826 schermerhorn

COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2016 from the chair’s office

Dear Students, Colleagues, and Friends, 826 schermerhorn

We proudly start the 2016–2017 academic year with a newly strengthened faculty in the Early COLUMBIA UNIVERSITY Modern European fields. In addition to Meredith Gamer and Michael J. Waters, whose arrival was DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY announced a year ago but who both began teaching with us this fall, we are joined by Eleonora MIRIAM AND IRA D. WALLACH FINE ARTS CENTER Pistis. A specialist in seventeenth- and eighteenth-century architecture and urban planning, FALL 2016 Eleonora took her PhD at the Università Iuav in Venice, where she wrote a dissertation on Nicholas Hawksmoor, also the subject of her first book. One of her primary interests is in the education of 4 16 architects and the architectural education of amateurs, a topic that has led her to study a community New Faculty Introductions Diane Bodart named to the of letters that extended across Europe. Before moving to Columbia, she taught at Oxford University MEREDITH GAMER, ELEONORA PISTIS, David Rosand Professorship and at Grinnell College. MICHAEL J. WATERS 17 We are also delighted to report that our 5 Professor Kellie Jones named colleague Ioannis Mylonopoulos has been Renowned Barnard Professor MacArthur Fellow awarded tenure. Ioannis anchors a curriculum Keith Moxey Retires ANNE HIGONNET ALEXANDER ALBERRO in architectural history that now stretches 18/19 from antiquity through the middle ages to the 6 Biennale Cultures in Africa The Mary Griggs Burke Center Z. S. STROTHER modern world, though his expertise in ancient for Japanese Art Greek religious history has made him a leading Immersed: A Mellon Postdoctoral MATTHEW McKELWAY Fellows Symposium thinker on a wide range of other topics as well, 7 JOSEPH SALVATORE ACKLEY including sacred landscape, the ritual use of Kyoto-Nara Painting and Disrupting Unity and Discerning objects, the practice of human sacrifice, and Architecture Field Seminar 2016 Ruptures: Focus Aleppo MATTHEW McKELWAY the changing identities of a wide variety of DARE ANNE S. BRAWLEY deities. Not least, Ioannis carries on Columbia’s 8 Global Latin America Interview with Rosalind E. Krauss great tradition as a center for archaeology; NICHOLAS MORGAN the excavation he leads at Onchestos is the NOAM M. ELCOTT Cambridge-Columbia Symposium university’s first ever in Greece. 10 MARGOT BERNSTEIN From left: Holger A. Klein, Ioannis We are sad only to see the retirement of our dear Barnard colleague Keith Moxey, who leaves Travels to a “City of Knowledge” Mylonopoulos, Michael J. Waters, 20 us at the height of his powers: his most recent book, Visual Time: The Image in History, appeared in MATTHEW GILLMAN Meredith Gamer, Francesco de Co-Curating Van Dyck: The Anatomy Angelis, Vidya Dehejia, Michael Cole, English just three years ago, and already it has been translated into French and Spanish. Students 11 of Portraiture Branden W. Joseph, Kellie Jones, Virtual Reality Tours will miss his famous courses on Brueghel and on the Reformation, as well as his recent proseminar ADAM EAKER Stephen Murray, Eleonora Pistis, STEFAAN VAN LIEFFERINGE Rosalind E. Krauss, Barry Bergdoll, on the methods of art history. 21 Anne Higonnet, Alexander Alberro, The 2015–2016 academic year saw the most successful fundraising in the department’s history. 12/13 Faculty Highlights Stefaan Van Liefferinge. Photograph Lines of Flight – MODA Curates by Gabriel Rodriguez. Not included A $13 million gift from the Mary Livingston Griggs and Mary Griggs Burke Foundation has allowed KATHERINE COHN, DAVID CRANE, LEAH HARTMAN 22 in the picture are: Zainab Bahrani, us to establish the new Burke Center for Japanese Art, to be led by Matthew McKelway. We also Book Excerpt: Artificial Darkness Frédérique Baumgartner, Diane The Expanded Subject Bodart, Jonathan Crary, Noam M. completed fundraising for the David Rosand Professorship of Italian Renaissance Art History, NOAM M. ELCOTT JOSHUA I. COHEN, SANDRINE COLARD, Elcott, David Freedberg, Robert E. naming Diane Bodart as the incumbent chairholder. 24 Harrist, Jr., Elizabeth W. Hutchinson, GIULIA PAOLETTI Among the faculty and students accorded honors this past year, two stand out: in February, Fellowships, Dissertation Defenses, Janet Kraynak, Matthew McKelway, Finesse Jonathan Reynolds, Simon Schama, Rosalind E. Krauss received the College Art Association’s Distinguished Lifetime Achievement Award Undergraduate Awards and Prizes Avinoam Shalem, Z. S. Strother. LEAH PIRES for Writing on Art. And this September, Kellie Jones won a MacArthur “Genius” Fellowship. This is the 27 14/15 second MacArthur in the department’s history: the first went to its founder, Meyer Schapiro. Alumni News Classical Studies Graduate Program The past year was as busy as ever in the department, with a conference on “Global Latin FRANCESCO DE ANGELIS 30 America,” sponsored by the Institute for Studies on Latin American Art; a conference on “Biennale Advisory Council Members MA in Modern and Contemporary Art Cultures in Africa”; a new installment of our Cambridge-Columbia Graduate Student Symposium; JANET KRAYNAK 31 a series of talks on moments of rupture in the historiography of Islamic art; and a memorable group With Thanks MA in Art History of Bettman Lectures among the highlights. We hope to see you at an event in the months to come. FRÉDÉRIQUE BAUMGARTNER

