan “Tradition, Innovation and the Construction Ana Franco of Identity in Otto Dix’s Portraits and Self- “Edgar Negret and Eduard Ramirez- Elizabeth Monti Portraits 1912-1925” Villamizar: Transnational Encounters and the “Art for an Antipope: Patronage at the Court Advisor: Robert Lubar Rise of Modernism in Colombian Art, 1944- of Clement VII (1378-1394)” 1964” Advisor: Jonathan Alexander Kathryn Wysocki Advisor: Edward Sullivan “Images for the King: The Bronze Plaques Sarah Montross of the Benin Court in their Architectural Maryl Gensheimer “Cartographic Communication: Latin Context” “Decoration and Display in Rome’s Imperial American New Media Artists in New Advisor: Jonathan Hay Thermae: Issues of Intention, Reception, and York, Juan Downey and Jaime Davidovich Visual Experience at the Baths of Caracalla” (1960s-1980s)” Advisor: Katherine Welch Advisor: Edward Sullivan
Erik Gustafson Judith Noorman “Tradition and Renewal in the Thirteenth- “The unconventional career of Jacob van Loo Century Franciscan Architecture of Tuscany” (1614-70), painter in Amsterdam and Paris” Advisor: Marvin Trachtenberg Advisor: Mariët Westermann
17 Alumni Updates
Conservation ...... 18 Art Museum, 2013. Nation: Taki Katei and the Challenges to Sinophile Projects: Avenir Foundation, in January 2012, Culture in Meiji Japan, Leiden: Brill, 2013. Asian Art...... 18 donated 3 million dollars to endow the Textile Lectures & Presentations: “Elegant Gatherings: Art department, securing the position of a full Japanese Woodblock-printed Literati Albums of Islamic Art...... 19 time curator and curatorial assistant, and design the 1880s,” School of Oriental & African Studies, and renovation of nearly 8,000 square feet for a University of London; “Meiji noughties (zero- Egypyian, Ancient Near Eastern, new Textile Art gallery. On May 15, 2013, Cover nendai): Japanese art history’s blindspot,” School of Greek & Roman Art...... 19 Story, the inaugural exhibition; Thread Studio, an Oriental & African Studies, University of London educational and exploration area; and PreVIEW, Projects: Kabuki: Japanese Theatre Prints, special Early Christian to Medieval Art...... 19 a space visible to the public where curatorial, exhibition plus accompanying catalogue, October conservation, and collection management activities 2013 Renaissance to 18th Century Art ...... 20 take place, opened. Patricia Eichenbaum Karetzky 19th Century, Modern & Contemporary Art. . 22 PhD 1979 Conservation Mailing Address: 150 East 69th St #10N, NY NY 10021 Jennifer Perry Email Address: [email protected] MA and Conservation Certificate 1993 Website: karetzky.com Deborah Lipton Mailing Address: Department of Asian Art Latest Position: O Munsterberg Chair of Asian Mailing Address: 200 East 36th Street, #14D The Metropolitan Museum of Art Art, Bard College, Annandale NY New York, NY 10016 1000 Fifth Ave., New York, NY 10028 Publications: Femininity in Asian Women Artists’ Email Address: [email protected] Email Address: [email protected] Work from China, Korea and USA: If the Shoe Latest Position: Major Gift Officer, Cornell Latest Position: Conservator, Department of Asian Fits, London: KT Press, 2012; “The Image of University Art the Winged Celestial and Its Travels Along the Lectures & Presentations: “Ogata Kōrin’s Irises Silk Road,” Sino-Platonic Papers, University of Vivian B. Mann at Yatsuhashi: Recent Discoveries through Pennsylvania, June 2012; “Contemporary Chinese Mailing Address: 144 East 84th Street Scientific Investigation,” Designing Nature: The Art: Uses and Reuses of the Past,” Education About Apt. 5B Rinpa Aesthetic in Japanese Art: A Scholar’s Asia, Spring, 2012; “Lin Tianmiao’s New Works: New York, NY 10028-2042 Day Symposium, Metropolitan Museum of ‘Dem Bones’” Yishu, 2012; “Daoist Themes by Email Address: [email protected] Art; “Toward an Understanding of Japanese Women Artists,” Journal of Daoist Studies, 2012; Latest Position: Director of the MA Program in Paintings: Formats, Materials, Techniques,” Art “Cui Xiuwen’s Recent Work: Spiritual Realms Jewish Art & Visual Culture, Jewish Theological History and Conservation Science, Princeton in the Material World” n.paradoxa, London, Jan Seminary University 2012. Lectures & Presentations: “Jewish Islamic Art Lectures & Publications: “The Artist As a Force of and Architecture: Spain and North Africa,” World Phoebe Dent Weil Change in Contemporary China” Monuments Fund; “Daughters of Israel who Create MA 1966 International and Interdisciplinary Conference, Textiles: A ‘New’ Set of Seventeenth-Century Mailing Address: 2158 Oak Drive Jawaharlal Nehru University, New Delhi Italian Synagogue Decorations, Conference for the Saint Louis, MO 63131-3244 Association for Jewish Studies; “Traditionalism in Email Address: [email protected] Hannah Sigur Sephardi Art,” Conference on Jewish Arts and Website: http://www.northernlightstudio.com MA 1992, PhD 2012 Identity in the Contemporary World,” Baruch Latest Position: Lecturer / Smith Mailing Address: 1821 San Ramon Avenue, College College, Technical Art History Berkeley, CA 94707 Lectures & Presentations: Mary Baldwin College, Email Address: [email protected] Peter M. Wolf “The Hidden Life of Art” Website: ucdavis.academia.edu/hannahsigur; and PhD 1968 Honors & Awards: 2012, Sir Harold Acton Award, linkedin.com/in/hannahsigur/ Mailing Address: Peter Wolf Associates, Inc. NYU Latest Position: adjunct lecturer at University of 360 Madison Avenue - 18th fl. Projects: review, exhibition catalogue Bernini: California, Davis; San Francisco State University New York, New York 10017 Sculpting in Clay Publications: The Influence of Japanese Art on Email Address: [email protected] Design, Salt Lake City, UT: Gibbs Smith, 2008; Website: www.petermwolf.com “How Did the World’s Columbian Exposition Publications: My New Orleans, Gone Away: A Asian Art Change America?” in What Happened? An Memoir of Loss and Renewal, Delphinium Books, Encyclopedia of Events that Changed America July 2013 Rosina Buckland Forever: The Nineteenth Century, John E. Findling, PhD 