ERKELEY B ALIFORNIA, ALIFORNIA, C NIVERSITY OF NIVERSITY U RT, A Annual Newsletter For Friends of the Department

ISTORY OF ISTORY 2014 - 2015

H 1 Letter from the Chair Selected Lectures and Events 2014-15 Please visit arthistory.berkeley.edu for the latest listings and to confirm times and locations.

September 11, 2014 “In My Backyard: Conversations with Neighbors” The department hosts colleagues from San Francisco State University

September 17, 2014 Lecture: “Art History in and Its Discontents in Global Times” The last few years have been ones of rapid change in the De- Parul Dave-Mukherji, Jawaharlal Nehru University partment of , and 2013-14 turned out to be no exception. We added two new members of faculty, completed September 25, 2014 our new high-tech lecture hall and conference space (p. 13), and Lecture: “Counterfeit Money, Starring Patty Hearst” undertook a complete overhaul of the History of Art major (p. Byron Hamann, The Ohio State University 7). And that is just for starters. October 2, 2014 Our search for a “global modernist” resulted in the appoint- Lecture: “Memorial Mania: Public Feeling in America” ment of Anneka Lenssen, formerly a member of the faculty of Erika Doss, University of Notre Dame the American University in Cairo (p. 3); and we were fortunate enough to be able to appoint in addition Lauren Kroiz, who spe- February 26, 2015 cializes in American art in the early twentieth century. Lauren Mary C. Stoddard Lecture comes to us from the University of Wisconsin–Madison, and Thomas B. F. Cummins, Harvard University already began teaching for the department in spring 2014 (p. 4). Needless to say, these appointments give a tremendous boost to March 12, 2015 our program’s strength in modern art. Lecture: “Between Campesino and State: Photography, Rurality, and Citizenship in Post-Revolutionary Mexico” There is much else to report. The sad loss of emeritus professor Robin Greeley, University of Jim Cahill in February 2014 was marked by a moving celebra- tion of his life and work that was held at the Berkeley Art Muse- April 2015 um (see Pat Berger’s tribute, p. 5-6). On the national stage Mar- Graduate Student Symposium garetta Lovell was honored with the College Art Association’s Distinguished Teaching of Art History Award, presented at the May 22, 2015 annual meetings of the CAA in Chicago. While at home Linda History of Art Commencement Fitzgerald, our Department Manager, won UC Berkeley’s Excel- Speaker: Colin Bailey, Director, Fine Arts Museums of San lence in Management Award, in recognition of the remarkable Francisco transformation she has carried out in the running of the de- partment and of our Visual Resource Center. The department sponsored three conferences in 2013-14, including a triumphant revival of the department’s Graduate Student Symposium on New Graduate Fellowship in Art History the theme “Invisibility | Illegibility,” which was held in our own The department is pleased to announce that History of Art alum- new conference space. na Helen Crane Desai (B.A. 1952, M.A. 1954) and her husband, Raj Desai (M.S. 1953 Engineering), recently established the Ra- 2014-15 promises yet more good things. We welcome Koen- jnikant T. and Helen Crane Desai Endowed Fund for Graduate raad Jonckheere as Peter Paul Rubens Chair (p. 17); and another Fellowships in Art History. The faculty and the students of the postdoctoral scholar, Sabrina Maras, a graduate of UC Berke- History of Art department would like to express their warmest ley’s Near Eastern Studies department, will be teaching courses thanks to Helen and Raj for their generosity. for us in ancient Near Eastern art. Perhaps the most promising news of all—the department will be conducting yet another fac- faculty editor: Lisa Trever ulty search, this time jointly with Italian Studies, to fill a posi- editor and designer: John McChesney-Young tion in Italian Renaissance/Early Modern Visual Culture. So all cover design: Julie Wolf in all we have high hopes for the coming academic year as well. founding editor: Darcy Grimaldo Grigsby

Chris Hallett, Chair, Department of History of Art Cover: A Maya woman painted on an eighth-century mural at Calakmul, Mexico, which has been featured in our increasingly global curricula. Back: Judith Stronach Travel Seminar participants at Villa Poppaea, Oplontis. 2 Introducing Anneka Lenssen, dition, Anneka is one of three co-editors of Arab Assistant Professor of Art in the Twentieth Cen- Global Modern Art tury, commissioned by the Museum of Modern Art, scheduled to appear in 2017. Anneka’s re- search has been support- ed by several grants and fellowships, notably a Fulbright in Damascus in 2009–10 and an SSRC In- ternational Dissertation Research Fellowship in Cairo, Damascus, Rome, and Paris in 2011–12. She has presented her work in lectures and talks at a number of institutions and ARTMargins used an image from An- conferences in the U.S. and neka’s article for the cover of its June the Middle East, including 2013 issue: itself the cover of a special 1969 arts issue of the Syrian maga- The faculty, staff, and students of the department are very Beirut, Cairo, Damascus, Amman, and Doha. zine Al-Tali’a (The Avant-Garde). The pleased to welcome the latest addition to our faculty, Assistant graphic is an array of photographs of Professor Anneka Lenssen, appointed in the field of global mod- Syria’s leading plastic artists and critics, ern art. Anneka received her BA in studio art at Kenyon College Anneka’s major project to whom the magazine had gathered for a and did her graduate studies at MIT in the Aga Khan Program date is, of course, her dis- roundtable discussion about their craft for Islamic Architecture, where she worked with Professor Nass- sertation: “The Shape of the and their political commitments. er Rabbat, and in the Department of History, Theory, and Criti- Support: Painting and Poli- cism of Art, where she worked with Professor Caroline Jones. tics in Syria’s Twentieth Century.” Based in large measure on She filed her dissertation this spring on twentieth-century art her first-hand scrutiny of important archives and private col- in Syria. While completing her dissertation, Anneka also served lections of Arab painting in Syria, Lebanon, Egypt, and Europe, as Assistant Professor of Theory, History, and Criticism in the Anneka examines painting in post-Independence Syria from the Department of the Arts at the American University in Cairo, 1940s to the 1960s in the context of the worldwide effort—in the where she was Acting Director of the Visual Cultures Program. Middle East, Africa, Latin America, and elsewhere—to negoti- ate national sovereignties and artistic identities in postcolonial She is already the author of several reviews of books and exhibi- situations, focusing on crucial institutional frames of artistic tions and several articles in print or forthcoming, including an production—the political party; the foreign fellowship; the liter- impressive analysis of the “plasticity of the Syrian avant-garde ary magazine; and the national university. At the AUC she was able to put some of her ideas to work in the concrete business of 1964–1970” in ARTMargins and the forthcoming chapter on “Ar- ticulating the Contemporary,” co-written with Sarah A. Rogers, building a new visual cultures program, and, given her location in Cairo, it’s not surprising that she developed a strong interest in the Wiley-Blackwell Companion to Islamic Art and Architec- in the visual strategies of the recent Arab uprisings. ture, edited by Gülru Necipolgu and Finbarr Barry Flood. In ad- In fall 2014, Anneka inaugurates our undergraduate global mod- ern rubric with the seminar “Global Surrealisms,” which will examine surrealist artistic practices in Mexico, Egypt, Serbia, Martinique, Japan, and Syria as well as the networked links be- tween them. In spring 2015, she will offer a course on modern- ism, modernization, and the Middle East. She is also developing a graduate course on authenticity, taking a comparative and historiographic approach to this key problematic of the twenti- eth century. In subsequent years, she expects to offer courses on modern art and global mass culture, figuration and abstraction, and worldwide socialist realisms. In April 2014, Anneka participated in a panel at the conference “Alternative Models in University Education in Egypt,” held in We are thrilled that she is joining the department and look for- Cairo. Her panel’s organizers had arranged for Egyptian politi- ward to working with her! cal cartoonist Andeel to provide live visual “accompaniment” to the presentations. As Anneka spoke, projections of Andeel’s cartoon drawings of businessmen appeared behind her as repre- Whitney Davis sentations of the high expense of the private university. Chair, Global Modern Art search 3 Introducing Lauren Kroiz, 2014) and the Smithsonian Institution’s American Art (Spring 2015). Lauren has received grants and fellowships from ACLS, Assistant Professor of CAA, the Center for the Study of Modern Art at the Phillips Col- Twentieth-Century American Art lection, Washington, D.C., and the Society for the Preservation of American Modernists.

Her first book Creative Composites: Modernism, Race, and the Stieglitz Circle (University of California Press, 2012) received the Phillips Book Prize from the Center for the Study of Modern Art. This book studies turn-of-the-century New York to explore the ways photographer and modern art impre- sario Alfred Stieglitz and his allies embraced a racialized aesthetic discourse in their ex- pressions of identity in the modern era. This book examines the Lauren Kroiz and son Isaac visit Hofmann by Hofmann at the Berkeley often-neglected role Art Museum played by immigrant artists and critics in The department is pleased to welcome Lauren Kroiz, who began the Stieglitz circle, in- teaching in spring 2014, as Assistant Professor. Formerly Assis- cluding Japanese-Ger- tant Professor of Art History at University of Wisconsin–Madi- man author Sadakichi son (2010–13), Lauren received her PhD from the Hartmann, Mexican- Institute of Technology in 2008. Lauren’s work centers on the art born caricaturist Marius de Zayas, and English Sri Lankan cu- and visual culture of the during the twentieth cen- rator Ananda Coomaraswamy, as well as better-known US-born tury, locating the history of that modernism comparatively within painters, including Arthur Dove and Georgia O’Keeffe. Creative a global context. Her work has been published in Oxford Art Jour- Composites argues for a new understanding of early American nal, Journal of the Society of Architectural Historians, The Journal modernism as a “composite modernism.” It analyzes episodes of Architecture, and is forthcoming in the new online journal of in the Stieglitz circle’s use of diverse new media—photography, the Association of Historians of American Art, Panorama (Fall caricature, film, and collage—to frame their modernist practice as part of the ongoing national dilemma of integrating difference. Lauren is currently working on a second book manuscript, ten- tatively entitled Cultivating Citizens: The Regional Work of Art in the New Deal Era and under advance contract with the University of California Press.

Lauren began her teaching at Berkeley by offering an undergrad- uate seminar on “Art in Public” that took students across cam- pus and the East Bay, as well as a lecture course that satisfies the University’s American Cultures requirement. Her “Race and Representation in the Twentieth Century in the United States” attracted a broad range of students from undeclared freshmen to senior art history and electrical engineering majors. We look for- ward to a range of courses in modern art, including those focused on theory, historiography, and methodology. Among others, she will teach our popular HA 11 “Introduction to Western Art” and HA 100 “Theories and Methods of Art History.”

Alice Weber, Head of Swine, 1944. This oil painting forms part of the Lauren’s husband, Benjamin Recht is also a new member of the permanent collection of the Wisconsin Regional Art Program at the university’s faculty, having just joined the Electrical Engineering University of Wisconsin-Madison and features in Lauren’s article “’A and Computer Science Department and the Department of Statis- Jolly Lark for Amateurs’: John Steuart Curry’s Pedagogy of Painting,” tics; their son Isaac is not yet on the faculty. forthcoming in American Art. Margaretta M. Lovell

4 James F. Cahill, 1926-2014 Japan and Korea. He earned his PhD (1956) in the History of Art from the University of Michigan, where he studied with the renowned early Chinese bronze specialist Max Loehr. After holding a museum training fellowship at the Metropolitan Museum of Art in New York, on a Fulbright Scholarship in 1954–55 he studied at Kyoto University with Shujiro Shimada. From 1956 to 1965, he served as Curator of at the Freer Gallery, Washington, D.C.

Cahill brought to Berkeley a unique combination of skills: a curator’s acute eye, an historian’s methodological range, and a poet’s eloquence. In the 1970s, he began a project to write a five-volume history of Chinese painting from the Song through the Qing dynasties (tenth to early twentieth

Professor Emeritus James F. Cahill, a world renowned ex- pert in Chinese painting, died in his Berkeley home on February 14, 2014, at the age of eighty-seven. Cahill au- thored a long list of books and exhibition catalogs, pub- lished countless articles and reviews, and delivered a steady stream of scholarly papers over the three decades he taught at Berkeley, from 1965 to 1994. His writing is re- markable for its lucid eloquence and conversational tone. His first book, the now-classicChinese Painting, which was published for the Skira series on the history of world art in 1960 and has remained in print ever since, is often de- scribed as “reading like a novel,” as it laid out the history of Chinese painting from antiquity through the late imperial period. Cahill’s eloquence and his non-stop devotion to the cause of promoting the appreciation and understand- ing of Chinese painting to Western and eventually Asian audiences garnered many formal accolades: the College Art Association’s Distinguished Teaching of Art History Award in 1995, its Distinguished Lifetime Achievement Award for Writing on Art in 2007, and the Charles Lang Freer Medal in 2010. He was inducted into the American Academy of Arts and Sciences in 2001. He was one of only two art historians invited to deliver Berkeley’s annual Fac- ulty Research lecture, which he did in 1982. He received one of Berkeley’s highest honors, the Distinguished Teach- ing Award, in 1985. He is listed as one of the Builders of Berkeley on the Doe Library Terrace for his extraordinary contributions to the University’s art collections.

James Cahill was a proud California native. He was born in 1926 in Fort Bragg along the rugged coast that he credited with spurring his love of landscape painting and he spent his high school years in Berkeley, where he attended Berke- ley High. He received his BA in Oriental Languages from Dai Jin, Summer Trees Casting Shade, fifteenth century, the University of California, Berkeley in 1950, after serving hanging scroll, ink on silk. Berkeley Art Museum & Pacific Film Archive, 2000.7 as a Japanese language specialist in the US Army in both 5 centuries). He completed three volumes, covering paint- versity of Southern California in 1994 that grew into the ing of the Yuan and Ming dynasties: Hills beyond a River: book Pictures for Use and Pleasure: Vernacular Painting in Chinese Painting of the Yüan Dynasty, 1279–1368 (1976), High Qing China (2011), the last of his two dozen books Parting at the Shore: Chinese Painting of the Early and and catalogs. Middle Ming Dynasty, 1368–1580 (1978), and The Distant Mountains: Chinese Painting of the Late Ming Dynasty, 1570–1644 (1982). Translations of these books have been published in Chinese, Japanese, Korean, and several Euro- pean languages.