With best wishes, Background: Amanohashidate, Kyoto Prefecture, Japan. Photograph by Valerie Zinner. Front and back covers: Detail of Birds and Flowers of the Four Seasons, Japan, Momoyama Period (1573–1615), second half of the sixteenth century, Metropolitan Museum of Art, New York City; Purchase, Mrs. Jackson Michael Cole Burke and Mary Livingston Griggs and Mary Griggs Burke Foundation Gifts, 1987. Professor and Department Chair

3

new faculty

MEREDITH GAMER ELEONORA PISTIS MICHAEL J. WATERS Eighteenth- and Nineteenth-Century Seventeenth- and Eighteenth-Century Renaissance Architecture, Prints, Renowned Barnard Professor European Art European Architecture and Drawings Keith Moxey Retires

I am thrilled to As an architectural It is with much be joining the historian, the excitement and PROFESSOR KEITH MOXEY, the longstanding chair Department of opportunity to join delight that I of the Department of Art History at Barnard, retired in July. Art History and the Department am joining the Professor Moxey completed his primary and secondary educa- Archaeology at of Art History department as an tion in Buenos Aires and went on to receive degrees from the Columbia this fall and Archaeology assistant professor. University of Edinburgh (MA, 1965) and the University of as assistant profes- at Columbia is I am an architectur- Chicago (MA, 1968; PhD, 1974). Prior to joining the Barnard sor of European the fulfilment of al historian whose art, 1700–1900. a lifelong dream. work focuses on and Columbia art history departments in 1988, he taught at My research I grew up reading the Renaissance Tufts University and the University of Virginia. He has also centers on the visual and material culture publications by the great scholars who period. My current book project rethinks served as a visiting professor at Northwestern University, the of Britain and the British colonial world. have taught at Columbia over the years— architectural production in fifteenth- and Massachusetts Institute of Technology, the Folger Institute, My current book project, The Sheriff’s Hilary Ballon, Barry Bergdoll, Joseph early sixteenth-century Italy, focusing on Williams College, and various other institutions over the Picture Frame: Art and Execution in Connors, Robin Middleton, and Rudolf issues of materiality and exploring the sig- years. Eighteenth-Century Britain, draws together Wittkower, to name just a few. nificance of building materials, methods a wide range of sources— from simple The department is currently rebuild- of facture, processes of construction, and Professor Moxey began his career as a specialist in the art woodcuts and graphic satires to history ing Columbia’s traditional strength in the the development of building technology. of the Northern Renaissance, publishing his dissertation on paintings and human-cast anatomical history of architecture across all periods, It also investigates questions of architec- Pieter Aertsen and Joachim Beuckelaer, Antwerp painters of models—to trace the connections and I cannot express my own excitement tural mimesis, and how architecture was the sixteenth century, and a book on the role of popular prints between rituals of capital punishment and in joining the faculty at this point in its shaped by other modes of artistic produc- in the propaganda wars of the German Reformation. Later practices of art-making in Britain’s long history. I have been trained as both an tion. Furthermore, my project seeks to identified with what became known as the “new art history,” eighteenth century. I am also at work on architect and an architectural historian, resituate spolia within a broader dialogue a shorter study of the material history of and my approach to architecture is also of contemporary architectural practice he turned attention to issues of method and interpretation in William Hunter’s richly illustrated obstet- closely allied with cultural history. and the material revival of antiquity. volumes such