2008 Frank W. Thackeray, Eds., Santa Barbara: ABC- Alice M. Zrebiec Mailing Address: Dept. of World Cultures, Clio Press, December, 2010; A Master Guide to MA and Museum Certificate 1972, PhD 1980 National Museum of Scotland, Edinburgh EH1 the Art of Floral Design, by Alisa A. DeJong-Stout Mailing Address: 903 Paseo de la Cuma 1JF, United Kingdom with Hannah Sigur, Portland: Timber Press, 2002, Santa Fe, NM 87501 Email Address: [email protected] Second ed., 2005 Email Address: [email protected] Website: http://www.nms.ac.uk Lectures & Presentations: “The West as Concept: Latest Position: Avenir Foundation Curator of Latest Position: Senior Curator (Japan) Neoclassicism and ‘Greco-Buddhism’ in Meiji Textile Art, Denver Art Museum Publications: Shunga: Erotic Art in Japan, London: Japan, 1877-1893,” 34th Annual Conference of the Publications: Threads of Heaven: Silken Legacy of British Museum Press, 2010; Painting Nature for the Nineteenth Century Studies Association, California China’s Last Dynasty, exhibition catalogue, Denver 18 S tate University, Fresno; “Japan and Britain Bring Tom L. Freudenheim Parthenon Gallery, Acropolis Museum, Athens, Aestheticism to America: Oakland’s Cohen-Bray MA since June 2009; “An Archaeologist’s Eye: House” American Decorative Arts Forum, San Mailing Address: 1200 Fifth Ave., Apt. 5B, New Photographs and Parthenon Drawings of Katherine Francisco York, NY 10029 Schwab,” Lukacs Gallery, Fairfield University, Honors and Awards: Blakemore Fellow; Jane and Email Address: [email protected] Fairfield, CT, 2009 Morgan Whitney Fund Fellow, Metropolitan Website: www.CulturalConsulting.com Lectures & Presentations: “Typologies of the Museum of Art Latest Position: art critic (freelance), Wall Street Caryatid Coiffures,” poster session presentation, Journal 114th Annual Meeting, Archaeological Institute of Projects: membership on not-for-profit boards, America, Philadelphia; Lectures on the Caryatid Islamic Art which I believe is one of the responsibilities of Hairstyling Project: Athens, 2011, 2013; Kyoto, retired people 2011; NYC, 2011, 2012, 2013; Amherst, 2012; Olga Bush Cleveland, 2011; Wash., D.C., 2011 PhD 2006 Honors & Awards: “Paideia” Award, Greek Mailing Address: 151 College Ave. Apt. 2 Egyptian, Ancient Near Eastern, Independence Day celebration, 2012, Capitol Poughkeepsie, NY 12603 Building, Hartford, CT; “Hellene of the Year,” Email Address: [email protected] Greek & Roman Art AHEPA District 7, Connecticut & Rhode Island, Latest Position: Visiting Scholar, Vassar College, 2011 2012-13; Editorial Board, Gesta, 2013-2016 Robert Steven Bianchi Projects: Hair in the Classical World: Technique Publications: “Granada Architecture and MA 1976 and Meaning—an exhibition and symposium Art,” Encyclopaedia of Islam, Third ed., Brill, Mailing Address: 2034 Barracuda Court Fall 2015, Bellarmine Museum of Art, Fairfield forthcoming; Gazing Otherwise: Modalities Holiday, Florida 34691 University; Collaboration with Jenifer Neils on of Seeing, Proceedings of the Conference, Email Address: [email protected]; thedrbob@ a reconstruction of the Athena Parthenos Shield Kunsthistorisches Institut-Max-Planck-Institut, verizon.net interior Florence, 2012, Muqarnas, special issue, co-editor Website: http://fg-art.org/ with Avinoam Shalem, forthcoming; “Entangled Latest Position: Conservateur en chef, Fondation Stefanie Weisman Gazes: The Polysemy of the New Mosque of Gandur pour l’Art/Geneve MA 2009 Granada,” in Gazing Otherwise: Modalities of Seeing, Publications: Kyriakos Savvopoulos and Robert Email Address: [email protected] Proceedings of the Conference, Kunsthistorisches Steven Bianchi, Graeco-Roman Museum Series I: Website: www.valedictoriansguide.com Institut-Max-Planck-Institut, Florence, 2012, Alexandrian Sculpture in the Graeco-Roman Museum, Latest Position: Writer Muqarnas, special issue, forthcoming Alexandria, 2012 Publications: The Secrets of Top Students: Tips, Tools, Lectures & Presentations: “What Gifts Have to Lectures & Presentations: “A Portrait in the and Techniques for Acing High School and College, Say: Islamic Luxury Objects in the Mediterranean Collections of the Fondation Gandur pour l’Art/ Naperville, Illinois: Sourcebooks, 2013. Context,” Kunsthistorisches Institut-Max- Genève Depicting Alexander Ktistes,” Discovering Planck-Institut, Florence; “Dining at Shangri Alexander’s World--an International Conference, La: The Creation of Architectural Interiors and Museum of Aigai Early Christian and Medieval Art Collecting Islamic Art in America, 1930-1960’s,” Kunsthistorisches Institut-Max-Planck-Institut, Katherine A. Schwab Susan L’Engle Florence; “Islamic Art Objects: Recovering PhD 1988 PhD 2000 Women’s Voices,” School of Architecture and the Mailing Address: Dept. of Visual and Performing Mailing Address: Pius XII Memorial Library, Saint Department of Landscape Architecture, University Arts, Fairfield University, 1073 N. Benson Road, Louis University, of Illinois, Urbana-Champaign; Fairfield, CT 06824 3650 Lindell Boulevard, St. Louis, Missouri 63108 “Contextualizing Andalusi Textiles: Questions, Email Address: [email protected] Email Address: [email protected] Methods, Directions,” Scholars’ Workshop, Latest Position: Professor of Art History; Curator, Website: http://libraries.slu.edu/special_collections/ Islamic Department, The Metropolitan Museum Plaster Cast Collection, Bellarmine Museum of Art, vfl of Art; Conference co-organizer with Avinoam Fairfield University Latest position: Assistant Director, Vatican Film Shalem, “Gazing Otherwise: Modalities of Seeing,” Publications: “Looking Past the Myths in Library Kunsthistorisches Institut-Max-Planck-Institut, the Parthenon Metopes,” Parthenon Sculpture, Publications: “Benchmarks for Illumination in Florence; “Entangled Gazes: The Polysemy Parthenon Project Japan 2007-2009, Tsukuba Padua during the Last Quarter of the Thirteenth of the New Mosque of Granada,” “Gazing University, Tsukuba-City, Japan, 2011; “Creative Century,” Miniatura. Lo sguardo e la parola. Studi in Otherwise: Modalities