Cahill’s insights into Ming-dynasty painting were revo- lutionary at a time when most connoisseurs of Chinese art thought that painting had fallen into an irreversible decline by the thirteenth century. His approach to writing the history of Chinese painting changed dramatically af- ter his first trip to the People’s Republic of China in 1972. There he gained access to hundreds of paintings that he had only seen in dim lithographs of the 1930s and to many more he had never dreamed existed. He returned to Chi- na many times after his first trip and he invited many of his Chinese colleagues, Yang Xin of the Palace Museum, Friends, colleagues, and former students of James Cahill at the Berkeley Art Museum & Pacific Film Archive in May 2014 Li Xueqin and Su Bai of University, the painter Cheng Shifa of the Shanghai Painting Academy, and many others to visit Berkeley. Eventually his books were trans- James Cahill worked actively to introduce students to gain lated into Chinese and, under his Chinese name Gao Ju- historical insights by studying actual works of art. He and han, he achieved near-pop star status. his first wife, Dorothy Dunlap Cahill, amassed a large col- lection of Chinese and Japanese paintings, grouped to- Subsequent volumes on gether under Cahill’s Chinese studio name, Ching Yuan Ming and Qing paint- Chai (Studio for Gazing into the Abstruse). Many of these ing explored questions works, which span the twelfth through the twentieth cen- of cultural contact be- turies, are now part of the collection of the Berkeley Art tween China and the Museum. Cahill also insisted that his graduate students West, exchanges be- learn curatorial skills and led them through the creation of tween popular and two groundbreaking exhibitions of Ming and early Qing- elite culture, and the dynasty painting, The Restless Landscape and Shadows largely ignored ques- of Mount Huang, both held at the Berkeley Art Museum tion of what purposes in the 1970s. An innovative and engaged teacher, Cahill Chinese paintings were went on after his retirement in 1994 to create some of the designed to serve, in- earliest MOOCs (Massive Open Online Courses) in two cluding the award-win- online lecture courses that are available at jamescahill. ning Compelling Im- info (known as the Treasury of Imperishable Ephemera). James Cahill receives the twelfth age (1979), based on the There you can also find his complete bibliography, papers Charles Land Freer Medal from the Norton lectures he gave on topics ranging from Chinese and Japanese painting to Smithsonian Institution in 2010 in rec- at Harvard in 1978–79; his musings on music, poetry, literature, his poems and ognition of his distinguished scholarly career his Franklin D. Murphy libretti for comic operas and skits, along with a blog on lectures for the Univer- the ongoing evolution of the field of Chinese art studies. sity of Kansas, published as Three Alternative Histories of Chinese Painting (1988), and the Bampton Lectures given With the passing of James Cahill, our department and the at , which appeared as The Painter’s entire University community has lost an unflagging ad- Practice: How Artists Lived and Worked in Traditional Chi- vocate of public education, a brilliant and prolific scholar, na (1994). The Reischauer Lectures delivered at Harvard and an immensely generous teacher, colleague, and friend. University in 1993 were published in 1996 as The Lyric His paradigm-shifting work lives on. Journey: Poetic Painting in China and Japan. Cahill pre- sented a fifth lecture series, the Getty Lectures, at the -Uni Patricia Berger

6 Students in Lauren Kroiz’s undergraduate seminar “Art in Public” dis- cussed the role of art with Berkeley Mayor Tom Bates and Civic Arts Coordinator Mary Ann Merker (at left) in the Mayor’s office at City Hall Margaretta Lovell Wins in spring 2014. CAA’s Distinguished Teaching New Undergraduate of Art History Award Curriculum in In the fall of 2013, a group of Margaretta Lovell’s current and former advisees banded together in secret to nominate History of Art their beloved mentor for the discipline’s highest honor for pedagogy. Writing heartfelt letters of nomination were, in During the 2013–14 year the Undergraduate Advisors, Pro- order of the date they were lucky enough to come under fessors Margaretta Lovell, Greg Levine, and Elizabeth Ho- Margaretta’s guidance: Derrick Cartwright (BA 1984, PhD nig undertook to research, design, and—after the faculty at Michigan with Margaretta as co-chair 1994), Kirk Sav- approved the program—implement a new curriculum for undergraduate majors. This revised curriculum reflects the age (PhD 1990), Eleanor Hughes (PhD 2001), Amy Lippert department’s new directions in teaching and research, re- (BA 2001, PhD 2011, both in the History department), and cent faculty appointments, our response to changes in the Will Coleman (2009 PhD cohort) on behalf of her current discipline, and our commitment to the advanced study of students. There was much praise for her innovative cours- art history and visual culture at the undergraduate level. es founded upon core principles that have stuck with one writer, who describes them as follows: “to ask questions Over the last decade the discipline of art history has of the object; to allow for multiple meanings; to value the changed dramatically, bringing attention to, among other asking of questions themselves as well as the provision of things, inter-regional/trans-cultural inquiry, material cul- definitive answers; and to root those answers in adeep ture studies, and a global perspective on the study of visual and thorough understanding of the historical past.” Anoth- materials of all kinds. Our redesign has, therefore, been er singled out the “brilliant syllabus and her vibrant dis- crafted to address the opportunities presented by our cur- cussion leadership” for a course on collecting that caused rent and future teaching and to guide majors through ex- the writer to question her core assumptions and launched isting and recently approved courses. In our upper division an abiding research interest. A constant refrain across all course requirements we now strike a greater balance be- the letters was deep appreciation for Margaretta’s encour- tween broad investigation of various global traditions of art making and an individual Focus of Study on an important agement of the development of a “toolkit” of professional area of scholarship within the discipline of art history. We skills through participation in her rich working group: the continue to require students to take at least one course on Berkeley Americanist Group, or B.A.G. While Margaretta theory, historiography, or methods, and we have increased has been recognized for her efforts at the campus level be- student participation in seminars. Students will now take fore, we were delighted that our efforts were successful eight units of seminar work (previously, four), including at to have her honored as a beacon of best practices for the least one seminar in which they pursue an advanced re- discipline as a whole. Many Berkeley art history folks, past search project resulting in a substantial and original writ- and present, were there to see Margaretta honored on the ten study. big stage at the College Art Association annual conference in Chicago in February 2014 and a delightful celebratory Students who declare in fall 2014 will follow this new pro- evening followed over an elaborate feast of locavore cui- gram; those who declared during spring 2014 had the op- sine, of which even the Bay Area would have approved. tion of starting on the new program; and those who had declared previously will complete the original program of Will Coleman study. Both the original and the new program are available on the departmental website: arthistory.berkeley.edu. 7 Mellon Curatorial Preparedness and Object-Based Learning at Berkeley

Professors Berger and Lovell will teach their Material Culture semi- nar, one of the three anchoring courses in the Mellon initiative. At the same time, preparations for the department’s ambitious exhibi- tion slated for spring 2016 continue. This will provide an opportu- nity for graduate students to explore the riches of UC Berkeley’s mostly-hidden collections, to learn the mechanics of creating an exhibition, and to write explanatory text for an audience comprised both of their peers and of the public.

William Ma, Mellon Intern at the Peabody Essex Museum

Professors Berger and Lovell with the students in the Objects Seminar at the Asian Art Museum

2013–14 was the first year of a generous grant from the Mellon Foun- dation to help the department prepare students for object-based teaching, learning, and curatorial work. Over the course of the year, Mellon funding enabled innovative teaching, remarkable internship opportunities, and course fieldwork additions to classroom teaching for graduate students in the PhD program.

The Mellon Graduate Seminar in Object Analysis was designed and taught by Professors Pat Berger and Margaretta Lovell to draw on the expertise of senior conservators at Bay Area museums with a view to giving graduate students a better understanding of the na- ture of the materials and the fabrication of art objects of all kinds. The vivid hands-on exercises prepared by the conservators provid- ed extraordinary learning opportunities for all, and suggested the scope of potential inter-institutional activities in the future.

In addition, the Mellon grant sponsored fieldwork add-ons for other William Ma examines the Tushanwan Orphanage workshop pagoda mod- graduate seminars including the Proseminar for first year students; els. Photograph by Karina Corrigan. they were able to study objects and review exhibitions on Medieval art, Islamic art, and Early Modern textiles in with I was excited when I heard the department had received the Professor Beate Fricke. In the spring term Professors Chris Hallett Mellon Curatorial Initiative grant, and even more so when and Andy Stewart were able to take their seminar to the Getty Villa awarded the first Curatorial Preparedness internship. I thought in Malibu where they had the benefit of a class with the curator, a this would be an excellent opportunity to explore topics re- visit in the conservation laboratory, and an opportunity to carefully lated to my dissertation and interest beyond it, so I requested study both the reconstructed villa and some of the rare objects in that collection. to work with the Chinese export art collection at the Peabody Essex Museum (PEM) in Salem, MA, for the fall of 2013. The Mellon project was also designed to give advanced graduate students long-term exposure to great collections in their areas of I wanted to use the collection to explore issues of workshop expertise. In 2013–14 two students, William Ma and Laure Marest- practices in late-imperial China, especially in the often-ne- Caffey, spent a semester at the Peabody Essex Museum and the Mu- glected area of commercial workshops in the southern port city seum of Fine Arts, , respectively, working in the departments of Guangzhou (Canton). Because of its long history of maritime of Asian Export Art and Ancient gems. Their appointments were trade with Guangzhou and other Asian port cities during the similar to GSI appointments in that they were 50% assignments, nineteenth century, PEM has an excellent and well-preserved helping the curators with exhibitions, acquisitions, and research, collection of export art and related archival materials. while also allowing substantial time to further their dissertations.

Looking forward, the 2014–15 Mellon Interns will be Sasha Ross- At PEM I was lucky to be working closely with the Curator of man, who is working on Early Modern Europe, and Kappy Mintie, Asian Export Art Karina Corrigan, who, along with the mu- who is studying nineteenth-century American photography. Mel- seum staff, created a warm and welcoming environment for lon-supported graduate seminars will include classes designed by me to thoroughly explore the collection, eventually leading to Professors Julia Bryan-Wilson, Sugata Ray, and Elizabeth Honig. the discovery of many exciting objects and potential projects. 8 As stipulated by the fellowship, I had the rare opportunity to Humanities 2.0: shadow Karina and be part of the process of planning a large New Tools for the Digital Age exhibit: in Amsterdam. Working with the new Curator of Chinese Art, I also took part in the initial planning, de- signing, and research for the reinstallation of the permanent Chinese gallery.

Laure Marest-Caffey, Mellon Intern at the Museum of Fine Arts, Boston

Justin Underhill (PhD 2012) presents at the Humanities 2.0 symposium. This fall Justin begins a post-doctoral fellowship in digital humanities at USC. Photograph by Julie Wolf In April 2014, the Department of History of Art and the UCHRI Early Modern Patterns research group co-sponsored a symposium on the digital humanities: “Humanities 2.0: New Tools for the Digi- tal Age.” Professor Elizabeth Honig and Lynn Cunningham, Prin- cipal Digital Curator of the Visual Resources Center, co-organized the half-day event. The symposium addressed such topics as: What is digital humanities (DH)? What does it mean to engage with hu- manities digitally, to use digital tools for research, and to present the results of your study in digital form?

Dan Edelstein and Nicole Coleman from Stanford University pre- sented the keynote address. Edelstein is Professor of French and His- Laure Marest-Caffey examines ancient engraved gems at the Museum tory at Stanford, serves as Faculty Director of Humanities+Design of Fine Arts, Boston Research Lab, and currently works on a NEH-funded, digital hu- manities project Mapping the Republic of Letters (republicoflet- I chose to intern at the Museum of Fine Arts, Boston because ters.stanford.edu). Coleman is the Academic Technology Spe- of its strength in my area of specialization: ancient engraved cialist for the Stanford Humanities Center and Staff Director of gems. Its collection, whose core was formed by E. P. Warren the Humanities+Design Research Lab. Coleman’s work involves in Europe and donated to the museum in the 1920s, is indeed the application of networked resources and digital technologies world renowned, foremost in the United States and contend- in humanities research, with an emphasis on distance collabora- ing with the great European collections. Furthermore, the col- tion, interdisciplinary collaboration, data visualization, and inter- lection features several of the best Hellenistic portraits world- face design. Three research presentations by Justin Underhill (UC wide, which constitute the focus of my dissertation. Berkeley), Almerindo Ojeda (UC Davis), and Elizabeth Honig (UC Berkeley) followed the keynote. Honig debuted her Jan Brueghel wiki project (janbrueghel.net), a collaborative website where During the four months I spent at the MFA, I worked on a scholars and the general public can gather, share, and debate infor- variety of projects such as cataloging the gem collection, ad- mation on Jan Brueghel and view hundreds of his artworks. Ojeda vising for its photography, researching objects to be featured discussed his website (colonialart.org) where he has assembled in the forthcoming re-installed galleries, selecting gems to 2,000 “correspondences” between early Spanish colonial paintings be loaned to the Metropolitan Museum of Art, working on and the European prints on which they were based. a book proposal, and giving a lecture for benefactors of the museum. During my stay in Boston, I was also able to con- A lively roundtable discussion ended the day with participation duct research at the Harvard libraries, attend lectures, meet from various members of the UC community: Patrick Schmitz (Re- with local faculty, and explore neighboring collections such search IT), Quinn Dombrowski (Digital Humanities Coordinator, as the Peabody Essex Museum and the Worcester Art Mu- Research IT), Eric Schmidt (University of California Press), Joan seum. I am very grateful to the Mellon Foundation and the Starr (California Digital Library), and Erik Mitchell (Associate Uni- Advisory Committee for this opportunity, and to the Depart- versity Librarian). Among the topics of discussion were questions such as: What are the challenges in terms of funding, sustaining, ment of Art of the Ancient World, particularly the curators of and collaborating on DH projects? Can the infrastructure that sus- the Classical Section, Christine Kondoleon, Mary Comstock, tains our paper-based scholarship incorporate similar functions and Phoebe Segal, for their hospitality and generosity. for digital work? What should the peer-review process be for digi- tal research and publishing? 9 Commencement 2014

Holland Cotter, art critic for theNew York Times, delivers the 2014 Com- The valedictorian of the graduating class in History of Art was mencement Address. Photograph by Julie Wolf Arielle Younger and the departmental citation was awarded to Eileen Lim. Sixteen History of Art graduates earned Col- On May 23, 2014 the department celebrated the conferral of lege of Letters and Science honors. Shana Heller graduated with Honors; Emily Cardoza, Nada Hosking, and Alexandra forty-six Bachelor of Arts degrees and four Doctor of Phi- Mackintosh graduated with High Honors; and Jennifer Bau- losophy degrees (two other PhDs were awarded earlier in mann and Yessica Porras graduated with Highest Honors in 2013–14) in its Commencement ceremony at the Zellerbach the major. Emily Cardoza, Eileen Lim, Yessica Porras, and Ju- Playhouse. We were extraordinarily fortunate to have the lie Turgeon were elected to Phi Beta Kappa. Yessica Porras pleasure of listening to commencement speaker Holland also won a Charlene Conrad Liebau Library Prize for Un- Cotter, art and museum critic for the , who New York Times dergraduate Research for her honors thesis “Church of St. delivered an erudite, challenging, and inspiring address to John the Baptist at Sutatausa (Colombia): Indoctrination and the graduates and their families. Resistance.”

History of Art 2014 graduates Yessica Porras, Catherine Volmensky, and Anna Trejo

10 2014 History of Art Graduate Symposium, “Invisibility—Illegibility”

On April 11, 2014, the Department of History of Art hosted a daylong Graduate Symposium on the themes of invisibility and illegibility in art and visual culture. Six graduate scholars from across the country were selected to present research that touched on a wide range of objects, communities, and experi- ences that fall outside of or exceed the boundaries of vision and discourse.