as The Practice of Theory (1994) and The Practice rical atlas, The Anatomy of the Human My research projects and publications I have also worked extensively on of Persuasion (2000), both of which probed the symbiotic Gravid Uterus (1774). span European architecture and urbanism the study of antiquity as well as the use relationship between historical and theoretical approaches to My work has been published in edited of the seventeenth and eighteenth cen- and transmission of architectural prints, the study of art. volumes on the representation of slavery turies, with a focus on Britain, Italy, and drawings, and treatises. In 2011 I co-cu- With his partner, Michael Ann Holly, Professor Moxey in European art and on the sensory France. I am currently working on two rated Variety, Archaeology, and Ornament: culture of religion, as well as online as part book manuscripts: one on the architect Renaissance Architectural Prints from directed summer institutes addressing art theoretical issues of Tate Britain’s JMW Turner: Sketchbooks, Nicholas Hawksmoor, and the other on Column to Cornice with Cammy Brothers for the National Endowment for the Humanities (1987–1989) Drawings and Watercolours. In 2014, with the antiquarian Scipione Maffei. My cur- at the University of Virginia Art Museum. and the Getty Foundation (1998–1999). These collabora- Esther Chadwick and Cyra Levenson, I rent major research project, which I start- I am excited to return to this material tions resulted in publications such as Visual Theory (1991), co-curated Figures of Empire: Slavery and ed at the Italian Academy for Advanced at Columbia, and to once again utilize Visual Culture (1994), The Subjects of Art History (1998), and Portraiture in Eighteenth-Century Atlantic Studies last year, investigates the rise of a the incomparable resources of the Avery Art History, Aesthetics, Visual Studies (2002). Most recently, Britain at the Yale Center for British Art. global architectural history in Europe at Architectural and Fine Arts Library, a This exhibition explored how portraiture the beginning of the eighteenth century. second home to me as a doctoral student Professor Moxey became interested in the temporal dimen- became—and remains—an important Over the years, I have consulted Avery at the NYU Institute of Fine Arts. It is sion of art historical studies, an exploration that culminated means negotiating the relationships and Architectural and Fine Arts Library often my intention to offer several seminars in Visual Time (2013). tensions that arose with the institution of for research projects, and each time its that explore the vast holdings of Avery Professor Moxey remains active on the public lecture slavery, both in Britain and its colonies. architectural collection has exceeded my Classics and other New York collections. circuit and maintains a robust research agenda. He will spend At Columbia, I look forward to wildest expectations. I look forward to I look forward to teaching a wide variety the 2016–2017 academic year at the Getty Research Institute in teaching courses on print culture, the using this unsurpassed library as a teach- of courses, including Introduction to Los Angeles working on a historiographic essay that mobilizes visual culture of empire, and Europoean ing tool; my spring graduate seminar on Architecture and Art Humanities, and Top: Professor Keith Moxey speaking at the colloquium “Las tres eras de la art history—as well as, of course, Art Giovanni Battista Piranesi could not be a becoming involved in the Columbia imagen: actualidad y perspectiva en los Estudios visuales” in Mexico City, literature, history, philosophy, and art history to explore what Humanities. better start. Summer Program in Venice. 2015. Bottom: Professor Alexander Alberro (left) and Professor Moxey on might be described as “post-global” history. the Barnard Campus, November 2014. Photograph by Elisabeth Sher. ALEXANDER ALBERRO Modern and Contemporary Art