of Seeing,” conference, Intentions, Truth and Archaeology,” The Creative onore di Giordana Mariani Canova, Milan, Silvana Kunsthistorisches Institut-Max-PlanckInstitut, Photograph in Archaeology, ed. C. Antoniades, Editoriale, 2012; “Gratian’s Decretum (Decretum Florence; Panel organizer, “Andalusi Textiles: Athens, Benaki Museum, 2009; “Chapter 7: Gratiani),” The Grove Encyclopedia of Medieval Art, Crossing Borders, Constructing Politics,” Textile New Evidence in Parthenon East Metope 14,” ed. Colum Hourihane, Oxford University Press, Society of America 13th Biennial Symposium: Structure, Image, Ornament: Architectural Sculpture 2012; “The Pro-active Reader: Learning to Learn “Textiles & Politics,” Washington, DC; “Beyond of the Greek World, eds. R. von den Hoff and P. the Law,” Medieval Manuscripts, Their Makers and the Smoking Room: Creating a Home for Islamic Schultz, David Brown Books/Oxbow Books, 2009; Users:A Special Issue of Viator in Honor of Richard Art at Shangri La,” Museum of Art and Design, “Caryatid Hairstyling Project,” DVD, Project and Mary Rouse, Turnhout, 2011 New York Director, 2009: screenings, October 13 and 18, Lectures & Presentations: “Glossing the Margins: Projects: Monograph in progress on the 2009: www.fairfield.edu/caryatid Strategies for Learning the Law,” Toronto, XIV architecture and aesthetics of the Alhambra; Exhibitions: “Selected Parthenon Drawings” International Congress of Medieval Canon Law; Content consultant, “The Ornament of the Gifts from Athens, Bellarmine Museum of Art, “German Students in Bologna and Padua, and World,” documentary film, Kikim Media 2010; Parthenon East and North Metope scanned the Secondhand Book Trade in Medieval Italy,” drawings (26 drawings), permanent installation,
19 Alumni Updates Continued Early Christian and Medieval Art
Kalamazoo, Michigan: 47th International Congress Reviews, 2013; “Ghosts of Things: A Conversation Veneto Countryside, Giandomenico Tiepolo’s on Medieval Studies; “Where to Put the Pictures: with Diana Al-Hadid,” Sculpture, 2013; Edward Paradoxical Peasants in the Villa Valmarana, An Illuminator’s Creative Formatting and Its Burtynsky, Hong Kong, Sundaram Tagore Gallery, Vicenza,” Happiness, A Volume of Essays, Subsequent Incarnations,” Medieval Academy of 2012 Cambridge Scholars Publishing, forthcoming 2013 America Meeting; “Dice, Daggers, and Divination: Decoding Readers’ Glosses to the Corpus of Ronni Baer Andria Derstine Roman Law,” Keynote lecture at Texts and Contexts, PhD 1990 MA 1996, PhD 2004 annual conference, Ohio State University; “The Email Address: [email protected] Mailing Address: Allen Memorial Art Museum, Transmission of Legal Manuscripts from Bologna Latest Position: Elfers Senior Curator of European Oberlin College, 87 North Main St., Oberlin, OH and Padua to German Collections,” conference Painting, MFA Boston 44074 Rechtshandschriften des deutschen Mittelalters, Publications: “Dou and the Delft Connection,” Email Address: [email protected] Produktionsorte und Importwege, Herzog August Face Book: Studies on Dutch Portraiture of the 16th- Latest Position: John G. W. Cowles Director, Bibliothek, Wolfenbüttel 18th Centuries. Liber Amicorum for Rudi Ekkart, Allen Memorial Art Museum, Oberlin College Honors & Awards: 2013 Grant from the Spanish Primavera Pers/RKD, Leiden/The Hague, 2012; Exhibitions: Religion, Ritual, and Performance Ministry of Economy and Competitiveness “Of Cats and Dogs: Domestic Pets in Rembrandt in the Renaissance, Allen Memorial Art Museum, as a member of a 3-year collaborative project, and Dou,” Een Kroniek voor Jeroen Giltaij/ 2012-2013 (and accompanying 2-day symposium, “Illuminated Manuscripts during the Last Kroniek van het Rembrandthuis, Amsterdam, 2013) Centuries of the Middle Ages for the Monarchy, 2012; “A Conversation with Ori Gersht”, Ori Lectures & Presentations: “Giampietrino’s Church, and Aristocracy in the Kingdoms and Gersht: History Repeating, Boston, Museum of Fine Cleopatra in the Allen Memorial Art Museum: States of Southern Europe.” Arts, 2012 Conservation, Technical Examination and Exhibitions: Still Life from the MFA, Boston: Research”, with Andrea Chevalier, Oberlin, OH; Gerald Guest Tradition and Innovation, Nagoya/Boston Museum Co-chair of panel “Eighteenth-Century Art on MA 1991; PhD 1998 of Fine Arts, 2011-2012 and North Carolina Display” with Jon Seydl, ASECS, Cleveland, Mailing Address: Department of Art History, John Museum of Art, Raleigh, 2012-2013 and As Still- OH; “New Initiatives at the Allen Memorial Art Carroll University, Life Masterpieces: A Visual Feast from the Museum of Museum”, Oberlin, OH; Co-organizer of seminar University Heights, OH 44118 Fine Arts, Boston, B & M Theocharakis Foundation, “Making and Meaning in Medieval, Renaissance, Email Address: [email protected] Athens, Greece, 2013 and Baroque Europe (c. 1300-1625)” with Erik Latest Position: Associate Professor Lectures: “Rembrandt and Dou: The Rough and Inglis, Oberlin, OH; “Maidenform to Modernism: Publications: “Space,” Studies in Iconography, the Neat,” Zurich; “Dou’s Innovations as a Genre The Bissett Collection at the Allen Memorial Art 2012 (special issue, Medieval Art History Today Painter,” National Gallery of Art, Dublin Museum, Oberlin College”, Ménerbes, France – Critical Terms); “Illuminated Manuscripts as Honors & Awards: Getty Research Institute Guest Honors & Awards: NEH Challenge Grant to Machines,” Manuscripta, 2011 Museum Scholar, winter 2013 endow the Office of the uratorC of Asian Art at the Allen Memorial Art Museum, 2012 James Morganstern William Barcham MA 1964, PhD 1973 PhD 1974 Joellyn T. Duesberry Mailing Address: Dept. of History of Art, Ohio Mailing Address: 218 Harrison Avenue, Highland MA 1967 State University, 215 Pomerene Hall, 1760 Neil Park, NJ 08904 Mailing Address: 2800 E. Willamette Ln., Ave., Columbus, OH 43210 Email Address: [email protected] Greenwood Village CO 80121 Email Address: [email protected] Latest Position: Professor Emeritus, Department Email Address: [email protected] Latest Position: Professor, Ohio State University, of the History of Art, Fashion Institute of Website: http://www.joellynduesberry.com emeritus Technology, SUNY Latest Position: Working painter, print maker, Publications: “Les fragments de vitraux de Publications: “Giambattista Tiepolo e Paolo teacher, lecturer, juror Jumièges: La découverte” and “Les fragments…: Veronese, un duetto a una voce sola,” I colori della Publications: Elevated Perspective: The Paintings Aperçu du contexte des verrières” Le vitrail, chefs- seduzione, Giambattista Tiepolo e Paolo Veronese, of Joellyn Duesberry, Rose Frederick Fine Art d’œuvre cachés du musée, exhibition catalogue, exh. cat., author, co-organizer of exhibition and Publishing, 2011 musée des Antiquités, Rouen, 2013 co-editor of catalogue, Civici Musei di Udine, Projects: Upcoming Exhibitions: Contemporary Projects: Church of Notre-Dame de Jumièges Udine, 2012; “Six Panels by Michele Giambono, Painting in the West, Grand Junction Center for pictor Sancti Marci,” New Perspectives on the Man of the Arts/Curator, exhibitor, lecturer, workshop Sorrows, author and co-editor of volume, Medieval instructor, 2013; Western Waters, Loveland Renaissance to 18th Century Art Institute Publications, forthcoming, 2013; Museum, Colorado, 2013-2014; Solo exhibition, “Deferential of Formulaic? Antonio Vivarini and Grand Junction; The Waterfall Series, early 2014, Michaël J. Amy the Sacred Image of the ‘Man of Sorrows’,” artibus Tina Goodwin Fine Art; Ground Zero, 2014, MA 1989, PhD 1997 et historiae (Art in 16th-Century Venice: Context, Fulginiti Pavilion for Bioethics and Humanities; U Mailing Address: College of Imaging Arts & Practices, Developments: Proceedings of a Conference of Colorado Anschutz Medical Campus Sciences, Rochester Institute of Technology, 73 in honour of Peter Humfrey) forthcoming, 2013; Lomb Memorial Drive, Rochester, NY 14623 “Giambattista Tiepolo e Gerolamo Mengozzi Email Address: [email protected] Colonna, l’armonia pittorica a due pennelli e Website: www.michaelamy.com la mistica carmelitana,” Arte e Spiritualità dei Latest Position: Professor of the History of Art, Carmelitani a Venezia, Atti del Convegno su la College of Imaging Arts & Sciences, Rochester Chiesa di Santa Maria di Nazareth 2012, eds., Institute of Technology Giacomo Bettini e Martina Frank, forthcoming Publications: “Bernini: Sculpting in Clay,” CAA. 2013; “Picturing the Pursuit of Happiness in the
20 Wayne Franits Projects: book-length study of Netherlandish the Crossroads: The Arts of Spanish America & Early PhD 1987 Renaissance sculpture Global Trade 1492-1850, Donna Pierce and Ronald Mailing Address: Dept. of Art and Music Osuka, eds., Denver Art Museum 2012 Histories, Syracuse University, Suite 308 Bowne Anita Moskowitz Projects: an anthological volume on painting in Hall, Syracuse, NY 13244 PhD 1978 colonial Bolivia Email Address: [email protected] Mailing Address: 420 Riverside Drive, apt. 8G Website: http://as-cascade.syr.edu/profiles/pages/ New York, NY 10025. Jack Wasserman franits-wayne.html Email Address: [email protected] PhD 1961 Latest Position: Professor of Art History Latest Position: Professor Emerita (as of August Mailing Address: 409 Pine Street, Philadelphia, Publications: The Paintings of Dirck van Baburen 2012) PA 1910 ca. 1592/93-1624: Catalogue Raisonné, Amsterdam/ Publications: Forging Authenticity: Bastianini Email Address: [email protected] Philadelphia, John Benjamins Publishing Company, and the Neo-Renaissance in Nineteenth-Century Latest Position: Professor Emeritus of Art History, 2013; “Genre Painting in Seventeenth-Century Florence; “’Dell’ Anima Trasmigrata’: Desiderio da Temple University, Europe,” A Companion to Renaissance and Baroque Settignano and Giovanni Bastianini,” Desiderio da Projects: Jacopo Pontormo’s Virgin and Child with Art (Blackwell Companions to Art History), ed. Settignano. Venice: Marsilio Editori, 2011; Review, Saint Anne, Louvre in Brunelleschi and the three J. Saslow and B. Bohn, Chichester/Hoboken, Wiley David Friedman, Julian Gardner, Margaret Haines, chapels: Barbadori Chapel, the Old Sacristy, the Publishers, 2013; “Johannes Vermeer,” Oxford eds., Arnolfo’s Moment, Acts of an International Pazzi Chapel Bibliographies Online (electronic publication) Conference, Florence, Villa I Tatti, 2005, Florence, Honors & Awards: 2010: National Endowment Leo S. Olschki, 2009, Renaissance Quarterly, 2011 Diane Wolfthal for the Humanities Summer Stipend (for book on Lectures: Introduction, “Carved/Re-carved: The PhD 1983 paintings of Dirck van Baburen) Surface of Sculpture,” College Art Association Email Address: [email protected] annual conference (co-Chair), New York City, 2013 Website: http://arthistory.rice.edu/content. William Hood Honors & Awards: Publication financing awards: aspx?id=402 PhD 1976 Fine Arts - Humanities – Social Sciences research Latest Position: David and Caroline Minter Mailing Address: 141 East 55th Street, Apt 6H, fund, Stony Brook University; Text and Academic Professor in the Humanities and Professor of Art New York, NY 10022 Authors grant, Joseph Coccia Foundation History, Rice University Email Address: [email protected] Projects: The Florentine Dealer Stefano Bardini Publications: Princes and Paupers: The Art of Latest Position: Mildred C. Jay Professor Emeritus, (1836-1922); Collecting Trecento art during the Jacques Callot, co-authored with Dena Woodall, Oberlin College; Visiting Professor, Institute of 19th century exhibition catalogue, Houston: Museum of Fine Fine Arts Arts, distributed by Yale University Press, 2013; Anna Karolina Piotrowska “Sin or Sexual Pleasure? A Little-Known Nude Ethan Matt Kavaler PhD 2009 Bather in a Flemish Book of Hours,” The Meanings 1992 Mailing Address: 8/F Flat L, King Cheung of Nudity in Medieval Art, ed. by Sherry Lindquist, Mailing Address: Dept. of Art, 100 St. George Mansion 5, King Kwong Street, Happy Valley, Aldeshot: Ashgate Press; “The Sexuality of the Street, Toronto ON M5S 3G3, Canada Hong Kong, China S.A.R. Medieval Comb,” Exploring the Thresholds of