John Blakinger (Stanford), Jackson Davidow (MIT), Michael Hatch (Princeton), Lex Lancaster (UW Madison), Rachel Newman (Stanford), and Laura Somenzi (Emory) presented Newly hooded Doctors of Philosophy: Michelle Wang, Camille Ma- stimulating papers on topics such as Bauhaus camouflage, thieu, Aglaya Glebova, and Jenny Sakai. Photograph by Julie Wolf invisibility in the lesbian feminist archive, and nineteenth- century translations of broken stele into Chinese calligraphy. Four new PhDs were hooded in the May ceremony: Aglaya Graduate students in the department served as respondents. Glebova (dissertation: “Visualizing Stalinism: Photography The symposium concluded with an inspiring keynote address of Early Gulags,” advisor Anne Wagner, hooded by Darcy by Alexander Nemerov, Carl and Marilynn Thoma Provostial Grimaldo Grigsby); Camille Mathieu (dissertation: “Revo- Professor in the Arts and Humanities at Stanford University: lutionizing the Antique: French Artists and Artistic Com- “Snowflake: Wilson Bentley’s Civil War.” His lecture put the munity in Napoleonic Rome, 1803–1816,” advisor Darcy work of Bentley, a Vermonter who photographed thousands of Grimaldo Grigsby); Jennifer Sakai (dissertation: “Undoing snowflakes, in conversation with commemorative portraiture, Architecture:Temporalities of Painted Space in Early Modern medals from the Civil War, and bullet casings and concluded Amsterdam,” advisor Elizabeth Honig); and Michelle Wang with a rousing meditation on the imaginative potential of art (dissertation: “Characters of Design: Writing and Material- history as an academic discipline. The symposium’s Q&A ses- ity in Early China,” advisor Patricia Berger). The doctorate in sions sparked animated discussions that continued during the History of Art was also awarded in 2013–14 to Mont Allen breaks between panels, and over a post-symposium round of (dissertation: “The Death of the Roman Sarcophagi,” advisor drinks at Jupiter, signaling that the event was a success in forging long-term scholarly connections across institutions! Chris Hallett) and Edwin Harvey (dissertation: “The Place, Space, and Practice of Andrew Wyeth’s Hay Ledge,” advisor The Graduate Symposium is a Berkeley tradition that had Margaretta Lovell). lapsed over the past several years. It was revived this spring at the suggestion of Julia Bryan-Wilson, and organized by We congratulate these newest Berkeley PhDs in History of second-year graduate students Sarah Cowan, Andrew Sears, Art for their impressive achievements! We are also pleased Emma Silverman, and Jon Soriano, with help from many to note that the department’s record of job placements for graduate students in the department. new doctorates has been extremely good; each one of these graduates has secured a teaching position (several tenure- track) or a postdoctoral fellowship for the coming year.

Graduate presenters, keynote speaker Alex Nemerov, and graduate Mont Allen before a Roman sarcophagus showing philosophers and students in the History of Art at Berkeley enjoy post-symposium drinks Muses. This summer he moves from Berlin to Carbondale as Assistant at Jupiter in downtown Berkeley. Photograph by William Ma Professor of Classics & Art History at Southern Illinois University.

11 The Judith Lee Stronach Travel Seminar: Greek and Roman Art on the Bay of Naples At Pompeii we visited the House of the Faun where the famous Alexander Mosaic was discovered and saw the installation of fa- mous Hellenistic paintings readapted for floor mosaics in elite households. At Herculane- um we were privileged to gain access to the new ex- cavations at the Villa of the Papyri, entering a newly discovered and extremely well-preserved stucco-dec- orated vaulted chamber. Up the coast we braved a rainy downpour in order to ex- plore the cave at Sperlonga, where the famed sculptural groups of Odysseus blind- ing Polyphemus and Scylla attacking the crew of Odys- seus’ ship may have served to entertain the Roman em- Aaron Brown and Kelsey Turbeville peror Tiberius while dining at the Large Theater, Pompeii with guests.

The various site visits and trips to the National Archaeological Museum in Naples gave students the chance to explore, in depth and in person, a wide range of research interests—everything Andy Stewart; Chris Hallett (behind Andy); David Loer; Aaron Brown; from the Roman cult worship of the Egyptian goddess Isis to Josh Thomas, a doctoral student in ancient art from Oxford; and Sarah Smith at the Collegium of the Augustales, Herculaneum illusionistic wall paintings of fantastical realities; from the so- cial and economic culture surrounding fish ponds to provoca- This year’s Stronach Travel Seminar, led by Professors Chris Hal- tive and erotic objects as sources of Roman humor and magi- lett and Andy Stewart, took graduate students and faculty to the cal protection. The wonderful visits to the archaeological sites Bay of Naples, where we explored the remains of the luxurious and museums, and meetings with some of Italy’s most respected past of the Roman elite. The themes of our seminar reflected the scholars, together with our happy consumption of Neapolitan interests of the ancient Roman “one percent”: the acquisition cuisine, would not have been possible without the generosity of and display of expensive luxury goods, extravagant villa culture, the Judith Lee Stronach Travel Seminar Fund. and an abiding love of Hellenistic art and literature. We romped around the Bay experiencing the countryside as the playground Participants presented their research projects that emerged from of intellectual pursuits just like the wealthiest of Romans had in the semester-long seminar, class visit to the Getty Villa funded by the past. Fueled by the Mellon Initiative abundant amounts (p. 8), and the journey of gelato and pizza to Naples in a sympo- margherita, we tra- sium in honor of the versed the paths Seminar’s benefactor between ancient Judith Lee Stronach towns along the in the department’s Bay of Naples en- newly-renovated lec- countering those ture room, 308A Doe, sites that most read- in early May 2014. ily allowed us to study the themes of Miriam Said the class. Travel seminar at the National Archaeological Museum, Naples (stand- ing: Aaron Brown, Kelsey Turbeville, David Loer, Eric Driscoll; seated: Chris Hallett, Kevin Edholm Moch, David Loer, and Miriam Said at the Kevin Edholm Moch, Miriam Said, Sarah Smith, Chris Hallett, Andy Forum Baths, Pompeii Stewart, Lisa Pieraccini).

12 History of Art and VRC Spaces Remodeled

The department’s new lecture and conference room, 308A Doe Library. Photographs by Julie Wolf Linda Fitzgerald Honored 2013–14 was a busy year for the department in terms of space remodels. The Visual Resources Center in 307 Doe Library re- ceived a long-overdue remodel, complete with new flooring, paint, shades, and fresh workspaces for the VRC staff. Room 308A Doe, formerly the slide cabinet storage room of the Visual Resources Center, was transformed into a much-needed, flex- ible lecture and conference space. 308A Doe was outfitted with a new ceiling-mounted digital projector, built-in sound system, videoconferencing system, and new lighting, flooring, paint, and furnishings. The newly renovated lecture space was imme- diately heavily booked with department events, meetings, guest lectures, symposia, and videoconferences. Lynn Cunningham, Julie Wolf, Linda Fitzgerald, Matt Joyce, Samantha Zhu, and Jason Hosford after the Excellence in Management Award The department has also ceremony. Photograph by Michael Thompson begun renovations on two seminar rooms—104 These facility renovations would not have been possible with- Moffitt and 425 Doe—to out the vision and organizational skills of department man- be completed by fall 2014. ager Linda Fitzgerald. This year the History of Art and Visual Both of these renova- Resources Center staff conspired to nominate Linda for the tions include fresh paint, campus-wide Excellence in Management Award, which she flooring, furnishings, won. In nominating her for the award, the staff praised Linda and new audio-visual for fostering “an environment that embraces creative problem- equipment and will pro- solving, empowers employees, and allows for clear and open vide a revitalized teach- communication.” Linda has made many valued contributions Staff members Emily Cardoza and Erin ing environment for our to the operation of the undergraduate and graduate programs Parker in the newly-renovated 308A Doe. students, faculty, and in History of Art. She has also creatively reinvented the Vi- Photograph by Julie Wolf GSIs. sual Resources Center, shepherding the transition from tradi- tional slide library to a modern center for research, teaching, and publishing with digital images, now catalogued through ARTstor’s web-based software Shared Shelf. Perhaps most Each of these renovations—the Visual Resources Center, noticeably, Linda supervised the redesign of the department’s beautiful and user-friendly website. It is no surprise that Linda the 308A Doe lecture room, and the seminar rooms in also just received a Staff Appreciation and Recognition SPOT 104 Moffitt and 425 Doe—are eligible for donor naming award specifically for “Innovation and Imagination.” We know opportunities. We invite you to contact the department how lucky we are to have Linda Fitzgerald managing our ev- at [email protected] for more information on er-larger and more complex department, and we congratulate becoming a donor. her on these much-deserved, campus-wide recognitions of her achievements!

13 The Mary C. Stoddard Lecture

Finbarr Barry Flood, William R. Kenan Jr. Professor of the Humanities and Professor of Art History, Middle Eastern and Islamic Stud- ies at the Institute of Fine Arts, New York University delivered the 2013 Stoddard Lec- ture “Beyond Aniconism and Iconoclasm: Re- figuring the Image in Islam” on October 17. Professor Flood’s lecture was a masterful pre- sentation on the theological, juridical, and art historical contexts of aniconism, iconoclasm, and figuration in early Islamic art and image making, followed the next day by a stimu- lating, in-depth seminar on his research-in- progress with the department’s faculty and Finbarr Barry Flood delivers the 2013 Stoddard Lecture. Photograph by Julie Wolf graduate students.

The 2014–15 Stoddard Lecture will be The Mario Del Chiaro Lecture delivered by Thomas B. F. Cummins, Dumbarton Oaks Professor of the History of Pre-Columbian and Colonial Art at Har- vard University on Thursday, February 26, 2015. For details, please visit arthistory.berkeley.edu/events.

Mario Del Chiaro, speaker Nancy de Grummond, Marco Del Chiaro, and Lisa Thomas B. F. Cummins Pieraccini at the 2014 Del Chiaro Lecture on Etruscan art. Photograph by Julie Wolf

On March 5, 2014 , M. Lynette Thompson Pro- The Mary C. Stoddard Lecture Fund was Nancy de Grummond fessor of Classics and Distinguished Research Professor at Florida State established in 2002 with a bequest of Mary University presented the third Mario Del Chiaro Lecture on “Divination Stoddard to provide a visiting lectureship in by Thunder and Lightning in Etruscan Religion.” A specialist in- Etrus the history of art, with a focus on decorative arts, Islamic arts, and the history of textiles. can, Hellensitic, and Roman archaeology, Professor Grummond delivered Stoddard received her BA in the History of a wonderful and uncanny lecture—seeming to divine herself a very rare Art from the College of Letters and Science thunderstorm in Berkeley that very night! at the University of California, Berkeley, in 1947. The Mario Del Chiaro Fund was established in 2011 to support the teaching and study of Etruscan and ancient Italic art at UC Berkeley. Professor Del Chiaro is a distinguished alumnus of the University, having earned his BA, MA, and PhD from the Department of History of Art. The faculty and students wish to express their warmest thanks to Professor Del Chiaro who this year made a further gift of $25,000 to the fund—bringing his donations to a total of $100,000 over the last three years.

14 Woven Paintings? Collecting South Asia | Flemish and French Archiving South Asia In February 2014, Professor Sugata Ray spearheaded a one-day Tapestry, 1660–1770 international conference “Collecting South Asia | Archiving South Asia,” to rethink object histories and reexamine the role of museums and archives from the nineteenth century to the present. Organized by the Center for South Asia Studies in col- laboration with the Department of History of Art, the Berkeley Art Museum & Pacific Film Archive (BAM/PFA), and the Arts Research Center, the conference brought together anthropolo- gists, art historians, curators, and other critical thinkers for a series of presentations that looked at everything from new forms of archiving created through India’s national biometric ID program to British perceptions of the Buddha’s body.

Highlights from the conference included a discussion by cura- tor Debra Diamond (Freer and Sackler Galleries) about her re- cent exhibition Yoga: The Art of Transformation. Janice Leosh- ko (UT Austin) and Anjali Arondekar (UC Santa Cruz) further opened up the idea of an archive by revealing the complex ways in which information and objects were made and circulated in the nineteenth century. Shifting focus away from archives, Koenraad Brosens, Elizabeth Honig, Katlijne van der Stighelen, and Chris Atreyee Gupta (Haus der Kunst, Munich) posed the question Hallett at the “Woven Tapestries” Symposium. Photograph by Julie Wolf “Can all art be collected?” by examining Ghar Pe, a collabora- tive, community-based project in Mumbai. Cristin McKnight Sethi (UC Berkeley) discussed a few key South Asian objects at On November 22–23, 2013, Berkeley’s Townsend Center the BAM/PFA and Padma Maitland (UC Berkeley) spoke about hosted the first conference on the history of tapestry ever his role in curating the exhibition The Elephant’s Eye: Artful organized at an American university. Sponsored in large Animals in South and Southeast Asia (March–June 2014). part by De Wit Royal Manufacturers of Tapestry (Belgium), the symposium was the original concept of professor Koen- raad Brosens of the KU Leuven, who was the visiting Pe- ter Paul Rubens Chair of Flemish Studies at Berkeley that semester. Elizabeth Honig of the Department of History of Art also helped to organize the event.

The conference kicked off with a gala reception sponsored by Flanders House, New York. There followed two days of sessions at which both established and younger tapes- try scholars, from museums and universities in America, Europe, and Asia, presented original research on French, Flemish, and Chinese tapestry from about 1660–1770. The first day’s papers focused on tapestry manufacture in Par- is, while the morning session on the second day looked at works made in Brussels and Antwerp and in the after- noon the papers discussed material cross-currents between East and West. Very memorable was a paper on “privileg- es” granted by the city of Brussels to eighteenth-century tapestry­makers, in which we learned the importance of beer and socializing to early modern artistic commerce, and Unknown, India, Vishnu and Garuda Save the King of the Elephants, also that the mere word “beer,” spoken before an audience 1660, gouache on paper, 8 ½ x 6 ¼ inches, Museum purchase. Courtesy of art historians, elicits gales of laughter. The papers pre- of the Berkeley Art Museum & Pacific Film Archive. Exhibited inThe sented at the conference will be published as a volume from Elephant’s Eye: Artful Animals in South and Southeast Asia, Brepols Publishers, hopefully in the winter of 2014–15. Berkeley Art Museum.