5 4 826 SCHERMERHORN major gift for new center travel seminar

The Mary Griggs Burke Center for Japanese Art Kyoto-Nara Painting and Architecture Field Seminar 2016 THANKS TO AN EXTRAORDINARILY GENEROUS GIFT of $13 million from the Mary Livingston Griggs and Mary Griggs Burke Founda- In May 2016, Professor Matthew McKelway and a group of five students tion, the Mary Griggs Burke Center for Japanese Art has been established at travelled to Japan for a field seminar on relationships between painting the Department of Art History and Archaeology at Columbia University. The and architecture, co-organized with Professor Shimizu Shigeatsu of Kyoto Kōgei Sen’i Daigaku (Kyoto Institute of Technology). This trip, Burke Center will support the study of Japanese art at Columbia and advance funded by the Murase Travel Fund for Japanese Art, was the first of its the understanding of the art and culture of Japan, examining their relevance kind organized for Columbia students of East Asian art history. For to other fields of inquiry, including Japanese history, religion, and literature, as ten intensive days, the group—which also included art history and well as other fields of East Asian art. Mary Griggs Burke, renowned for her collection of Japanese art, was architecture students from K.I.T.—studied temples and shrines in the a steadfast supporter of the department's programs in Japanese and East Asian art for over three decades, region around Kyoto and Nara. The itinerary included appointments and it is in the spirit of her generous commitment that the center will shape its activities. A portion of the at Onjōji, Daijōji, Enryakuji, Tōdaiji, Jukōin, and other subtemples at Daitokuji, as well as visits to the Nara National Museum and Kyoto gift will endow a new professorship in East Asian Buddhist art. The center will support individual scholars National Museum. On the final day the group visited Hōryūji, where through postdoctoral fellowships and invited professorships, as well as provide funding for conferences they were permitted to view the temple’s seventh-century gate from and workshops and support for related programs and publications. The Burke Center will be located in scaffolding recently erected for conservation work. The students— Schermerhorn Hall, in space to be vacated by the Wallach Art Gallery in 2017. Professor Matthew McKelway Xiaohan Du, Eric Wong, Cathy Zhu, Valerie Zinner, and under- will serve as the center’s director. graduate Trevor Menders—gave presentations on their observations and findings at a symposium on May 24, the proceedings of which will be published by Kyoto Institute of Technology. Mary Griggs Burke private collection outside Japan, was divided between the MATTHEW McKELWAY, Japanese Art History Metropolitan Museum of Art and the Minneapolis Institute of Mary Griggs Burke Art. Her legacy continues with the Mary Griggs Burke Center (née Mary Livingston for Japanese Art. Griggs) grew up in St. Paul, Minnesota. She spent her entire adult life in New York City and earned her MA in Midori Oka Psychology at Colum- Associate Director of the Burke Center bia in 1943. In the 1960s she enrolled in courses Midori Oka comes to the Mary at Columbia in the Griggs Burke Center for Japanese history of Japanese art Art from the Metropolitan Museum with Professor Miyeko of Art, where she was a research Murase. “Mrs. Burke,” associate for Japanese art. She has as students knew her, always kept a close connection to held positions at Japan Society, Columbia. For three decades she provided scholarships, the Peabody Essex Museum, the underwrote seminar travel to study Japanese art in the Museum of Fine Arts, Boston, U.S. and abroad, and most importantly, made her col- and the Donald Keene Center at lection available for research at her homes in Manhattan Columbia University, where she was and Oyster Bay. Mrs. Burke understood that supporting associate director. She guest-curated the reinstallation of the the direct study of works of art at the graduate level Asian galleries at the Rhode Island School of Design, which could contribute to the understanding of her collection, opened in 2014. She received her MA from the University of as well as to the growth of the field as a whole. Kansas, specializing in later Edo period painting. She brings Thanks to Mrs. Burke’s vision and encouragement, extensive experience from her career in the museum field to New York City is home to some of the finest collections her new role as associate director of the Burke Center. of Japanese art in the world and remains the most active place for collecting and researching Japanese art, from an- cient to modern, and in all media. After her death in 2012, Opposite, top: Garden, Shisendō, Kyoto, Japan. Photograph by Eric Wong. Opposite, bottom: From left to right: Professor Matthew McKelway, Cathy her private collection, which spanned five millennia and Zhu, Eric Wong, Xiaohan Du, Valerie Zinner, Trevor Menders, Kuma Yutaka, which was considered the largest and most important and Professor Shimizu Shigeatsu. Image courtesy of Matthew McKelway.