Email Address: [email protected] Email Address: [email protected] Medieval Visual Culture, ed. by Elina Gertsman Latest Position: Professor /Acting Director, Latest Position: Director of Institutional and Jill Stevenson, Woodbridge: Boydell Press Centre for Reformation and Renaissance Studies, Effectiveness, SCAD Hong Kong (Savannah Lectures & Presentations: “Representation University of Toronto College of Art and Design) and Ritual in Three Books of Customs from Publications: Renaissance Gothic: Architecture and Renaissance Venice,” Center for International the Arts in Northern Europe 1470-1540, New Haven Polly Sartori Jewish Studies and Ca’ Foscari University, and London: Yale University Press, 2012 MA 1983 Venice; “Jacques Callot’s Gypsies,” Museum of Lectures: “The Aesthetics of Spectacle: the Bruges Mailing Address: Sotheby’s, 1334 York Avenue, Fine Arts, Houston; “From the naked eye to the Mantelpiece to Charles V,” Meeting of the College New York, NY 10021 supercomputer: New light on Dirk Bouts’ canvas Art Association of America, New York; “Mapping Email Address: [email protected] paintings,” College Art Association conference; Time: The Netherlandish Carved Altarpiece in the Latest Position: Senior Vice President, Head of “Materiality and Immateriality in Images of Sixteenth Century,” Netherlandish Culture of the Department, 19th Century European Paintings, Household Servants,’ Renaissance Society Sixteenth Century, Conference of the Centre for Sotheby’s New York conference; “The Social Value of the Humanities,” Reformation and Renaissance Studies, Toronto; Rice-Leipzig symposium, Rice University; “Carved Prayer Nuts and Netherlandish Sculpture Suzanne L. Stratton-Pruitt “Beyond the Human: Visualizing the Posthuman of the Sixteenth Century,” Prayer Nuts, Private PhD1983 Mandrake in Early Modern Europe,” Renaissance Devotion and Early Modern Art Collecting, Mailing Address: 451 West Broadway, New York, Posthumanism Conference, Rice University; Colloquium, The Abegg Stiftung, Riggisberg, NY 10012 Member, Roundtable panel, Mellon seminar Switzerland; “The Spencer Album in the New Email Address: [email protected] “Before and After Queer,” Rice University; “Images York Public Library and the Dissemination of Publications: Author and editor, The Art of of Sexual Crime and Punishment,” Syracuse Netherlandish Classicism in German,” Visual Painting in Colonial Quito/El arte de la pintura University; “Callot’s Gypsies,” Sixteenth Century Acuity and the Arts of Communication in Early en Quito colonial, Philadelphia: Saint Joseph’s Studies conference; “Remembering Serial Marriage Modern Germany, FNI Conference, Durham, Press, 2012; Journeys to New Worlds: Spanish and in Medieval Europe,” TEMA conference North Carolina, Duke University; “Jean Mone Portuguese Colonial Art in the Roberta and Richard Honors and Awards: J. Paul Getty Institute, and the Introduction of the Antique Mode in the Huber Collection, exhibition catalogue, Philadelphia Museum Scholar, 2012; Samuel H. Kress Netherland,” Renaissance Society of America, Museum of Art, 2013; “From Spain to the Foundation, Art in Europe in Context Grant, Meeting, Washington Viceroyalty of Peru: Paintings by the Dozen,” At 2012; Oxford Centre for Hebrew and Jewish
21 Alumni Updates Continued Renaissance to 18th Century Art
S tudies, Visiting Scholar, Yarnton Manor, 2012 Giverny,” Bronxville Historical Conservancy in Art,” SALT Beyoglu, Istanbul; KHOJ, New Projects: Currently writing two books: Corpus Delhi; John M. Flaxman Library, School of the Art of Fifteenth-Century Painting in the Southern Michele Greet Institute of Chicago; Weatherspoon Art Museum, Netherlands and the Principality of Liège: Early PhD 2004 Greensboro, North Carolina; “Contemporary Netherlandish Paintings in Los Angeles, co-authored Mailing Address: Associate Professor of Art Curatorial Practice in India,” School of the Art with Catherine Metzger, Brussels: Centre d’étude History, Department of History and Art History, Institute of Chicago; “Curatorial Strategies,” de la peinture du quinzième siècle dans les Pays-Bas MS 3G1, 4400 University Dr., George Mason Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, méridionaux et la principauté de Liège, expected University, Fairfax, VA 22030 Mumbai; “Hybrid Practice,” Experimenter, date of publication 2013; Household Help: Images of Email Address: [email protected] Calcutta; “Curatorial Methods,” Curatorial Servants ad Slaves in Europe and its Colonies. Lectures & Presentations: “The Latin American Intensive organized by Independent Curators Artists of Léonce Rosenberg’s ‘Effort moderne,’” International and Mohile Parikh Centre for the Colloquium on Spanish and Latin American Arts, Mumbai; “Exhibitions in Process: The Way th Art and Visual Culture, Institute of Fine Arts, Things Go,” India International Centre, New Delhi 19 Century, Modern & NYU; “Camilo Egas, su revista Hélice, y los raíces Lindsay Harris Contemporary Art vanguardistas del indigenismo”Camilo Egas, artista MA 2006, PhD 2010 moderno, Ministerio de Cultura del Ecuador, Mailing Address: 3823 Porter Street NW #302, Claude Cernuschi Pontificia Universidad Católica del Ecuador, Quito, Washington, DC 20016 Primary field: Modern: Ecuador; “Mapping Transatlantic Encounters: Latin Email Address: [email protected] MA 1983, PhD 1988 American Artists in Paris Between the Wars” Spaces Latest Position: Research Associate, Department of Mailing Address: Fine Arts/Devlin Hall 431, 140 of Art: Thinking the National and Transnational in Photographs, National Gallery of Art, Washington, Commonwealth Ave, Boston College, a Global Perspective, Purdue University, Purdue, IN D.C. Chestnut Hill, MA 02467 Projects: Digital database of more than 300 Publications: “Before the Eyes of Thousands: Email Address: [email protected] Latin American artists living and working in The 54th Massachusetts Regiment and Augustus Website: http://www.bc.edu/content/bc/schools/ Paris between the wars; Database of galleries Saint-Gaudens’ Shaw Memorial in Twentieth cas/finearts/faculty/arthistory/cernuschi.html that exhibited Latin American art in Paris; Maps Century Art,” Tell It with Pride: The 54th Latest Position: Professor and Chair, Fine Arts of artists’ residences, galleries, and art schools: Massachusetts Regiment and Augustus Saint-Gaudens’ Department, Boston College