15 Graduate Student Working Groups Supported by the Townsend Center for the Humanities

The shrine of Nuestra Señora de Copacabana, on the shores of Lake Titi- caca in Bolivia. Photograph by Aaron Hyman

Jon Soriano, Patricia Yu, and Shivani Sud in the Liu Fang Yuan Chi- Colonial Latin American Art, Literature, and Visual nese Garden at the Huntington Library Culture Organizers: Dexter Hough-Snee (Spanish & Portuguese) and Asian Art and Visual Cultures Aaron Hyman Organizers: Mary Lewine, Jon Soriano, and Patricia Yu The Colonial Latin American Art, Literature, and Visual- Cul The Asian Art and Visual Cultures Working Group (AAVC) ture Working Group enjoyed a productive and fruitful academic kicked off the academic year with a trip to attend “East Asian year. The group met regularly to workshop student and faculty Gardens as Social Spaces,” a symposium hosted by the Hunting- research-in-progress, discuss lectures and academic events re- ton Library. We co-sponsored “Archives, Censors, Wives: Re- lated to the group’s core themes, and to attend the talks of our search in Contemporary Asian Art: A Conversation with Jane two invited speakers, Stella Nair (Associate Professor, History of DeBevoise,” and also co-sponsored “Porous China: Transactions Art, UCLA) and Patrick Hajovsky (Associate Professor, History into the World” with the Mobilities and Materialities Working of Art, Southwestern University). After a string of lectures last Group to bring Professor Timothy Brooks to Berkeley. Other year on topics related to the history of New Spain, the group events this year included a discussion with jade and ceramic was excited to hear presentations that treated the colonial (mis) experts from the Palace Museum in Beijing, an introduction to reception of Inka stonework and miracle-working cults in Cuz- the Kaiping Village Conservation and Development Project in co, Peru, respectively. Guangdong, China by Dr. Selia Tan, and an overview of delight- ful Canton trade objects in the Peabody Essex Museum by Wil- Contemporary Art liam Ma. We closed out the academic year with another road Organizers: Laura Richard and Sarah Cowan trip to Southern California, this time to attend “Chinese Paint- ings in Japanese Collections,” a one-day symposium hosted by The Working Group in Contemporary Art works to broaden LACMA with their exhibition of the same name. conversations around contemporary art across disciplines and local institutions. Since 2009, our monthly seminar-style meet- Mobilities and Materialities in the Early Modern World ings have featured faculty, curators, students, and artists speak- Organizers: Jessica Stevenson-Stewart and Jessica Stair ing on recent and ongoing work. Lectures followed by extensive Q&A provide speakers with critical feedback on and encour- The first year of the Mobilities and Materialities in theEarly agement for work-in-progress. The 2013–2014 academic year Modern World Working Group was immensely successful. We brought meetings with talks by University of Chicago Professor sponsored ten workshop sessions featuring twenty-seven out- Huey Copeland, the UC Berkeley second-year MFA students, standing faculty members who discussed a wide range of inter- Graduate School of Education doctoral student Franklin More- disciplinary topics. Some highpoints of our sessions included no, working group co-founder Laura Richard, Asia Art Archive early modern collecting culture; materiality in Latin America founder Jane DeBevoise in conversation with Assistant Profes- and Asia; furniture trade in Yemen; cultural intermediaries; po- sor of Rhetoric Winnie Wong, and Assistant Professor of His- etry and literature; and varying methodologies in Mobility and tory of Art Lauren Kroiz. Materiality Studies, among other topics.

16 From April–July 2014, Rolf Schneider (Professor of Classical Visiting Faculty and Archaeology at Munich’s Ludwig-Maximilians- Faculty Exchanges in 2014–15 Universität) visited the department. Taking full advantage of the new UC Berkeley-LMU humanities faculty exchange program, he came to consult with Chris Hallett on Roman images of “barbarians” and with Andy Stewart on various Greek topics and François Lissarrague (École des Hautes to work on his book about Études en Sciencias Sociales, Paris and South Africa’s Voortrek- Classics 2014 Sather Professor), Chris ker Monument (1931–49). Hallett, and Rolf Schneider at the Stro- During his stay, he gave nach Traveling Seminar’s oyster bake, us two witty, stimulating, Heart’s Desire Beach, Sunday, May 18, and brilliantly unscripted 2014. Photograph by Andy Stewart talks. The first, “From Memory to Marble: The Frieze of the Voor- trekker Monument at Pretoria,” tackled its complex genesis, ex- ecution, checkered history under apartheid, and contested status in contemporary South Africa. The second, “Laughter: A Human Sabrina Maras Characteristic in Classical Imagery,” confronted such questions as: How did ancient art express such emotions? Who’s doing the laughing? Who commissioned such images and why? For which social and religious contexts? And so on. Among the highlights of his visit, he singles out his “many delightful and enlightening In fall 2014 the department welcomes Sabrina Maras as Assis- chats about ancient sculpture (sorely missed); great collaboration tant Adjunct Professor in Near Eastern Studies and History of with departmental staff; intensive discussions with Whitney Da- Art. She earned her doctorate in Ancient Near Eastern Art and vis, Beate Fricke, Leslie Kurke, Tony Cascardi, and Klaus Corcili- Archaeology at UC Berkeley in 2009 and she has held the position us; and great progress with the book. of Visiting Scholar in the Department of Near Eastern Studies, where she has taught a variety of courses. She has been a Re- This year the department is also fortunate to welcome Visiting searcher with the Persepolis Fortification Seal Project, Oriental Assistant Professor Ping Foong, who will teach courses on Chi- Institute, University of Chicago. Her research has taken her to nese art. Lecturer and Research Associate Imogen Hart will the Musée du Louvre, the British Museum, Çatal Höyük (Tur- teach for a second year in the department, offering classes on key), Kerkenes Dag (Turkey), and Erebuni (Armenia). In History British art including a fall 2014 seminar on “Transatlantic Mod- of Art she will offer courses in Ancient Near Eastern Art, com- ernisms,” co-taught with Lauren Kroiz. Students in History of Art mencing with an undergraduate seminar on the subject “Priest, will also have opportunities to enroll in a diverse array of courses Warrior, King: Images as Propaganda in the Ancient Near East” taught this year by lecturers Ivy Mills, Jordan Rose, and Caty in fall 2014. Telfair and by faculty from other departments: Winnie Wong (Rhetoric) and Lisa Regan (Italian Studies). For current course The Peter Paul Rubens Chair, sponsored by the Flemish gov- offerings in History of Art, please visit arthistory.berkeley.edu/ ernment and run by UC Berkeley’s Dutch Studies Program, courses. brings a visiting professor to campus for one semester each year to teach a seminar in their area of expertise. The previous two Rubens Chairs in History of Art were held by Katlijne van der Stighelen and Koenraad Brosens, both from Leuven. In 2014 we welcome Koenraad Jonckheere (photo right), assistant profes- sor in Northern Renaissance and Baroque Art at Ghent Univer- sity (Belgium). He studied History and Art History in Leuven and received his PhD from the University of Amsterdam in 2005. His publications include Adriaen Thomasz. Key (2007), The Auction of King William’s Paintings (2008), Willem Key (2011), and most recently Antwerp Art after Iconoclasm: Experiments in Decorum, 1566–1585 (2012). Last year he curated a major exhibition in Leu- ven on the painter Michiel Coxcie. At Berkeley he will teach an undergraduate seminar on “Reformation, Iconoclasm, and the Origins of Northern Baroque” in fall 2014. Koenraad Jonckheere

17 PATRICIA BERGER Faculty Notes Professor of Chinese Art

DILIANA ANGELOVA Assistant Professor of Early Christian and Byzantine Art

Thanks to a Humanities Research Fellowship from UC Berkeley, Diliana Angelova had a memorable sabbatical year of writing, travel, and research. Her article on the building activities of the fifth-century empress Pulcheria appeared in Byzantine Images and Their Afterlives (Ashgate, 2014). She reviewed a volume of es- says on the cult of the Virgin Mary in Byzantium for the Bryn Mawr Classical Review. Her first monograph, Sacred Founders: Women, Men, and Gods in the Discourse of Imperial Founding, Rome through Early Byzantium, is now in press with University of Cali- fornia Press. Travels to Israel advanced her research on her sec- ond book, dedicated to the early history of the True Cross, and the Constantinian church of the Holy Sepulcher in Jerusalem. Visits to European collections and archaeological sites helped in the conceptualization of her book-length study, dedicated to the synergy between art and love from antiquity through the middle ages. Over the summer, she will be working on a shorter study on the Altar of Augustan Peace. Pat visits the new, colossal stainless steel Chinggis Khan statue outside She is pleased with the achievements of her students. Andrew of Ulaanbaatar Griebeler (for whom she is dissertation co-director with Beate Pat Berger continued to work on problems of cultural translation Fricke) won the prestigious Kress two-year doctoral fellowship for a new book project that explores the period of Marco Polo. in Florence. Ana Clara Anaya was awarded an internship at the She gave lectures on the arts of the Qing-dynasty court at the Se- Cervantes Institute in Paris; Vanessa Wilson was admitted in the attle Art Museum and Willamette University, and was discussant doctoral program for rhetoric and art at Southern Methodist Uni- for a panel on Mongolian art organized by Orna Tsultem at the versity; Paige Walker was admitted to every graduate program annual conference of the International Association of Tibetan she applied to and her honors’ thesis, which won the Conrad Li- Studies in Ulaanbaatar. Pat organized a symposium on Western ebau Library Prize in 2013, was honored with a small exhibition perspective in Chinese painting in November 2013 at the Insti- at the Doe Library. tute of East Asian Studies to honor Professor Emeritus James Ca- hill, who passed away in February. The symposium accompanied Cahill’s last, highly acclaimed exhibition at the Berkeley Art Museum, Beauty Revealed.

Pat also served as an advisor to the Ho Family Foundation, which is devoted to supporting the study of Buddhism and the exhibi- tion of Buddhist art. A meeting of Ho Foundation advisors took place in Washington, DC this past fall, corresponding precise- ly to the federal government’s shut-down and thus leaving the group locked out of the Freer and Sackler Galleries (but kindly rehoused by the Phillips Collection). Pat continued to serve as advisor to two Mellon Foundation initiatives, including our de- partmental program aimed at enhancing graduate opportunities for students who are considering curatorial careers. The Mel- lon Initiative, which Margaretta Lovell and Pat co-administer, funded two curatorial internships and the first of three planned graduate seminars. This roving seminar introduced technical approaches to the analysis of objects through visits to conserva- tion labs in museums around the Bay Area. Pat also served as chair of the Berkeley Academic Senate’s Committee on Courses of Instruction and on the executive committee of the Center for Diliana with a marble statue of the fourth-century empress Helena Chinese Studies. Augusta, a major protagonist in Sacred Founders. Capitoline Mu- seums, Rome.

18 JULIA BRYAN-WILSON WHITNEY DAVIS Associate Professor of Modern and Contemporary Art George C. and Helen N. Pardee Professor of Ancient and Modern Art Julia Bryan-Wilson’s year was marked by several happy collabo- rations, starting with team-teaching the history of photography with Darcy Grigsby in the fall. She also co-organized, with Jen- nifer González of UC Santa Cruz and Dominic Willsdon of SF- MOMA, a conference entitled Visual Activism, which brought to- gether artists, activists, and scholars from around the world for a two-day event. She conducted a series of interviews both in pub- lic and in print with artists Sabrina Gschwandtner, Josh Faught, Sharon Hayes, Luis Jacobs, Liz Collins, and Cheryl Dunye (the last was published in Art Journal as part of a dossier on queer archives). She and Glenn Adamson finished their co-authored book, Art in the Making, forthcoming from Thames and Hudson.

In terms of solo projects, this year Julia published in a wide array of venues, including catalogue essays on Nicole Eisenman, Mika Rottenberg, and Simone Forti, and an article on the video collec- tive EZTV in Grey Room. Forthcoming texts explore the queer- ness of nuclear culture (for a University of California Press an- thology on landscapes), Yoko Ono (for MoMA), and Corita Kent In the past year, Whitney Davis gave a number of talks and (for Harvard Art Museums). lectures at conferences and institutions overseas, including the University of Copenhagen, the Ludwig-Maximilians-Universität Julia spent a very rainy winter at the Courtauld Institute of Art, in Munich, and the universities of Oxford, Cambridge, Warwick, where she was the Terra Foundation Visiting Professor for Amer- York, and London in the UK. In fall 2013, he presented three sem- ican Art, and enjoyed hosting friends and family, including her inars during a two-week residency at the University of Basel as partner Mel Chen. While based in London, Julia delivered invited well as a keynote lecture at the annual meeting of the Eikones lectures around the UK, including engagements at Goldsmiths research group in Basel. Recent publications include “Climatic and Central Saint Martins, as well as in Dublin, Edinburgh, Lüneburg, and Nottingham. She also spoke at NYU’s Institute of Variability and Pictorial Oscillation” in a special issue of Res ed- Fine Arts, Northwestern, the Leslie Lohman Museum, the Santa ited by Christopher Wood; “Serial Portraiture and the Death of Barbara Museum, the Kitchen, the Whitney Independent Studies Man in Eighteenth-Century Britain” in the Wiley-Blackwell Com- Program, and gave keynotes for symposia at the Courtauld and panion to British Art edited by David Peters Corbett and Dana at the School of the Art Institute Chicago, among other engage- Arnold; “Sein und Zeit im Raum: Perspective as ‘Symbolic Form’” ments. This upcoming year she plans to focus on writing, and in Heidegger and the Work of Art History edited by Aron Vinegar looks forward to being on leave in the spring as a fellow at Berke- and Amanda Boetzkes; “Sense of History in World Art Studies,” ley’s Townsend Center for the Humanities, completing her book in the new journal World Art; and several entries in the second on contemporary textiles in art and activism. edition of the six-volume Encylopedia of Aesthetics published by Oxford University Press, for which he also worked as one of the core editors under the general editorship of Michael Kelly. Forth- coming publications include an article on scale and pictoriality in ancient Egyptian painting and sculpture for a special issue of Art History; a contribution to the catalogue for the career retro- spective of On Kawara at the Guggenheim Museum in New York in 2015; an essay on Michael Baxandall’s understanding of the “idiographic stance” in art history for an anthology on Baxan- dall edited by Peter Mack and Robert Williams; and an article on the problem of “presence” in prehistoric art for a collection on “one-way images” edited by Inge Hinterwaldner. In fall 2014, he will be lecturing at several universities and museums in Aus- tralia and New Zealand. He completed his first year as part-time visiting professor of art history and humanities at the Univer- sity of York, an innovative three-year arrangement that enables him to work with postgraduate students in British art studies. At Berkeley, he has been serving on the executive committee of the Townsend Center for the Humanities, the steering committee of the Mellon Foundation initiative on “global urban humanities” between the College of Environmental Design and the Division of Arts and Humanities, and on the Senate Committee on Aca- demic Planning and Resource Allocation.

19 BEATE FRICKE DARCY GRIMALDO GRIGSBY Associate Professor of Medieval Art Professor of Modern Art

Besides a family trip to Madrid, Athens, Hydra, and Paris, high- lights of Darcy Grimaldo Grigsby’s year included co-teaching two new classes with wonderful colleagues: a lecture course on Histories of Photography with Julia Bryan-Wilson; and a cross- listed seminar with African American Studies professor Leigh Raiford on Black Visual Culture, in which alumnus Huey Cope- land, Associate Professor, Northwestern University, shared his fabulous new book. These classes and conversations were im- mensely pleasurable and also stimulating; she learned so much from her co-teachers. In the spring she taught a lecture course on “Art and Technologies of Modernity in late Nineteenth-Century France” that attempted to incorporate her thinking in her book Colossal.