7 6 826 SCHERMERHORN Noam Elcott interviews Rosalind Krauss, recipient of CAA’s 2016 Lifetime Achievement Award

Noam Elcott: You have just received the Distinguished Lifetime idea is to resist authoritarian restrictions of an absolute Either/Or Benjamin Buchloh codified its teachings in the Thames & against the grain of the certainties Achievementent Award for Writing on Art from the College (the Complex), with the permissiveness of a Maybe (the Neutral). Hudson textbook Art Since 1900. What was the deficiency you of modernist art history. The idea Art Association. In its citation, CAA affirmed that: “No area of The expansion was able to weave earthworks, site-specific work, aimed to redress? of opticality (disembodied vision) contemporary visual art is unmarked by [your] writing, and and minimalism into a logical whole. At least I hoped so. is challenged by Duchamp’s solicita- [your] work constitutes a legacy of unavoidable positions we RK: When I first came to Columbia I was asked to teach the tion of the bodily response to must negotiate, shaped by them—whether we agree or dis- NE: In 1976 you co-founded October, a journal that, in your twentieth-century art survey. Having come from the CUNY his Rotoreliefs and in Ernst’s work’s agree—in our writings, our histories and our studio practices.” words, aimed to forge a relationship between contemporary Graduate Center, where I only taught seminars, this move to an appeal to what Jean-François I count myself among the legions of students shaped by your concerns and scholarship and to practice criticism as an act undergraduate course was perplexing. But then I thought about Lyotard calls the “figural”—the writing and hope to revisit with you the broad contours, dra- of opening the history of modernism to theory—that is, to an Meyer Schapiro, who had changed the lives of so many Columbia realm of unconscious vision—in matic transitions, and punctual interventions in your work. examination of its fundamental premises. Can you speak to the students through his course on the twentieth century. So I put my Discourse, Figure (1971). It is moment when you recognized the need to found a new journal? shoulder to the wheel. It was a very heavy wheel, indeed, because also challenged by the idea of In addition to your pioneering books on sculpture—Terminal there was no decent textbook, which meant that students had no “formlessness” taken from Georges Bataille’s notion of l’informe. Iron Works: The Sculpture of David Smith (1971) and Passages in RK: My exasperation with the idea image repertoire to study from. It was Yve-Alain Bois, first contact- Formlessness is a rejection of the march of modernist art toward Modern Sculpture (1977)—and groundbreaking exhibitions and of “pluralism” was heightened by ed by Thames & Hudson, who raised the project with us. Luckily abstraction, since abstract art must be formally ballasted by a catalogues—such as L’amour fou: Photography and Surrealism my work on Artforum where my we had as a model the Harvard survey of French literature by self-referential appeal to the work’s support. (1985) and Richard Serra: Sculpture (1986)—a steady stream of co-editors on the board used it all Denis Hollier. It is divided up into little entries by date (e.g., 1959: The last chapter of the book is a savaging of Clement Green- revolutionary essays, many of them collected in The Originality the time. When I started at Artforum, André Malraux becomes Minister of Culture under de Gaulle). berg’s reading of Jackson Pollock in particular and of Greenberg’s of the Avant-Garde and Other Modernist Myths (1985), were a the editor-in-chief was the brilliant We liked the flexibility of this format—abandoning the monotone character in general. On the occasion of his eightieth