22 Caroline Goldberg Igra Jongwoo Jeremy Kim Jerry D. Meyer PhD 1995 PhD 2007 PhD 1973 Publications: co-author and co-editor: “J.D. Mailing Address: Hite Art Institute, Department Mailing Address: 3030 N. First Street, DeKalb, IL Kirszenbaum (1900-1954): The Lost Generation” of Fine Arts, University of Louisville, 60115 in 2013 with Somogy Editions d’art Lutz Hall, Room 147, Louisville, KY 40292 Email Address: [email protected] Exhibitions: exhibition “J.D. Kirszenbaum: The Email Address: [email protected] Latest Position: Professor Emeritus, Northern Lost Generation” at the Museum of Art, Ein Website: http://louisville.edu/art/faculty/jongwoo- Illinois University, retired June 2001 Harod, February-May 2013, at The Museum of kim-ph.d Publications: “Blair Hughes-Stanton and D. H. the Jewish People, Beit Hatfutsot, Tel Aviv, July Latest Position: Associate Professor of Art History Lawrence: The wood engraver and the priest of 2013-February 2014. love,” Caxtonian Journal, 2013 Karen Kurczynski Alisa Luxenberg MA 1998, PhD 2005 Barbara L. Michaels PhD 1991 Mailing Address: 86 Winchester St., Medford, MA MA 1962 Mailing Address: University of Georgia, Lamar 02155 Email Address: [email protected] Dodd School of Art, Email Address: [email protected] Latest Positions: independent scholar/free lance 270 River Rd., Athens, GA 30602-7676 Latest Position: Assistant Professor of Art History, writer Email Address: [email protected] University of Massachusetts, Amherst Publications: “Photographic History, Starring Website: art.uga.edu Publications: “No Man’s Land,” October 141, Women” The Photo Review, 2013 Latest Position: Professor of Art History 2012, special issue on Asger Jorn; “Asger Jorn, Lectures & Presentations: “Adventures with Publications: Secrets and Glory: Baron Taylor and Popular Art, and the Kitsch-Avant-Garde,” Kitsch: Gertrude Käsebier,” University of Delaware, his “Voyage pittoresque en Espagne,” Madrid: Centro History, Theory, Practice, ed. Monica Kjellman- Newark, DE de Estudios Europa Hispanica, 2013. Chapin, London: Cambridge Scholars Press, Projects: Writing a book, Big Dealer: Sam Kootz, forthcoming 2013; “Michel Ragon et COBRA: Picasso, and the New York Art World, based partly on Ilona Katzew Un dialogue sur l’expression populaire,” Colloque years I worked at the Kootz Gallery. Would love to PhD 2000 Michel Ragon, ed. Serge Guilbaut, Hélène Jannière, hear from anyone with recollections of Sam Kootz Mailing Address: LACMA, Latin American Art Richard Leeman, and Jean-Marc Poinsot, Paris: or the Kootz Gallery. Dept., 5905 Wilshire Blvd., Los Angeles, CA Institut National de l’Histoire de l’Art, forthcoming 90036 2013 Roald Nasgaard Email Address: [email protected] Projects: Asger Jorn’s Artistic Dialogues, Museum PhD 1973 Website: www.lacma.org Jorn, Silkeborg Denmark, 2014. Co-curator with Mailing Address: 701-70 Montclair Ave.,Toronto, Latest Position: Curator and Department Head, Karen Friis Herbsleb, Animal Culture: Cobra and ON M5P 1P7 Latin American Art, LACMA the Popular Imagination, Museum of Art Fort Email Address: [email protected] Publications: “Miscegenation and Blood in Lauderdale, opens Dec. 2015, traveling exhibition; Latest Position: Profesor Emeritus, Florida State Spanish America,” in Lexikon of the Hispanic Co-curator with Katja Weitering, The Avant-Garde University; Independent writer and curator Baroque:Technologies of Cultural Transference, ed., Won’t Give Up: The Art and Politics of Asger Jorn. Publications: The Plasticiens and Beyond: Montreal Evonne Levy and Ken Mills, Austin: University of London: Ashgate, forthcoming 2014. 1955-1970, exhibition catalogue, Québec, Musée Texas Press, forthcoming 2013 national des beaux-arts de Québec, 2013, co- Lectures & Presentations: “Building LACMA’s Barbara C. Matilsky authored with Michel Martin, (Accompanying collection of Spanish Colonial Art,” International PhD 1983 exhibition curated by Roald Nasgaard: MNBAQ Seminar “Materiality between Art, Science and Mailing Address: Whatcom Museum, 121 and The Varley Art Gallery, Unionville, ON, Culture in the Viceroyalties (16th-18th centuries), Prospect Street, Bellingham, WA 98225 2013.) French ed., Les Plasticiens et les années Getty Foundation and Universidad Nacional de Email Address: [email protected] 1950/1960. San Martín (Argentina), Los Angeles; “Collecting Website: www.vanishing-ice.org Lectures & Presentations: “The Matter of Spanish Colonial Art at LACMA: The Politics of Latest Position: Curator of art Abstract Painting,” Art Gallery of Ontario, Display,” Philadelphia Museum of Art Publications: Vanishing Ice: Alpine and Polar Toronto; University of Manitoba, Winnipeg, Honors and Awards: Eleanor Tufts Book Prize, Landscapes in Art, 1775-2012, Bellingham, MB; “Aestheticizing the Landscape: Revisiting American Society for Hispanic Art Historical 2013, distributed by the University of Washington the Mystic North,” Scandinavia House, New Studies, 2012, for book, Contested Visions in the Press York, NY; McMichael Canadian Art Collection, Spanish Colonial World; Runner-Up, Association Lectures: “Vanishing Ice: Alpine and Polar Kleinburg, ON; “The Matter of Borduas’ Matière,” of Art Museum of Art Curators (AAMC), Landscapes in Art, 1775-2012,” Western Museums Art Gallery of Alberta, Edmonton, AB; “The Art Outstanding Exhibition Catalogue, 2011 Association Conference, Palm Springs, CA Of William Perehudoff, Robert McLaughlin Art Projects: Upcoming exhibition: 18th century Honors & Awards: Support for Vanishing Ice Gallery; “Unpacking Abstract Art Practices Today,” Mexican painting, 2015-16; Upcoming exhibition: from the National Endowment for the Arts (NEA), Art Gallery of Windsor. Latin American Design, 1900-1980, 2017 The Paul G. Allen Family Foundation, and The Honors & Awards: College of Visual Arts, Theatre Norcliffe Foundation. and Dance, Distinguished Research Award, FSU, 2011; Officer of theO rder of Canada, 2012; Queen’s Diamond Jubilee Medal, 2013 Projects: Author of Yves Gaucher, eBook for Art Canada Institute, Massey College, University of Toronto, 2013; Curator, “Lawren Harris and Transcendentalist Abstraction of the 1930s,” (working title) for The McMichael