This year Grigsby also completed the revision of her bookEndur - ing Truths. Sojourner’s Shadows and Substance to be published by University of Chicago Press next spring. She also completed two articles from her next book, Creole Looking. Portraying France’s Foreign Relations in the Long Nineteenth Century: “Cursed Mim- icry. France and Haiti Again 1848-1851” (Art History, February 2015) and “Still Thinking about Olympia’s Maid” The( Art Bulletin, June 2015). The latter work was also presented as talks at Dart- mouth College, thanks to an invitation from former undergradu- ate, now Assistant Professor Katie Hornstein, and at the “Manet Now and Then” Conference, co-organized by Kaja Silverman and alumnus André Dombrowski, now Associate Professor at the University of Pennsylvania. In the fall, she also gave a talk on Delacroix’s Liberty at a Delacroix conference organized by alum- nus and curator Eik Kahng at the Santa Barbara Museum of Art.

Beate’s advisees Andrew Sears and Andrew Griebeler at the Modern Art Museum of Fort Worth, Texas (standing in front of Jenny Holzer’s Kind of Blue, 2012)

During the summer of 2014, Beate traveled with her graduate students Andrew Griebeler and Andrew Sears to Poland, ex- ploring churches, castles, and museums as well as lots of heavy food. With friends she went further through Spain, France, Austria, and Germany, on travels filled with painted traces of spilled blood and more, until reaching the Princess Island at Istanbul (no churches!) in late summer. During the academic year she finally set foot in territories in the US she was less familiar with and went to Dallas, Texas to see the exhibition Nur: Light in Art and Science from the Islamic World, the great This May Grigsby was delighted to hood PhDs Camille Mathieu collections in Fort Worth, and—much to her surprise—there and Aglaya Glebova and to celebrate Jenny Sakai’s completed were indeed lots of people wearing cowboy boots and cowboy dissertation. What a pleasure it has been to spend time with cur- hats! In 2013–14, she gave lectures in Basel, Chicago, Thurgau, rent and former students, not only Camille, Aglaya, Jenny, Huey, Berlin (on three different occasions: a great workshop on Col- Katie, and André, but also graduate student Kailani Polzak, with whom she spent New Year’s Eve in Paris; graduate students Alex- or in Early Modern Culture, a conference about Episteme in andra Courtois and Caty Telfair who served as terrific Graduate Transition, and she held a workshop with the research group Student Instructors for her late nineteenth-century course this “Bildevidenz”). She has submitted the manuscript of the trans- spring; Nina Dubin who drove her around Philadelphia; and Ara lation of her first book to the press, while the manuscript of Merjian who gave a talk here this spring. You are all so amazing the second book is under review. She taught the class she al- and beloved. Congratulations to you for jobs exceedingly well ways wanted to teach—Gothic Art—choosing a new angle and done: committed teaching, completed dissertations, recent ten- teaching it as an introduction to Pre-Modern Visual Culture. ure promotions, and newly published books; this includes you She received a Mellon Project Grant, which will help her to Bibi Obler! Lovely too to have spent time with former colleagues gather the perfect illustrations for the second book. Anne Wagner and Tim Clark!

20 Elizabeth Honig and her current team of undergraduate assistants for CHRIS HALLETT janbrueghel.net. From left: Jennifer Tanji, Ye Seon Lee, Snow Zhu, Julie Professor of Roman Art Turgeon (site manager), Cecily Manson; on screen: Christine Quach (former site manager, now doing her MA in London); Elizabeth Honig, In September 2013 Chris addressed a reception for the World Ashley Jerbic, Jess Bailey, Ben Rodgers. Not pictured: Tristan Brody, Em- Heritage Fund in St. Helena, CA, on the subject of “Contempo- ily Domanico, Elena Waller, Jenny Wu, and programmer Angela Hong. rary issues in conservation at archaeological sites in Libya and in Turkey.” The following month he was an invited speaker at a conference, “Sculpture in Roman Asia: Cultural Contexts and ELIZABETH HONIG the Lives of Monuments,” held in Selçuk (Turkey) and organized Associate Professor of European Art, 1400-1700 by the Österreichisches Archäologisches Institut in Vienna. In This year Elizabeth Honig lead a multi-campus research group, early 2014 he traveled to Rome to visit the remarkable exhibition sponsored by the UC Humanities Research Institute, on “Early ; and on his return he spoke about the aims and high- Augusto Modern Patterns.” Their focus was on employing new digital lights of this show in a lecture on “Roman Art and its Legacy” to tools to investigate the use and transmission of patterns, both vi- the docents of the Fine Arts Museums of San Francisco, held at sual and verbal, in the early modern world. Faculty from UCLA, the de Young Museum. Santa Cruz, Santa Barbara, Davis, and Berkeley were involved, representing departments of art history, linguistics, French, and The main challenge of Chris’ academic year, however, was un- literature. The project culminated in a conference “Humani- questionably organizing and teaching the department’s Judith ties 2.0: New Tools for the Digital Age,” jointly sponsored by Lee Stronach Travel Seminar to Naples, co-taught with Andrew UC Berkeley’s Department of History of Art and held here in Stewart. The seminar was titled, “Greek and Roman Art on the April. In November Professor Honig was co-organizer, with Ru- Bay of Naples” and the group spent two weeks in Italy, visiting bens Visiting Professor Koenraad Brosens, of the international Pompeii, Herculaneum, Oplontis, Baiae, and the National Ar- conference “Woven Paintings? Flemish and French Tapestry, chaeological Museum in Naples. 1660–1770.” Honig also received a sub-award on a three-year grant from the National Science Foundation for her website jan- Chris also spent the year preparing for his planned sabbatical brueghel.net. She thinks that she may be the first art historian in 2014–15. He has been chosen to be a Getty Residential Scholar ever to be funded by the NSF. at the Getty Villa for September–December 2014, and a Visiting Professor at Ludwig-Maximilians-Universität from January to July 2015. After being Chair of History of Art for the last five GREG LEVINE years, Chris is looking forward to being able to spend the year Associate Professor of concentrating on his research. But he has agreed to continue as Chair for one more year in 2015–16. This past year Greg Levine reduced the number of his invited lectures and conference papers to focus on completing his book of previ- ously published and new essays: Long Strange Journey: Zen Art and Other Predicaments. Two essays to be included in this collection have just appeared in multi-author vol- umes: “The Faltering Brush: Mate- rial, Sensory Trace, and Nondual- ity in Chan/Zen Buddhist Death Verse Calligraphies,” in Sensa- tional Religion: Sensory Cultures in Material Practice, edited by Sally M. Promey, and “Zen Art before ‘Nothingness,’” in Inventing Asia: American Perceptions Around 1900, Fukushiro Yōdō, Mushin, 1994, Chris Hallett and Andy Stewart at the Getty Villa, March 2014 edited by Noriko Murai and Alan ink on paper. Private collection

21 Chong. Now a bit tired of Zen, he is also completing a chapter, TODD OLSON “Looting Buddha Heads,” focused on the modern history of Bud- Professor of Early Modern Art dhist sculpture removed from Tianlongshan, China, for a second book: Buddha Heads: Fragments, Landscapes, and Buddhist Visual Cultures. A new graduate seminar in spring 2014, “Making Art Modern in Japan,” brought together a dynamic group of students, in Berkeley’s History of Art and History departments as well as the Graduate Theological Union, to reflect on a series of recent publications and their proposals. Along with Professors Honig and Lovell, Levine worked this past year on the redesign of the undergraduate major in the History of Art, which reflects the department’s recent faculty hires and diversity of teaching areas and methods. In fall 2014, he will teach the department’s gradu- Professor Olson at the Pitiful Relics book talk at University Press Books ate pedagogy seminar and redesign his lecture course, “Buddhist Icons in Japan.” He was immensely pleased to see his students Todd Olson celebrated the publication of Caravaggio’s Pitiful Rel- Kristopher Kersey (at CASVA, Washington, DC) and Carl Gellert ics (Yale University Press, 2014) with friends, family, students, (Nara, Japan) progressing well this year with their dissertations, staff, and colleagues at University Press Books in anticipation of while also tackling the job market and fellowship applications. his promotion to Professor. At the 2014 Renaissance Society of He continues to serve as an elected board member of the Berke- America (RSA) annual conference in New York he gave a paper ley Faculty Association and recently joined the editorial board of related to a book-in-progress concerning Jusepe de Ribera, the the journal Artibus Asiae. seventeenth-century Spanish painter who was active in Rome and Naples. Todd sponsored the Townsend Center for the Hu- MARGARETTA LOVELL manities Mobilities and Materialities of the Early Modern World J. D. McEvoy, Jr., Professor of working group, for which Jessica Stewart and Jessica Stair orga- American Art and Architecture nized an extremely ambitious and invigorating series of talks and roundtables. Todd contributed a paper on the reception of As joint project director with the sixteenth-century Mexican Codex Mendoza in France and Patricia Berger for the Curato- England. The narrative of trans-oceanic material transmission rial Preparedness and Object- and reception is part of another book project. For the second Based Learning Initiative gen- year in a row, Todd has directed a student who was the recipi- erously funded by the Andrew ent of a Summer Undergraduate Research Fellowship; Olivia Dill W. Mellon Foundation, Mar- traveled to London to conduct research in the British Museum garetta Lovell co-taught with and the Victoria and Albert Museum on the printed reproduc- her a new graduate seminar in tion of sixteenth-century botanical illustrations. Two of Todd’s the fall semester in the techni- advisees for honor’s theses—Liliana Herrera (Class of 2013) and cal examination of art objects. Mathilde Bonvalot (Class of 2014)—accepted admission to the The course took place almost graduate program in History of Art and Architecture at Har- entirely in the conservation vard University. Another advisee, Yessica Porras (Class of 2014), studios of the Asian Art Museum, the de Young Museum, the Le- received Highest Honors for her study of indigenous motifs in gion of Honor, the Oakland Museum, and the Bancroft Library. It church murals, which was based on fieldwork in her native Co- proved an extraordinary learning experience for all concerned. lombia. She has been recognized as the recipient of a University She was busy with three Senate committees: Library (continu- Research Apprenticeship Summer Award and one of the winners ing as Chair), Committee on Academic Planning and Resource the 2014 Charlene Conrad Liebau Library Prize for Undergradu- Allocation, and the Senate Athletic Council—as well as a spe- ate Research. In fall 2014, Todd will participate in a roundtable sponsored by the Society on the subject of “Sensu- cial symposium on the condition of UC Berkeley’s core campus ous Suffering” at the Sixteenth-Century Studies conference in (viewable at http://youtu.be/oTmQNBP_vSo) and a presentation New Orleans (UC Berkeley alumnus Walter Melion will be in the to the Berkeley Folklore Roundtable. same session). In spring 2015, Todd will attend the RSA in Berlin and present a paper in a session interrogating the “Global” Re- She also gave talks at the American Society for Environmen- naissance, chaired by former Berkeley ACLS New Faculty Fellow tal History conference and at the Biannual Meeting of the In- Kathryn Blair Moore, who is Assistant Professor at ternational Consortium of American Studies Faculties at Freie University. Universität Berlin. She served on the College Art Association’s Nominating Committee, on the prize committee of the American Society of Eighteenth-Century Studies, and on the Council of the SUGATA RAY Omohundro Institute at William & Mary. Publications include a Assistant Professor of South Asian Art review of a splendid new book, Mahogany by Jennifer Anderson, an article on art and the American Revolution, and a brochure on Sugata Ray spent 2013–14 at the Forum Transregionale Studien, John Galen Howard’s contributions to the Berkeley campus. The Wissenschaftskolleg zu Berlin writing Sensorium and Sacra- year’s surprise and high point came at the College Art Associa- ment in a Hindu Pilgrimage Town: Theological Aesthetics, Ecology, , a monograph on the intersections tion’s annual conference in Chicago where she was delighted to and the Islamicate, 1600–1900 among early modern environmentalism, topophilic theology, receive that organization’s Teaching Award and to celebrate with and material culture. a festive cohort of former and current Berkeley students. 22 Writing rhythm was punctuated by research across Europe ANDREW STEWART and Asia. A traveling seminar with architects from the ETH Professor of Ancient Mediterranean Art and Archaeology Zürich took him to Marseille and Genova to trace the archi- tecture of maritime interconnectivities. Following trade routes Andy Stewart continues to chair the Graduate Group in Ancient and oceanic currents, he conducted fieldwork at the fifteenth- History and Mediterranean Archaeology and in late summer century Gwalior fort, a structure sumptuously decorated with 2013 chaired History of Art in Chris Hallett’s absence. On sab- Persian-style glazed tiles. The port city of Mumbai, which came batical in fall, he was elected an honorary fellow of the Austra- into prominence in 1661, the “Oriental” collection in Dresden’s lian Academy of the Humanities, and gave the Archaeological Grünes Gewölbe, and Mughal paintings on the walls of Vienna’s Institute of America’s annual Norton Lectures at eleven venues Schönbrunn Palace were some other affective points that Sugata on the East Coast and Midwest. His article on sculptors’ models, charted this year for a new book project on the global function sketches, and doodles from the Athenian Agora was published of early modern, non-European taxonomies. in Hesperia, and another, entitled “Two Notes on Greeks Bearing Arms,” in a co-edited Heidelberg volume dedicated to his friend and colleague Tonio Hölscher. The proceedings of a conference on the subject of his 1972 dissertation, the Parian sculptor Sko- pas, organized by his Greek colleague Dora Katsonopoulou, held in June 2012, and jointly edited with her, were published in Feb- ruary. His essay, summing up his current views on the subject,

Sugata Ray speaking at Khajuraho, a tenth-century temple complex in central India with Gerhard Wolf and Hannah Baader (Kunsthistorisches Institut, Florenz), Romuald Tchibozo (University of Abomey-Calavi, Be- nin), Ching-Ling Wang (Rijksmuseum, Amsterdam), Magdalena Wró- blewska (University of Warsaw), and others. Photograph by Luise Neu- bauer.

In tandem, Sugata organized two international conferences. Held at the Berkeley Art Museum, the first gathered museum profes- sionals and scholars from the US, Europe, and the Middle East Andy Stewart in the Agora, studying an old find newly to discuss collecting and archiving practices through sites rang- identified: the Athena from the Temple of Ares, carved by ing from illicit trade in antiquities to national biometric cards Lokros of Paros around 420 BC (p. 15). This led to his fall seminar on erasures in the archive of art history. The second focused on the spatial cultures of water. is entitled “Desperately Seeking Skopas.” In spring, Chris Hal- Organized with support from the Ministry of Culture and held lett and he led the departmental endowed Travel Seminar to the in New at the former residence of the first Prime Minister Bay of Naples, en route stopping off at the Università di Studi of India, the conference will be published as a co-edited volume: di Napoli to give an invited lecture. He resumed work in the Liquescent: Spatializing Water in Global South Asia. Agora Museum in the early summer of 2014, putting the finish- ing touches to two more articles in his Hellenistic series, includ- Other engagements this year included essays on the “failure” ing the architectural sculpture of the Temple of Apollo Patroos, of colonial museology (The Art Bulletin), the making of the field carved around 305 BC and identified in the Museum basement in summer 2013, and the cult statues of the Temple of Ares, identi- of Islamic art history (Shangri La Working Papers in Islamic Art), fied this summer. Cambridge University Press will publish his contributions to The Encyclopedia of Empire, and invited talks at introductory textbook on Hellenistic art this fall. Meanwhile, as Chicago (University of Chicago), Berlin (Forum Transregionale usual, he devotes what little free time he has to sailing his 38- Studien and Heidelberg University), Washington DC (Freer and foot sloop “Obsession” on San Francisco Bay; playing with his Sackler), (Nehru Memorial Museum), and Honolulu twin granddaughters Giselle and Sofia; and ministering to his (Doris Duke Foundation), among others. wife Darlis’s menagerie of cats.