birthday, touchstone of your early career. Among these, perhaps none Phil Leider, who unfortunately left at of a single authoritative voice reciting just one version of history. Harvard University organized a conference devoted to him. I was has had as vast a cultural impact as your essay “Sculpture in the the end of the ’60s to be succeeded by I dislike the title—Art Since 1900—but that was Thames & to speak at it. I thought, “I just can’t tear him apart; what I say must Expanded Field” (1979), with its famous Klein Group diagram. John Coplans, who became hopelessly Hudson’s choice, not ours. be respectful, after all.” On the train to Boston, I remembered the Can you speak to impetus behind that essay? “politicized” by Max Kozloff and introduction to Barthes’s Sade, Fourier, Loyola (1971), where he Lawrence Alloway. After Annette NE: Your curriculum vitae reads like a chronicle of the triumphs differentiates the writing style of each author by reference to its Rosalind Krauss: “Sculpture in the Michaelson and I jumped ship to found October, he told the Village of modern art theory and criticism. And yet you have also specific “charms.” I will speak of the “charms” of Clem’s writing, I Expanded Field” came about because Voice in an interview that “we have purged the formalists.” The encountered setbacks and disappointments along the way. thought. A writing so careful, succinct, accurate. one of the words commonly used “formalists” wanted to do several things to which Coplans was Can you speak to any of the bumps in the road? I began with Clem’s “How Art Writing Earns Its Bad Name,” by art critics to characterize certain allergic: to publish important essays from the advanced French pointing out that Greenberg was allergic to Latinate words and periods of contemporary art—plu- theoretical discourse and to write essays at the length we thought RK: When I was considering The Optical Unconscious(1993), so art writing is substituted for criticism. Thecharm of this is ralism—exasperates me. I agree with the subject deserved (at Artforum the editorial space was hope- intended to deconstruct the teleological progression of modern that art writing captures and repeats the separation Lessing’s Heinrich Wölfflin, who famously lessly compressed by the massive amount of advertising). The first and contemporary art in postwar criticism (Clement Greenberg Laocoön makes between the sequential character of writing and wrote: “Not everything is possible in issue of October published Michel Foucault’s Ceci n’est pas une pipe, and Michael Fried), I suddenly realized that I must disassemble the instantaneousness of vision—at the source of Greenberg’s own every period.” The idea of the Klein in English. We also announced that we would run NO ads. the conjoined forms of neatly inevitable exposition paired with the insistence on modernism’s separation of the two in its drive toward Group to produce the expansion came homogeneous writing style such neatness requires. The disjunctive the specificity of each medium. from Fred Jameson’s book The Political NE: Once a renegade, October has become a standard bearer styles I admired were Roland Barthes’s and Denis Hollier’s. The Perhaps The Optical Unconscious is important within the history Unconscious—the last chapter on Conrad’s Lord Jim. Jameson cre- in modern and contemporary art criticism and scholarship. A idea of starting a whole book with the phrase “And what about . . . ?” of modernism, and I believe in it fully. It has not been successful, ates a Klein Group expansion based on the binary labor/value. The little over a decade ago, you, Hal Foster, Yve-Alain Bois, and was very appealing in its insouciance. The book’s argument goes however; perhaps it is too eccentric—especially in its style.