23 Alumni Updates Continued 19th Century, Modern and Contemporary Art
Canadian Art Collection, Kleinburg, ON, Donna Stein Reva Wolf 2015; Guest curator and member of scientific MA 1965 MA 1981, PhD 1987 committee for “The Mystical Landscape: Monet Mailing Address: 1432 Hillcrest Avenue, Pasadena, Mailing Address: Art History Department to Kandinsky,” (working title) for Art Gallery of CA 91106 State University of New York at New Paltz, 1 Hawk Ontario, Toronto, and Musée d’Orsay, Paris. Email Address: [email protected] Drive, New Paltz, NY 12561 Website: www.wendemuseum.org Email Address: [email protected] Samuel Sachs II Latest Position: Associate Director, The Wende Website: http://faculty.newpaltz.edu/revawolf/ 1963 Museum and Archive of the Cold War Latest Position: Professor of Art History Mailing Address: 169 Stone Hill Road, Bedford, Publications: “Aftermath of a Catastrophe: Publications: “Seeing Satire in the Peepshow,” in NY 10506 An Artist’s Soulful Heart, by Kumiko Shindo,” Seeing Satire in the Eighteenth Century, edited by Email Address: [email protected] Woman’s Art Journal, 2013; “The Photographic Elizabeth Mansfield and Kelly Malone, Oxford: Latest Position: President, Pollock-Krasner Source for a Qajar Painting,” Performing the SVEC (Studies on Voltaire and the Eighteenth Foundation Iranian State: Visual Culture and Representations Century), Voltaire Foundation, University of Lectures: “Fakes, Forgeries and other Deceptions” of Iranian Identity, ed. Staci Gem Scheiwiller, Oxford, 2013; “Introducción: A través del espejo,” Projects: Digital catalog raisonne of Jackson 2013; “For the Love of her People: An Interview in Andy Warhol: Entrevistas, translated by Ferran Pollock with Farah Diba about the Pahlavi Programs for the Esteve, Barcelona: Blackie Books, 2010 (Spanish Arts in Iran,” Performing the Iranian State: Visual translation of “Through the Looking-Glass,” an Margaret Samu Culture and Presentations of Iranian Identity, ed. essay on Warhol’s interviews in I’ll Be Your Mirror: PhD 2010 Staci Gem Scheiwiller, 2013 The Collected Andy Warhol Interviews, 2004) Mailing Address: 7410 35th Avenue Apt 208W, Lectures: “Portraits, Self-Portraits, and Munch in Jackson Heights, NY 11372-8149 Phyllis Tuchman the Art of Warhol,” Scandinavia House, NY; “Andy Email Address: [email protected] MA 1973, PhD (abd 1983) Warhol’s Late Prints and Paintings: Appropriation Latest Position: Yeshiva University Stern College Mailing Address: 340 East 80th Street, New York, as Interpersonal and Cross-Cultural Exchange,” for Women; President of Society of Historians NY 10075 presentation in the symposium “Collectors, of East European, Eurasian, and Russian Art and Email Address: [email protected] Curators and Connoisseurs,” Scandinavia House, Architecture (SHERA) Publications: Art Criticism & Social Media, NY; “Making Meaning: Andy Warhol’s Interviews,” Lectures & Presentations: “The Female Nude Brooklyn Rail, Dec 2012/Jan 2013; Eric Fischl, ex paper in the symposium “Paroles d’artistes,” Centre in the Age of Russian Realism,” Montclair State brochure, East Hampton, Guild Hall, 2013; “Color Georges Pompidou, Paris; “Places, People, and University Me Sculpture,” in ex. cat., Ken Price Sculpture, Memories: The Photographs of Allen Ginsberg,” Honors & Awards: NEH Fellow in Columbia NY, Metropolitan Museum of Art talk in the panel “Ginsberg across Media: University’s Institute “America’s Russian-Speaking Lectures: moderator, Art Criticism and Social Photography, Tape Recording, and Film,” Fales Immigrants and Refugees” Media, CAA NY, 2013 Library, New York University; “Stars, Rainbows, Projects: “Boris Bakhmeteff and Russian Émigré Projects: Robert Smithson’s New Jersey, Montclair and Living Dialects: George Kubler’s Vision of Collectors in New York 1920-1950”; Russian Venus Art Museum, opening Feb 2014; Robert History as Metaphor,” paper in the symposium (book-length project) Motherwell: The East Hampton Years, 1944-1952, “Systems of History: George Alexander Kubler’s East Hampton, Guild Hall, opening August 2014. Plain Portuguese Architecture,” University of Eric Silver Coimbra, Portugal MA and Museum Certificate 1971 Shara Wasserman Mailing Address: 300 East 56th Street Apt. 33H, MA 1985 New York, New York 10022 Email Address: [email protected] Email Address: [email protected] Website: www.contemporaryrome.com Latest Position: Director, Lillian Nassau LLC Latest Position: Director of Exhibitions and Art History faculty, Temple University Rome; Gail Stavitsky Coordinator of Contemporary Art Programs, MA 1978 PhD 1990 Cornell in Rome Programs Mailing Address: 23 Macopin Avenue Montclair, NJ 07043 Evan D. Williams Email Address: MA 2011 [email protected] Mailing Address: Box 856, Ithaca, New York Website: www.montclairartmuseum.org 14851 Latest Position: Chief Curator, Montclair Art Email Address: [email protected] Museum Website: www.evandwilliams.com Publications: The New Spirit: American Art in Latest Position: Principal, Evan D. Williams Fine the Armory Show, 1913 (Montclair Art Museum, Art Appraiser & Consultant, LLC 2013) Lectures & Presentations: Early Exposure: Projects: Forthcoming exhibition and catalogue, The Emergence of Photography as Fine Art, with guest curator Phyllis Tuchman, Robert Southeastern College Art Conference, 2012 (session Smithson’s New Jersey (2014) chair) Honors & Awards: Member, Appraisers Association of America, 2012
24 Alumni Donors
The Institute of Fine Arts gratefully acknowledges the generosity of our alumni donors. Listed below are alumni who made a gift of $75 or more between September 1, 2012 and September 18, 2013. Thank you for your support!