23 LISA TREVER Emeriti Profiles therefore important,” Jacques is Assistant Professor of Visual Studies, engaged in the recovery of the Precolumbian and Colonial Latin American Art Svetlana Alpers forgotten, British-born, Saint Professor Emerita of Northern Simonian artist Peter Hawke Renaissance Art (1801–87), a dissident in many Svetlana Alpers shares the ex- ways, who elected to live a long cellent news that she has re- time in France: “Église, effet du cently been elected an Honorary soleil couchant, Zwei Ansichten Fellow of the Royal Academy of des unvollendete, Kölner Domes Arts in London. von Pierre Hawke in Angers,” (with Michael Puls), Kölner Dom- Tim Clark blatt, Jahrbuch des Zentral-Dom- Professor Emeritus of Modern Art bau-Vereins, Verlag Kölner Dom, T. J. Clark’s Por Uma Esquerda Köln 2013. Sem Futuro was published in Brazil in July 2013, at the start of Loren Partridge the street protests, and sold out Professor Emeritus of Early in two weeks. A translation of Modern Art the same text, “For A Left With Professor Emeritus Loren Par- No Future,” appeared in Agora, tridge published an interpre- an anthology produced for the tive essay on the pair of marble 4th Athens Biennale. Clark tombs in the chancel of S. Maria spoke in Athens and Thessalon- sopra Minerva in Rome by Bac- iki the following December. The cio Bandinelli for the Medici exhibition Lowry and the Paint- popes Leo X and Clement VII. ing of Modern Life, co-curated The essay appeared in the cata- with Anne Wagner, opened at log Baccio Bandinelli Scultore e Lisa Trever in the excavations at Pañamarca, Peru Tate Britain in June and divided maestro (1493–1560), edited by the critics. The accompanying Detlef Heikamp and Beatice In her first year at Berkeley, Lisa Trever has been busy settling book sold more than 20,000 cop- Paolozzi Strozzi, for the 2014 in to the Bay Area and the department. She has loved getting to ies. Chinese translations of The exhibition of Bandinelli’s work know students and establishing new curricula on Latin Ameri- Painting of Modern Life and Fare- held at the Museo Nazionale del can art history. In 2013–14 she taught a lecture course on Pre- well to an Idea came out in 2013 Bargello in Florence. Loren is columbian art, a seminar on Ancient American mural painting, and in March 2014 the London currently engaged in the final and a graduate seminar on agency, materiality, and presence, Review of Books published “Ve- preparation of his new book Art which was filled to capacity with students from History of Art, ronese’s Allegories of Love.” of Renaissance Venice 1400–1600, Anthropology, and Spanish and Portuguese. She is developing which will be published by Uni- a new lower division course on Arts of Latin America—from Jacques De Caso versity of California Press in prehistory to the present—for fall 2014. Other 2014–15 courses Professor Emeritus of Modern Art early 2015 and serve as a com- include a seminar in The Bancroft Library on nineteenth-centu- Following the first retrospective panion volume to his Art of ry photography and illustration of Mexican ruins (with Darcy exhibition of works by the sculp- Renaissance Florence 1400–1600 Grimaldo Grigsby) and a class on illustrated manuscripts from tress Félicie de Fauveau (1801– (2009) and The Renaissance in early colonial Mexico and Peru. She is delighted to serve as Jes- 86) that he organized at the Mu- Rome (reprinted 2012). He con- sica Stair’s dissertation co-advisor and as a committee member sée d’Orsay last year, Jacques de tinues to enjoy retirement with for students in History of Art and in Anthropology. Caso is glad to have entrusted frequent excursions to Sea to the French Archives Nation- Ranch, long walks with his ter- Lisa traveled this year to give conference papers and invited lec- ales the bequest of the artist’s rier Paco, and leisurely reading tures at Dumbarton Oaks and the Conference on Latin Ameri- nearly 1,300 letters addressed of newspapers and novels, while can History (both in Washington, DC), UC Davis, UCLA, UC to her companion, Félicie de his wife Leslie supports his Santa Cruz, and closer to home at the de Young Museum and La Rochejaquelein. The entire vices by teaching French in the the Archaeological Research Facility at UC Berkeley. She pub- correspondence is now under French Department at Cal. lished an article in Ñawpa Pacha: Journal of Andean Archaeology study and has been accepted for on her project’s discovery of a 1200-year-old feathered shield at publication in the venerable Bib- Peter Selz Pañamarca, which was picked up by popular archaeology media liothèque de l’École des chartes. Professor Emeritus of Modern Art including LiveScience.com and Archaeology magazine. She also Dividing his time between San Professor Emeritus of Modern contributed an essay, “The Artistry of Moche Mural Painting Francisco and Paris, Jacques Art Peter Selz was one of five and the Ephemerality of Monuments,” to a symposium volume is still at work on his study of University of Chicago alum- to be published by Dumbarton Oaks in 2016. Lisa dedicated sum- the articles by the sculptor Da- ni to receive the Professional mer 2014 to two, interrelated book projects: Image Making and vid d’Angers (encompassing Achievement Award at Rock- Experience in Ancient Peru and the site-specific, co-authored vol- subjects political, cultural, and efeller Memorial Chapel in June. ume The Archaeology of Mural Painting at Pañamarca. In July she aesthetic) published in the art- Selz continues to curate exhi- traveled to Peru with funding from a grant from the Wenner- ist’s lifetime (Honoré Champion bitions. During the summer of Gren Foundation to present the results of her field research to – Zadkine). Applying again his 2014 his exhibition of William T. local audiences. well-known motto unknown, “ Wiley’s work of the twenty-first 24 century will be at the Sonoma ested in photography, race and the Workshop, and the Museum, chaeological Museum, and Altes Valley Museum. A retrospective gender, and the political stakes 1900–1945.” In addition to speak- Museum in Berlin, and traveled of painting by Jim Morphesis of representations of subjects in ing at the Metropolitan Museum throughout the archaic land- will open at the Pasadena Muse- geographical space. This year and the Stickley Museum at scapes of the southern Pelopon- um of California Art and a show she is conducting research on Craftsman Farms, Diana is at nese (by tiny Peugeot!). This fall, of recent sculpture by the Brit- contemporary Argentine artist work completing an exhibition Sam will focus on research and ish-American artist Brian Wall Amalia Pica and photographer catalog essay for the Boston writing in Berkeley, funded in will open at the de Saissett Mu- Roy DeCarava, who extensively University Art Gallery. part by a Frank E. Ratliff Fellow- seum at the University of Santa shot his hometown of Harlem ship. Clara in the spring. Selz also from the late 1940s through the In fall 2013, Andrew Griebeler enjoys working with the Paris 1990s. Sarah earned her BA from (2012) acted as a GSI for “In- A Tinker Fellowship from the curator Laurent de Verneul on UC Berkeley in 2011. She loves troduction to Islamic Art and Center for Latin American Stud- a re-structured Funk exhibition teaching and exploring Land Architecture” taught by Heba ies allowed Aaron Hyman and book. Art in the American West. Mostafa. In early November, he (2012) to spend the summer in presented a paper on a ninth- Cuzco, Peru conducting archi- Graduate Students In her first year, Susan Eber- century illustrated Byzantine val research for his disserta- hard (2013) studied objects pro- manuscript at the Byzantine tion “Rubens in a New World: duced from nineteenth-century Studies Conference at Yale. Lat- Print, Authorship and the Slav- spent a sec- Mont Allen (2003) events of global encounter, from er that month he passed his ex- ish Copy.” After completing his ond year in Berlin at the Ger- Chinese patient portraits made ams and advanced to PhD can- qualifying exams in the fall man Archaeological Institute; for an American missionary in didacy. Since then, he has been semester, he presented a paper finished his dissertation (on the Canton to the diplomatic gifts working on his dissertation on and chaired a panel at the an- abrupt disappearance of mytho- exchanged at Commodore Mat- illustrated Greek herbals. He nual conferences of the Col- logical imagery from Roman thew Perry’s “opening” of Japan. has recently accepted a two- lege Art Association and Latin sarcophagi in the third century); Far more local areas of study year institutional Kress fellow- American Studies Association, and somehow landed a tenure- were salvaged images and ar- ship to work on his dissertation respectively. Hyman will con- track job—a joint appointment tifacts from California sites of while at the Kunsthistorisches tinue research on his disserta- in Classics and Art History— production, which included San Institut in Florence. In the up- tion in Belgium, as a visiting with wonderful colleagues at Francisco’s whaling industry coming year, he looks forward scholar at the Rubenianum in Southern Illinois University. In and Sausalito’s WWII-era ship- to observing illustrated herbals Antwerp, through September of August of 2014 he leaves Berlin building factory, Marinship. in their natural habitat. 2015 (Belgian American Educa- for Carbondale, eager to don the She took intensive Chinese at tional Foundation Fellowship). mantle of Assistant Professor Berkeley this summer, and looks Grace Harpster (2011) stud- but also full of questions: Will forward to GSIing for Professor ies early modern Italian art Josie Lopez (2009) is currently he need, finally, to buy a car? Lovell’s American art and archi- with advisor Todd Olson. She in New Mexico conducting re- And what is this alien thing tecture course in the fall. specializes in the religious art search and writing her disser- called “air conditioning”? of Counter-Reformation Italy tation on Mexican lithographer Carl Gellert (2007) has been and its wider global missionary Constantino Escalante. She is spent Will Coleman (2009) conducting research in Japan network. After turning in her investigating nineteenth-centu- the 2013–14 academic year as a at the Nara National Research Master’s thesis on the Shroud of ry caricature and visual satire predoctoral fellow of the Smith- Institute for Cultural Properties Turin and taking her qualify- of Mexico, France, and Spain. sonian American Art Museum and the Archaeological Institute ing exams, Grace became a PhD Her essay, “Picasso and the For- and gave papers at an array of of Kashihara. His dissertation candidate in May 2014. After a gotten War” appears in Picasso acronyms: BMC, CAA, F&M, examines the sixth-century Fu- summer toiling away in the Lat- and the Politics of Visual Repre- PCA/ACA, SAH. The grind was jinoki tomb, seeking to better in workshop, she will spend the sentation: War and Peace in the lightened by a couple of awards: understand protohistoric Japa- 2014–15 academic year begin- Era of the Cold War and Since, ed- the Sir Denis Mahon Prize, nese funerary practices and the ning her dissertation research ited by Jonathon Harris, which for unpublished work on the archipelago’s early relationship on S. Carlo Borromeo and his was published in October 2013. seicento by a young scholar, and with China and the Korean pen- interactions with sacred images. Beginning in the fall of 2014 the Dora Wiebenson Prize, for a insula. When not sequestered in she will be teaching at SMU as grad student conference paper the research centers’ archives or This past year, Samantha Hen- the Eleanor Tufts Fellow. Darcy on eighteenth-century art and studying artifacts at the Kashi- neberry (2008) completed mu- Grimaldo Grigsby is her advisor. architecture. With the end of hara Archaeological Museum, seum study and fieldwork in his dissertation, “Something of Carl spends his time visiting Greece for her dissertation on PhD candidate William H. Ma an Architect: Thomas Cole and excavations and exploring tomb Lakonian warrior-hoplite ico- (2008) is spending most of this the Country House Ideal,” now sites throughout the Nara basin. nography and the role of diverse year teaching and writing his in sight, he looks forward to re- craft traditions in shaping war- dissertation on the Jesuit or- turning to teaching in 2014–15. Diana Greenwold (2008) is rior identity and social memory. phanage workshop Tushanwan currently the Douglass Fellow While the Jacob Hirsch Fellow at in Shanghai. In the summer he studies Sarah Cowan (2012) in American Art at the Metro- the American School in Athens, will be teaching a lecture course US American and Latin Ameri- politan Museum of Art. She is she researched in various col- on the Art of Beijing. To finish can art produced from the mid- in the midst of writing her dis- lections, including the National the last bit of his field research, twentieth century to the present sertation entitled “Crafting New Archaeological and Acropolis he will travel to Brussels to visit day. She is particularly inter- Citizens: Immigrant Handicraft, Museums in Athens, Sparta Ar- King Leopold II’s Chinese res- 25 taurant and the Jesuit archives photography with a particu- Kingdom and fall in Australia, The Museum of Modern Art. in Paris in the fall. He is the lar interest in the intersections is supported by a 2013–14 Inter- This past year, Cristin McK- co-convener of the Haas Junior between photographic practice national Dissertation Research night Sethi (2008) has been a Scholar program “Unfolding and intellectual property law. Fellowship from the Social Sci- visiting affiliate scholar in the Modernity in East Asia,” and She spent the past year com- ence Research Council. She will Art History Department at the was awarded the Marilyn A. pleting her qualifying paper spend next spring working as a University of New Mexico, Albu- Papp Scholarship and CCS Liu on a series of photolithographs GSI on HA 11 and writing her querque. She is writing her dis- Graduate Research Fellowship published in 1860, charting out dissertation. sertation on the role of gender in for this year. her dissertation prospectus, and the production, collection, and happily serving as the GSI for Laura Richard (2008) is a PhD display of folk embroidery from Laure Marest-Caffey (2010) the American art survey course. candidate in History of Art Punjab. Alongside her disserta- served as Manager of the Finds This last summer she spent at UC Berkeley who works in tion work, she has been hired Department during the 2013 reading, reading, reading in Modern and Contemporary Art by the Philadelphia Museum of season of the Butrint Archeo- preparation for her qualifying with a Designated Emphasis in Art to research and catalogue logical Research Project, Alba- exams in the fall. She also plans Film. She has taught courses on several newly acquired South nia. She then researched the to spend a week doing research contemporary art, theory and Asian textiles in preparation for gem collection of the Antikens- at the archives of the New York methods of art history, and in- an upcoming exhibition. Last ammlung, Berlin, thanks to a Public Library and to take her stallation art. Her article, “An- spring her essay “Mapping Craft summer travel grant. In the fall first trip to Yosemite. thony McCall: The Long Shadow in Contemporary India: Dilli she held a GSI-ship for Professor of Ambient Light” appeared in Haat and Dastkari Haat Samiti’s Hallett’s “Ancient Portraiture & Stephanie Pearson (2007) is the and she Crafts Maps” was published in Biography” class. She spent the concluding her second year of Oxford Art Journal was the volume editor of State the Journal of Modern Craft (Ox- spring semester researching her dissertation research in Ber- ford: Berg, March 2013). dissertation “What’s in a Face? lin, where she has been gener- of Mind: New California circa Rethinking the Greek Portrait ously welcomed by the German 1970 (University of California Emma Silverman (2012) stud- through Hellenistic Glyptic” Archaeological Institute. She Press, 2011). Since 2009, Laura has been the co-coordinator of ies modern and contemporary with a Mellon curatorial intern- continues working in the Anti- American art. Her research ship at the Museum of Fine Arts, kensammlung of the Staatliche the Townsend Working Group concerns the politics of folk and Boston. She visited and did re- Museen zu Berlin, especially in in Contemporary Art at UC outsider art, collaborative art search at several East Coast col- its flagship house, the Pergamon Berkeley, whose mission is to practices, and queer aesthetics. lections in June. Museum. Stephanie was recent- foster interdisciplinary and in- During Emma’s second year in ly invited to present her research ter-institutional conversations. the graduate program, she was As a visiting student at Lan- in the colloquium of the Institut She is currently writing her dis- admitted to the Designated Em- zhou University, Micki McCoy für Klassische Archäologie of sertation on the early film and phasis in Women, Gender and (2009) continues fieldwork for the Freie Universität of Berlin, room works of Maria Nordman, Sexuality, worked as a first-time her dissertation on astronomy and has also produced several a portion of which she presented GSI for Darcy Grigsby and Ju- and astrology in Chinese and publications: an article in a new at the College Art Association in Inner Asian art of the late mid- series by the Archaeological In- February 2014. When she is not lia Bryan-Wilson’s “Histories dle period, with grants from the stitute of America; a review of in the library or with her three of Photography” course, and Fulbright Program and the So- the notable Pompeii exhibition daughters, Laura enjoys cook- helped to organize the 2014 His- cial Sciences Research Council. at the British Museum; and a ing, trail running, and tutoring tory of Art Graduate Sympo- sium “Invisibility—Illegibility.” The opportunities she had for book review for the Journal of for the Prison University Project This summer Emma visited ar- firsthand study of art objects Roman Studies (full citations are at San Quentin. this past year included an on- online at stephpearson.com). chives and art environments in preparation for writing her dis- site workshop on the rock-cut Miriam Said (2011) earned her sertation prospectus. In her free grottoes of Dazu and another on Kailani Polzak (2008) spent BA in art history from Syracuse time Emma enjoys baking bread Chinese painting in the Nelson- the academic year in Paris on University in 2009 and focuses and photographing her cats. Atkins Museum, Kansas City. a Georges Lurcy Fellowship. on art of the ancient Near East In August 2013, she delivered a While there she conducted re- and the early Greek period. Her Since advancing to PhD candi- paper on the monumental mural search for her dissertation on research interests include art dacy in February, Jessica Stair in the collection of the Nelson- European exploration of Ocea- of the first millennium with a (2010) has been makingprogress Atkins depicting the astral bud- nia and the pictorialization of focus on Near Eastern cultural on her dissertation, which fo- dha Chishengguang at Fudan human difference during the crossroads and interaction with cuses on a corpus of seven- University, Shanghai. In fall eighteenth and nineteenth cen- the Eastern Mediterranean 2014, she will study the Tangut turies. Kailani also traveled to teenth-century, handpainted world. Her research interests in- script at Renmin University, Bei- Berlin where she spent her days manuscripts from central Mex- clude ritual theory and ancient jing, before heading to Europe looking at archival documents ico known as the Techialoyan religion, representation and to complete her fieldwork. She and her evenings catching up codices. With the support of a function of hybrid creatures in has recently served as a transla- with fellow Berkeley art histo- Summer FLAS fellowship, Jes- art, mechanisms of apotropa- tor and editor for the Exhibition rians Samantha Henneberry, sica learned Nahuatl at a six- ism, and incantation literature. Center of the Dunhuang Acad- Stephanie Pearson, and Mont week intensive language pro- emy. Allen! Kailani’s research out- Miriam most recently hails from gram at Yale University in June side of France, which includes New York where she spent two and July. In August she traveled Kappy Mintie (2011) studies the trip to Berlin as well as her years working at both The Met- to London and Geneva to see nineteenth-century American work this summer in the United ropolitan Museum of Art and three Techialoyans in person, 26 and in September Jessica will Catherine Becker (PhD 2006) Wen-Shing Chou (PhD 2011) be in residence for two weeks at Alumni Profiles has been promoted to Associ- is Assistant Professor of East the New York Public Library as ate Professor of Art History at Asian art history at Hunter Col- is a Short Term Research Fellow. Elise Archias (PhD 2008) the University of Illinois at Chi- lege, City University of New Assistant Professor of Art His- York (CUNY). She and her hus- Jessica also presented a paper cago. Her book, Shifting Stones, tory at the University of Illinois band welcomed the arrival of at the Renaissance and Early Shaping the Past: Sculpture from Modern Studies Designated at Chicago. She has made great their daughter Beatrice in Sep- the Buddhist Stupas of Andhra Emphasis Annual Conference, progress this year on her book tember of 2013. When she man- Pradesh, will be published by “New Directions in Early Mod- manuscript, ages to peel herself away from The Concrete Body— Oxford University Press on ern Studies”; served as a GSI for watching the miracles of the Rainer, Schneemann, Acconci, October 1, 2014. She had the Professor Lisa Trever’s course and is looking forward to it be- baby’s growth, she works to- pleasure of presenting her pa- ward finishing her book manu- “Latin American Art: Before Co- ing out in the world soon. She per, “There is no ‘I’ in Stupa: script on miraculous visions lumbus,” where she presented a presented work at the School of Building Community at Bud- of the sacred mountain range guest lecture on Bernardino de the Art Institute of Chicago, at Sahagún and the Florentine Co- dhist Sites in Andhra Pradesh,” of Wutai in Late Imperial and the ASAP and MSA conferences, dex; and served as a co-organizer for a panel organized by Sonal Modern China. Her article on chaired a panel at CAA, “Car- for the Mobilities and Materiali- Khullar (PhD 2009) at the 2014 early twentieth-century wall olee Schneemann and the Long paintings in the Potala Palace in ties in the Early Modern World annual conference of the Asso- Sixties,” and enjoyed participat- Lhasa appeared in the April is- Townsend Working Group, ciation for Asian Studies. Cath- ing in discussions at Gallery 400 sue of the Journal of Asian Stud- which sponsored ten workshop erine has received a research (UIC) and the Block Museum at ies. In the coming year, she will sessions featuring twenty-seven fellowship from the American outstanding faculty. Northwestern. She was the re- teach at both Hunter and the cipient of the ICAH award for Institute of Sri Lankan Studies Graduate Center, CUNY. for her new project, “Miracle- Shivani Sud (2013) is thrilled to collaborative research at UIC During his 2013–14 ACLS Fel- have completed the first year of in spring 2014, and her gradu- Performing Monks and Relo- lowship year, Huey Copeland her graduate studies. This past ate seminar last fall, “Writing cated Relics: Artistic Exchange (PhD 2006) celebrated the pub- year, Shivani continued to ex- between Buddhist Communi- About Performance Art,” has lication of his first book with plore the visual culture of South ties in Andhra Pradesh and Sri left her with ideas brewing and the University of Chicago Press, Asia and developed an interest Lanka.” She plans to spend the research files amassing. She has Bound to Appear: Art, Slavery, in and craftwork in summer of 2015 in Sri Lanka. started taking Portuguese les- and the Site of Blackness in Mul- nineteenth-century British In- sons and is pleased to be getting ticultural America, while mak- dia. She also travelled to New to know her many new, vibrant Kimberly Cassibry (PhD ing strides on his new project, York with her classmates, at- colleagues throughout the city. 2009), Assistant Professor of currently titled In the Arms of tended the American Council for Ancient Art at Wellesley Col- the Negress: Race, Gender, and Southern Asian Art symposia at lege, spent her sabbatical year the Unmaking of Modern Art. He UCLA, and gave a talk at the de Meryl Bailey (PhD 2011) is As- sistant Professor of Art History at the Metropolitan Museum also co-edited a special issue of Young Museum. Additionally, on “Black Collectivities”; at Mills College. She recently of Art, where she was the Pat Nka Shivani was awarded a FLAS published shorter pieces on completed a lengthy research O’Connell Memorial Fellow. Fellowship and studied Hindi at artists Eleanor Antin, Gardar There she studied Celtic coins the American Institute of Indian project on the Venetian seven- Eide Einarsson, Theaster Gates, and abstract enameling, Ro- Studies in Jaipur this summer. teenth-century painter Antonio Dave McKenzie, and Zoe Leon- Finally, she is looking forward Zanchi, and is currently prepar- man travel souvenirs, and rep- ard; and continued to lecture to teaching as a GSI for her advi- ing a manuscript on Venetian resentations of Gallic warriors. nationally, most memorably at sor Sugata Ray in the fall. confraternal art after the Coun- She also participated in a sym- Berkeley in October 2013, which cil of Trent. In the past academic posium on the Arts of Rome’s provided a fitting homecoming This year Patricia Yu (2011) at- year, she enjoyed working with Provinces at the Getty Villa and a wonderful kickoff to the tended her second Winter Insti- Mills’ curators and librarians and in a CAA Chicago session academic year! tute hosted by Academia Sinica to incorporate the college’s col- focused on the afterlives of Ro- in Taiwan. In the spring, she lection of medieval and Renais- man buildings. She contributed On April 11, 2014, André Dom- submitted her qualifying paper organized sance prints and manuscript an essay on Julia Domna (her browski (PhD 2006) on Sir William Chambers and the conference “Manet: Then leaves into her teaching prac- favorite empress) to the exhibi- his attempt to transplant Chi- and Now” at the ICA, University nese gardens onto the English tice. Thanks in part to a Mellon tion catalogue for Roman in the of Pennsylvania, which many landscape. This summer she grant, undergraduates in her Provinces: Art on the Periphery friends and colleagues associ- continued studying French and Northern European Art course of Empire, which opens at the ated with Berkeley attended, will be in Beijing in early Sep- worked with the director of the Yale University Art Gallery in including the presenters Huey tember to attend a workshop and Mills College Art Museum to fall 2014 and travels to Boston Copeland, Darcy Grimaldo conference on cultural heritage curate a wonderful exhibition College’s McMullen Museum in Grigsby, and Kaja Silverman. preservation and digital recon- of northern Renaissance prints. spring 2015. Having returned to After lecturing on Monet in struction of the Yuanming Yuan. When not teaching or writing, the Wellesley suburbs in August Giverny in May, André returned She will serve as GSI for Classi- she can be found at the base- 2014, she misses the excitement home to Philadelphia to find out that he had been promoted to cal Chinese Painting in the fall ball field or the basketball court of living in New York’s Upper Associate Professor with tenure and will be studying for her with son Gus (age nine). West Side. qualifying exam in the spring. starting in July 2014.

27 Nina Dubin (PhD 2006) has contemporary art. In February, Robin Greeley (PhD 1996) has Sharon Hecker (PhD 1999) returned to Chicago with Mat- she ventured to the big city to finished a satisfying year as a lectured on Medardo Rosso and thew Jackson and their three- co-chair a CAA panel on photo- Fellow at the University of Con- cultural mediators (KU Leuven); year-old daughter Sarah Jane graphs of women artists in their necticut Humanities Institute, global echoes of Impressionism after a profoundly happy year studios with alum Sarah Evans. where she was working on her (Midwest Art History Society); as Samuel H. Kress Senior Fel- She is currently researching next book, Between Campesino global art markets (Radboud low at CASVA. She misses Bibi collaborations that occurred and State: Photography, Rural- University, Nijmegen); and in- Obler and Joshua Shannon and around The Rose (1958–66), a ity, and Modernity in Twentieth- ternationalism (Tate Britain). (under contract much else about DC, which inci- monumental painting by the Century Mexico She spoke on Anna Magnani with Yale University Press). dentally turns out to be a won- San Francisco artist Jay DeFeo. (American Association for Ital- She’ll be presenting some of derful place to live. Her project, ian Studies—AAIS, Univer- that material at Berkeley in sity of Zurich), (Association for titled “Love, Trust, Risk: Paint- March 2015, where her PhD ing the ‘Papered Century,’” con- Studies of Modern Italy—ASMI, student, Anneka Lenssen (MIT University of London); on audi- cerns the relationship between 2014), has joined the faculty. French eighteenth-century love ences for Italian art (University Robin also finished off several of Warwick); on Luciano Fabro letter pictures and the place of articles and book chapters on (American University in Rome); credit and trust in romance and contemporary artists Pedro (Society for Italian Studies—SIS, economics alike. She lectured Reyes, Abraham Cruzvillegas, British School at Rome); Associ- on her research at Penn (thanks Rafael Lozano-Hemmer, and azione Italiana di Storia Urbana); to André Dombrowski), the As- Santiago Montoya, and began and on Lucio Fontana (Politec- pen Art Museum, and Johns work on another book project, nico di Milano). She published Hopkins in addition to speaking Conversaciones: Nestor Garcia Walking Through Walls: Medardo at a symposium at the Musée du Canclini (under contract with Rosso and Diana Al-Hadid (Mari- Louvre—a lovely respite from Editorial Palinodia, Chile). anne Boesky Gallery), is orga- the government shutdown. In nizing a Medardo Rosso Study After five years at TCU in Fort Sarah Hamill (PhD 2008) was the fall she resumes her position Day/Symposium (Peter Freeman Worth, Amy Freund (PhD on research leave this year from as Associate Professor at the Gallery, New York) and sympo- University of Illinois at Chicago. 2005) is moving down the road Oberlin College, working on a sium/edited volume Untying the to Dallas to begin a new job in new book co-authored with Me- Knot: The State of Postwar Italian the art history department at gan Luke (USC) on how photog- Charlotte N. Eyerman (PhD raphy has shaped the writing of Art (CIMA: Center for Italian is Executive Director of Southern Methodist University. 1997) the history of sculpture. Hamill Modern Art, New York). Her first book, Portraiture and the Monterey Museum of Art and Luke were awarded an Politics in Revolutionary France, in Monterey, CA (montereyart. ACLS Collaborative Research Sonal Khullar (PhD 2009) appeared with Penn State Uni- org). She assumed the position Fellowship (2013–15) for this prepared her book manuscript, versity Press this summer. in October 2013, following her project. They hosted a work- Worldly Affiliations: Artistic tenure as Director of FRAME shop on photo archives and Practice, National Identity, and