$1,000,000+ Paula J. Volent Colleen Ritzau Leth° Anne Bick Ehrenkranz* Joannah C. Wilmerding Susana T. Leval Anonymous Reva June Wolf Roger W. Lipsey Dale G. Zaklad Susan D. Marcus $50,000 to $500,000 Anonymous (2) Mary-Elizabeth Mitchell Estrellita B. Brodsky* Mary B. Moore Nancy Maria Chang $500 to $999 Robert S. Nelson Alexandra Munroe* Frances Land Moore Christopher A. Noey Anne Poulet* Philippe de Montebello* Jo Anne C. Olian Shelley Fletcher Janice Carlson Oresman $10,000 to $49,999 Mildred L. Glimcher Joan H. Pachner Suzanne Deal Booth* John H.B. Knowlton Sylvie Penichon Catherine Coleman Brawer Jay A. Levenson Beatrice C. Rehl Dara J. Mitchell Anne McGee Morganstern and Sabine Rewald˜ Lois Severini James Morganstern Jason Marshall Rosenfeld˜ Cynthia Wolk Nachmani Deborah Rothschild $5,000 to $9,999 Judith Oppenheimer Polly J. Sartori Michelle Lita Berenfeld Lisa A. Rotmil˜ Stephen K. Scher Gregory S. Hedberg Marjorie N. Shelley Sarah W. Schroth Michele D. Marincola Christine M. Singer Katherine A. Schwab˜ Mariët Westermann Joan Troccoli Ann Seibert Hannah F. Solomon° $1,000 to $4,999 $200 to $499 Priscilla Parsons Soucek Margaret Holben Ellis James S. Ackerman Donna Michele Stein Korn Irving L. Finkelstein Susan Staples Arms and Anne W. Umland Kathryn Moore Heleniak Richard G. Arms, Jr. Gertje R. Utley˜ Anne C. Hrychuk Kontokosta° Marcia E. Brocklebank Julie A. Van Voorhis and Andrei B. Molotiu Dorothy Robinson Mahon and Wanda M. Corn Eleni Vassilika Terrence S. Mahon Rachel L. Danzing Ian B. Wardropper Christopher S. Malstead Andria Derstine Marina D. Whitman Anna Marguerite McCann Lisa Marie Duffy-Zeballos° Eric M. Zafran Bannon McHenry Martha E. Easton Orestes H. Zervos Beatrix Medinger Carol S. Eliel Alice M. Zrebiec Charles S. Moffett Jennifer Eskin Shelley E. Zuraw Anne Litle Poulet* Mary H. Fong Caroline Cummings Rafferty° Judith C. Fox Anne N. Rorimer Emilie E.S. Gordenker Betty Selly Smith Anna D. Kartsonis Harriet K. Stratis Norman L. Kleeblatt *IFA Board of Trustees Claire Svetlik Mann Dorothy Kosinski ˜IFA Alumni Association Board Cristin Tierney° Richard S. Lanier °IFA Recent Alumni Circle
25 Alumni Donors Continued
$100 to $199 Desiree G. Koslin Paul Stanwick Lynne D. Ambrosini Linda Konheim Kramer Mary Stofflet Patrick Amsellem˜,° Marsa Laird Elizabeth Rosen Stone Carla Caccamise Ash Sarah B. Landau Suzanne L. Stratton-Pruitt Konstanze Bachmann A. Floyd Lattin Cecil Leopold Striker Mary Lee Baranger Dene A. Leopold James W. Sykes, Jr. Daniel M. Belasco° Deborah Lipton Carol F. Tabler Jennifer M. Blessing Linda S. Lourie William S. Talbot Gwendolyn Boeve-Jones Constance Lowenthal Marie C. Tanner˜ Leslie Davidson Bruning Rosa Lowinger Erin Toomey Rosina Buckland° Elizabeth J. Lytton Deborah Lee Trupin Thomas A. Buser Vivian B. Mann Lindsey Tyne Anne Palms Chalmers Ira S. Mark Emily Trevor Van Vleck Karen F. Christian Christa C. Mayer-Thurman Heidi E. Violand Judith Colton Kelly M. McHugh Patricia A. Waddy Dario A. Covi Jerry D. Meyer Karen Graham Wade Yassana C. Croizat-Glazer˜,° Susan E. Modlin-Markowitz Stefanie Walker Orgu Dalgic° Denyse L. Montegut Judith S. Weinraub Margaret Fields Denton Frances Land Moore Irene Cioffi Whitfield Jean E. Dommermuth Marsha Lee Morton Jacob Wisse Alexandra Dubodel° Priscilla Elkow Muller Roberta May-Hwa Wue Martha L. Dunkelman Maya B. Muratov° Bonnie E. Yochelson Eugene J. Dwyer Won Y. Ng Lynn H. Zelevansky Marianne V. Elrick-Manley Andrea Spaulding Norris Christine M. Faltermeier Luisa J. Orto-Symmans $75 to $99 Eric M. Frank Stephen E. Ostrow Jennifer L. Ball Leslie Tom L. Freudenheim Ronald Y. Otsuka Elizabeth Ellen Barker Kathryn Calley Galitz° David T. Owsley Jacquelyn N. Coutre° Jorge A. Garcia-Tuduri, Esq. Thomas C. Padon Kristi Anne Dahm Lois R. Granato Linda Morey Papanicolaou Vivian L. Ebersman Rosalind R. Grippi Elizabeth C. Parker Lindsay Harris° Janet B. Grossman Gabriella Susana Perez° Jacqueline S. Hazzi Shary E. Grossman Elizabeth A. Pergam° John J. Herrmann, Jr. Pamela B. Hatchfield Meg J. Perlman Karen J. Leader° Elizabeth A Hendrix° Jennifer Perry˜ Margaret A. Oppenheimer Julia P. Herzberg Barbara E. Pollard Stein Rebecca Faye Pristoop° Michelle Martha Hobart° Barbara J. Price Nicole S. Root Shepherd M. Holcombe, Jr. Stuart W. Pyhrr Ellen C. Schwartz Paula Rand Hornbostel° Lisa M. Rafanelli Jessica V. Sigalow° Penelope Hunter-Stiebel Linda Jones Roccos Carolyn C. Wilson Isabelle Hyman Allen Rosenbaum Christine Elaine Wraga° Michael Jacoff Diana P. Rowan Devon Quinn Zimmerman° Lyle Humphrey Johnson° Peggy Schiffer Abdallah M Kahil Megan Sindy Schnaid° Lorraine M. Karafel Sheila Schwartz Charles J. Katz Xavier John Seubert° Joan J. Kee° Suzanna B. Simor *IFA Board of Trustees J. Edward Kidder, Jr. Sharon Dunlap Smith ˜IFA Alumni Association Board Lynda Klich° Jack Soultanian, Jr. °IFA Recent Alumni Circle
26 INSTITUTE OF FINE ARTS – NYU
Annual Giving Campaign For Alumni Alumni Giving plays an essential role in fulfilling the Institute’s mission to educate future generations of historians, conservators and archaeologists. With a gift of $75 or more you will receive one year of IFA Alumni Association membership and enjoy access to the IFA library, invitations to IFA alumni receptions and a subscription to the annual Alumni Newsletter. Thank you for your generosity, involvement and support of your alma mater.
Name: ______Address: ______
Phone: ______email: ______
I am pleased to make a gift of: $2,500 $1,000 $500 $250 $100 $75 Other $______See above for benefits at the $75 level.
Gift Designation Alumni Annual Fund (10-89540) Supports summer stipends for student travel and research, the annual Walter S. Cook Lecture, alumni reunion and newsletter. 1932 Fund for Student Fellowships (10-89540-AF001) Exclusively supports student financial aid. Conservation Center Annual Fund (22-89000-R2145) Provides essential support that can be directed to areas of greatest need at the Conservation Center.
Payment Method: Enclosed is my check made payable to “IFA-NYU” I would like to make a transfer of securities (please call Andrea Yglesias at 212-992-5812) Please charge my: Visa MasterCard American Express Discover
NAME on CARD:______
CREDIT CARD #: ______EXPIRATION DATE: ______
SIGNATURE:______
MATCHING GIFT: Double or triple the value of your gift by utilizing your company’s matching gift program. Visit www.matchinggifts.com/nyu for a list of participating companies or check with your Human Resources Office for more details.
The Institute of Fine Arts is part of the Graduate School of Arts & Sciences at New York University, a not-for-profit 501(c)(3) organization. All gifts to the Institute of Fine Arts are tax-deductible to the full extent of the law.
27 The Alumni Association 1 East 78th Street, New York, NY 10075