(French Regional American Mu- Carma Gorman (PhD 1998) the representation of sculpture Modernism in India, 1930-1990 seum Exchange) in North Amer- is Associate Professor and As- at the Getty Research Institute (forthcoming spring 2015 from ica (2010–13). As an independent sistant Chair in the Department in January. This fall, they have University of California Press), curator, she organized Cubisti of Art and Art History at the planned a two-day, two-venue for publication. She was award- Cubismo for the Complesso del University of Texas at Austin. symposium entitled “Sculp- ed an ACLS Charles A. Ryskamp Vittoriano in Rome (2013) and She is in the department’s de- ture and Photography: The Art Research Fellowship for a new edited and contributed the sign (rather than art history) Object in Reproduction,” co- book project, The Art of Disloca- scholarly catalogue. She also division, and has been enjoy- sponsored by the GRI and the tion: Conflict and Collaboration curated Just Add Water, contem- ing working with students who Clark Art Institute. Hamill was in Contemporary Art from South porary LA artist Rob Reynold’s are earning BFAs and MFAs in living in Toronto this year with Asia. In 2013–14 she presented project on the LA Aqueduct, at design. She and her husband Chris Lakey, where she com- research on this project in Los the Natural History Museum of Eric and their daughter Marit pleted production on her book, Angeles, Portland, and Colom- Los Angeles County (2013–14). relocated to Austin in Septem- David Smith in Two Dimensions: bo (Sri Lanka), and chaired a Her essay on Tom Friedman’s ber 2013, after fifteen years at Photography and the Matter of session on collaboration at the Sculpture, forthcoming in fall Up in the Air (Magasin 3, Stock- Southern Illinois University in Association for Asian Studies Carbondale. They are enjoying 2014 from University of Cali- meeting. She is completing an holm, 2013) was published in fornia Press, and was awarded living in Austin, which has a essay on murals by George Keyt 2013 by Skira: http://www.skira. a Meiss/Mellon Author’s Book surprising number of similari- at a Buddhist monastery and net/tom-friedman.html. Award and a Wyeth Founda- ties to Berkeley, including ex- temple complex outside Colom- tion for American Art Publica- cellent restaurants, hills, live bo for a special Sri Lanka issue This year Elizabeth Ferrell tion Grant from the College Art (PhD 2012) joined the grow- oak trees, and nude bicyclists. Association, as well as a Henry of Marg, edited by Sujatha Mee- ing contingent of Berkeley art Carma is nearing completion Moore Foundation Publication gama (PhD 2011). history grads living in Ohio of her book about the ways in Grant. Her article “Picturing when she became Assistant Pro- which the US’s unique legal sys- Autonomy: David Smith’s Pho- Sunglim Kim (PhD 2009) is fessor of Art History at Miami tem has shaped American prod- tography and the Sculptural Assistant Professor of Art His- University of Ohio, where she uct design between 1890 and the Group” was published in the tory and Asian and Middle teaches courses in modern and present. June 2014 issue of Art History. Eastern Studies at Dartmouth 28 College. In 2013–14 Sunglim Katherine Kuenzli (PhD improving effect on the papers Julian Myers-Szupinska presented her research on chae- 2002) is very happy to be start- and cheerfulness of colleagues (PhD 2006) is Associate Pro- kgeori screens at the 2013 AAS ing a one-year sabbatical from at this spring’s Renaissance So- fessor of Curatorial Practice at annual conference in San Diego her position as Associate Pro- ciety of America conference. So California College of the Arts. and at the Triangle East Asia fessor of Art History at Wes- here’s to the rebirth of Renais- He is celebrating the tenth an- Colloquium at the University leyan University. She received sance Studies! niversary of that program, of North Carolina. Her research an ACLS Fellowship for the which he helped to found in was developed into an article, 2014–15 year to work on her 2003. His essays have appeared “Chaekgeori: Multi-Dimension- book manuscript, Designing in magazines, journals, and al Messages in Late Joseon Ko- Modernism: Henry van de Velde catalogues for Keith Haring: The rea,” which will be published from Neo-Impressionism to the Political Line, When Attitudes in Archives of Asian Art (Spring Bauhaus. This past academic Became Form Become Attitudes, 2014). In September, she will lec- year she published an article, and in the forthcoming Sterling ture on the emergence of Kore- “The Birth of the Modernist Mu- Ruby: Soft Work. An essay con- an consumer culture in late Jo- seum: The Folkwang as Gesamt- sidering transformations in the seon Korea in concert with the kunstwerk,” in The Journal of the political economy of space in exhibition, Treasures from Korea: Society of Architectural Histori- the wake of Henri Lefebvre’s Arts and Culture, 1392–1910, at ans (December 2013). She also The Production of Space will ap- LACMA. With a Junior Faculty published an essay, “Expanding pear in the forthcoming Critical Fellowship and her sabbatical the Boundaries of Modern Art: Landscapes from University of leave in 2014–15, Sunglim will The Blue Rider, Parisian Mod- California Press. He presented focus on completing her up- ernism, and Henri Rousseau” in “Lynda Benglis in Process” at an exhibition catalogue, coming book, Flowering Plums Expres- Ara H. Merjian (PhD 2006) CAA in Chicago this year, on an Bloom: Nineteenth-Century Ko- sionism in Germany and France: writes from New York Univer- excellent panel chaired by fel- From Matisse to the Blue Rider rean Art. sity, where he was just granted low Berkeley-ites Sarah Evans (LACMA, 2014). Her husband, tenure and promotion to Asso- and Elizabeth Ferrell. He was Michael Printy (PhD 2003), ac- Sabine Kriebel’s (PhD 2003) ciate Professor. His book—Gior- recently appointed Senior Edi- cepted a position as Western book Revolutionary Beauty: The gio de Chirico and the Metaphysi- tor of the Exhibitionist, a journal European Humanities Librarian of exhibition making founded Radical Photomontages of John at Yale University. cal City: Nietzsche, Modernism, Paris—was published this June in 2010 by Jens Hoffmann and by Yale University Press and Tara McDowell. In summer In the fall of 2013, Namiko won the College Art Associa- 2014 he will be digging into the Kunimoto (PhD 2010) left her tion’s Millard Meiss/Mellon Au- Harald Szeemann archive at the position at American University to join the faculty as Assistant thor’s Award. He is working on Getty Research Institute and Professor in the History of Art a second book on de Chirico’s spending time with his partner Department at The Ohio State twentieth-century afterlifes, as Joanna, who is curator at the University. Kunimoto’s partner, well as a book titled Pier Paolo California Museum of Photog- Max Woodworth, is now an As- Pasolini Against the Avant-Garde: raphy at UC Riverside, and with sistant Professor at OSU in the Heretical Aesthetics, for which whom he collaborates under the Geography Department. When he has won a Creative Capital/ title grupa o.k. not on campus, they spend their Warhol Foundation grant. He time chasing after their energet- had the pleasure of visiting ic two-year-old son, Kaz. Kuni- Berkeley this past spring, where moto’s recent publications in- he gave a lecture in the depart- clude “Shiraga Kazuo: The Hero ment on de Chirico’s Metaphys- and Concrete Violence” pub- ical interiors from Ferrara, and lished in Art History in Febru- got to catch up with old friends. Heartfield was published in Feb- ary 2013 and “Tanaka Atsuko’s He plays soccer in New York to ruary 2014 by University of Cal- Electric Dress and the Circuits of try to mitigate his pasta intake. ifornia Press, thus ending the Subjectivity” published in Sep- evelyn lincoln is Professor of the Yale University Press Evelyn Sixteenth-century Roman presses turned out History of Art and Architecture and Italian New Haven and London Lincoln scores of technical treatises and learned project where it began inStudies Berke at Brown University. She- is the tember 2013 in The Art Bulletin. discourses written in the vernacular. Covering author of The Invention of the Italian Renaissance topics as diverse as the cultivation of Printmaker (2000), published by Yale University silkworms, the lives of the saints, and the order Press. of the cosmos, they made esoteric knowledge ley, California. After a brief visit She is currently working on her accessible to a broad spectrum of readers. Many of these books were illustrated with beautiful etchings, engravings, or woodcuts, and some were written in the form of home to Southern California, book manuscript, Anxious Bod- theatrical and engaging dialogues. For writers, publishers, printers, and artists, Brilliant Discourse bringing such books into the world changed the lives of those involved in their production. she is looking forward to giv- ies: Gender and Nation in Postwar The process of publication, a risky business in itself, forged lively social networks centered on making and reading these treatises. ing talks on aspects of her next Japanese Art. BrilliantBibiana Discourse follows the story of the Obler (PhD 2006) is Roman illustrated book from the printed page back out to the Renaissance streets, piazzas, palaces, convents, and bookshops where these project—photography and the expensivedelighted publications, carefully shepherded and relieved that her through the press, acted in the real world to create lively communities of readers and so-called New Objectivity—in Evie Lincoln’s (PhD 1994) viewers.book, Intimate Collaborations: Zagreb, Potsdam, and Helsinki new book Brilliant Discourse: Kandinsky and Münter, Arp and this summer. Her co-edited vol- Pictures and Readers in Early Brilliant Discourse Taeuber (Yale University Press, ume, Photography and Doubt, is Modern Rome is just out with pictures and readers in early modern rome 2014), came out in the spring. printed in china currently under review jacketfor illustrations pub- Yale University Press. She notes Next year she will be working front: Stefano della Bella, frontispiece, Galileo Galilei, Dialogo dei massimi sistemi . . . (detail). John Hay Library, Brown University Library. Evelyn Lincoln lication. back: Battle in the Forum, Camillo Agrippa, Trattato di with pleasure that the Renais- on her second book, currently scientia d’arme, con un dialogo di filosofia di Camillo Agrippa Milanese (detail). Houghton Library, Harvard University. sance being dead has had an titled The Anti-Craft Tradition, 29 thanks to a Faculty Fellowship ing a manuscript commissioned a contributor to an edited vol- at George Washington Univer- by Reaktion Press, London pro- ume Buddhism in Mongolian His- sity where she teaches in the visionally titled Exist Otherwise: tory, Society, and Culture forth- Deptartment of Fine Arts & Art the Art and Life of Claude Ca- coming with Oxford University History. Also relevant to this hun. In summer 2013 Jennifer Press later in 2014. Orna’s other newsletter: Bibi participated spent six weeks in with research project concentrates in a panel about art and craft her daughter, Emily. While on contemporary Asian art. She “From the 1960s to Now” at the there she began research on a presented her new research at University of Illinois, Chicago, project on post-WWII Japanese the panel “Transnational Femi- with fellow Cal alumnae Elise photography, looking in par- nism” at CAA 2014. Orna re- Archias and Catherine Becker ticular at the photomontages ceived a collaborative research among the hosts and Sonal of the Japanese woman artist grant from ACLS/Robert H. N. Khullar as a fellow speaker. Toshiko Okanoue. Jennifer is Ho Family Foundation in 2014– currently Chair of the Depart- 15. Todd Presner (PhD 2003) just ment of Art and Art History at published a new book, HyperCit- Sonoma State University where, Karl Whittington (PhD 2010) ies: Thick Mapping in the Digital in addition to teaching, she is is Assistant Professor of History Humanities (Harvard University Alexa Sand (PhD 1999) con- spearheading the creation of a of Art at The Ohio State Univer- Press, 2014), with colleagues Da- tinues to work and teach at component in digital arts. Her sity. His first book,Body-Worlds: vid Shepard and Yoh Kawano. Utah State University where children William and Emily are Opicinus de Canistris and the Me- A digital platform transmog- she is Associate Professor of now fifteen and seventeen years dieval Cartographic Imagination, rified into a book, it explains Art History. Her book, Vision, old. She is still happily married was published by the Pontifical the ambitious online project of Devotion, and Self-Representation to John Arnold and John is still Institute of Mediaeval Studies the same name that maps the in Late Medieval Art, appeared a Professor of Chemistry at UC in February 2014; the publica- tion was supported by grants historical layers of city spaces with Cambridge University Berkeley. from the College Art Associa- in an interactive, hypermedia Press in March 2014. This spring tion and the International Cen- environment. The authors - ex she also published an essay, ter for Medieval Art . Also in amine the media archaeology “Materia Meditandi: Haptic February 2014, he organized a of Google Earth and the cultur- Perception and Some Parisian Ivories of the Virgin and Child, panel on “Trecento Pictoriality” al–historical meaning of map ca. 1300,” in , for the CAA Annual Confer- projections, and explore recent Different Visions an online journal committed to ence in Chicago. events—the “Arab Spring” and “new perspectives in medieval the Fukushima nuclear power art” (http://differentvisions.org/ Marnin Young (PhD 2005) plant disaster—through social issue-four), and participated in lives in New York City with his media mapping that incorpo- the symposium, Medieval Art wife and two children. Recent rates data visualizations, photo- History After the Interdisciplin- publications include an article graphic documents, and Twitter ary Turn at Notre Dame, where on Jules Bastien-Lepage in the streams. The digital companion she was on a panel organized by February 2014 issue of Art His- to the book can be accessed at fellow Berkeley art history PhD, tory and a review of Fredric http://thebook.hypercities.com. Christopher Lakey. She received Jameson’s Antinomies of Real- Presner is Chair of UCLA’s Digi- the 2013–14 Researcher of the ism at nonsite.org. At the CAA tal Humanities program and Year Award from the Caine Col- meeting in Chicago, he pre- also professor of Germanic Lan- lege of the Arts at Utah State sented new research on Degas’s guages and Comparative Litera- University. Uranchimeg (Orna) Tsultem Portraits at the Stock Exchange. ture at UCLA. (PhD 2009) taught courses on More recently he was selected Michael Schreyach (PhD contemporary art and Buddhist to receive the Dean Karen Ba- Mark Rosen’s (PhD 2004) 2005) was awarded tenure and art at the Department of Art con Faculty Award from Stern book, The Mapping of Power in promoted to Associate Professor History at the National Univer- College for Women, where he Renaissance Italy, will be pub- of Art History at Trinity Uni- sity of Mongolia in fall 2013 as has been an Assistant Professor lished by Cambridge University versity in San Antonio, Texas. an Associate Professor and a of Art History since 2008. In the Press in late 2014. He is Assis- He will be a Terra Foundation Khyentse Foundation Fellow. In coming months, he is looking tant Professor at the University Visiting Professor at the JFK spring 2014, Orna also taught forward to teaching a summer of Texas at Dallas and part of its Institute for North American a seminar on Asian contempo- course on “Art and Revolution” newly formed Edith O’Donnell Studies at the Freie Universität rary art for the department. She in Paris, and to the publication Institute of Art History. His in Berlin in Winter 2014. organized a panel on Mongolian of his book Realism in the Age of piece on Pietro Tacca’s Quattro Buddhist art at the Internation- Impressionism: Painting and the Mori will appear in the March Jennifer L. Shaw’s (PhD 1994) al Association of Tibetan Stud- Politics of Time, 1878–1882 (Yale 2015 issue of The Art Bulletin. He book, Reading Claude Cahun’s ies held in Ulaanbaatar in July University Press). More than is jealous of those who continue Disavowals, was published by 2013, where her PhD advisor Pat anything he eagerly awaits the to live in Berkeley. Ashgate Press in December Berger joined as a discussant. arrival of his third child in Sep- 2014. She is currently complet- Orna submitted her chapters as tember.

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