9 8 826 SCHERMERHORN undergraduate news from the media center travel seminar

Travels to a “City of Knowledge” Virtual Reality Tours – The Media OVER THE 2016 SPRING BREAK, Professor Avinoam Center’s Support for Research and Shalem visited Jordan with the students of his undergraduate Teaching seminar Cities of Knowledge: Displaying Archaeological Knowledge in the Public Spaces of Amman. They were joined by graduate students THE MEDIA CENTER FOR ART HISTORY Olivia Clemens and Matthew Gillman, Gabriel Rodriguez from continued pursuing its vocation to explore and apply technolo- the Media Center for Art History, and, for much of the week, gies for education and research in art history and archaeology. Professor Holger A. Klein. Last spring, Professor Avinoam Shalem’s travel seminar in Jordan Their focus was Amman, a city whose present form is scarcely one provided a wonderful opportunity to gather visuals of some of the century old but whose foundations are among the most ancient in finest artistic and archaeological sites in the Near East. The Media the world. Seminar sessions, both in New York and on site, took an Center’s growing collection of resources will be updated to feature interdisciplinary approach to the city and its environs, combining three-dimensional renderings and high-resolution images of the archaeology, architectural history, historiography, museology, and remnants of the great Umayyad palace of Mshatta near Amman, a urban studies. Students discussed strategies by which the material virtual tour of the Umayyad bath at Qusayr ʿAmra, and 360-degree past becomes embedded within the urban fabric as well as in the photography from inside the Cave of the Seven Sleepers, one of the civic and national consciousness. most sacred sites in Islam. Much of the first two days was spent on Jabal al-Qalʿa, the Columbia students have already discovered the strengths of hilltop site of the biblical city Rabbath-Ammon, which is home these resources: for the fall 2015 seminar, Architecture of the 11th and to a Roman temple to Hercules, a small Byzantine basilica, and an 12th Centuries in the Digital Age, the Media Center experimented Umayyad gubernatorial palace. On the first afternoon, the group with head-mounted displays and virtual reality tours to explore descended into the historical downtown to visit a Roman-era buildings in Western Europe and the Mediterranean. Students’ fountain (Nymphaeum) and theater. Subsequent days included enthusiastic reception of this technology indicates that we must trips beyond the city to the Cave of the Seven Sleepers, a site of further our efforts to develop new means of integrating art into Christian and Muslim legend; Mshatta, a late Umayyad palace; the teaching. To this end, the Media Center has provided support for desert castles of Qasr Kharana, Qusayr ʿAmra, and Qasr al-Azraq; two new faculty projects this year, developing a collaborative plat- mosaics and early churches in Madaba and Mount Nebo; and the form with graduate student Isabella Lores-Chavez for Professor sprawling, remarkably preserved Roman city of Jerash. Michael Cole’s Spanish Italy and the Iberian Americas project, and In Amman, students gave on-site presentations and met with a virtual tour of Notre-Dame of Amiens with Professor Stephen a series of professionals including Dr. Mohammed el-Khalili, Murray and graduate student Emogene Cataldo. in charge of the Nymphaeum’s ongoing restoration; Dr. Yosha The Media Center’s web-based platformArt Atlas, developed in al-ʿAmri, curator at the recently founded Jordan Museum; Dr. 2014, geographically and chronologically presents images of art and Barbara Porter, archaeologist and director of the American Center architecture from faculty members’ ongoing collaborative research of Oriental Research; and Yanal Janbek, manager and librarian of projects at international sites. Professor Zainab Bahrani’s Mapping Darat al-Funun, a modern art gallery occupying a series of homes Mesopotamian Monuments project continued its documentation of from the British Mandate. Jawad Dukhgan, a curator at Columbia’s endangered monuments from Iraq and Turkey, and now includes Studio-X Amman, led a walking tour on the final day of the high-quality visual materials collected during a trip to eastern Turkey trip. Guiding the travelers down one of Amman’s “seven”—now along with archival materials contributed by associate research nineteen—hills into the city’s longtime axis, a river valley (wadi), scholar Helen Malko. Professor Holger A. Klein’s Istanbul Research he discussed issues of rapid urban development since the early and Documentation Project was updated with entries prepared by twentieth century, tying together many threads of discussion from graduate student Ayse Ercan; postdoctoral research fellow Georgios the trip. Makris joined the team in fall 2016 and has further shaped the proj- Toward the end of the week, participants met with staff from ect’s profile and online representation. To help analyze field results the Columbia Global Center in Amman and were hosted for from Professor Francesco de Angelis’s excavations at Hadrian’s dinner by a group of local alumni. The students, mostly seniors, Villa, the Media Center developed a component that renders the called the visit a “capstone experience” to their Columbia educa- connections between related stratigraphic contexts. Also developed tion. Such a fruitful trip was made possible through the generosity Top: Travel seminar students with Professors Avinoam Shalem and Holger A. Klein this year, a tailored version of the Art Atlas platform allowed the stu- of the Riggio Program Fund for Undergraduate Support. (at left and right, respectively) and Dr Mohammad El-Khalili (middle) at the dents of Professor Diane Bodart’s spring 2016 seminar Scribbles and Nymphaeum in Amman, Jordan. Students (left to right): Jonah Goldman-Kay, Ellie Scribbling in the Renaissance to analyze and classify images of little Dominguez, Kolleen Ku, Aidan Mehigan, Hannah Vaitsblit, Eyvana Bengochea, Sarah Rohrschneider, Abigail Thacher, and David Alexander; TAs Matthew Gillman known and under-studied scrawls. and Olivia Clemens. Middle: The travel seminar group inside Qusayrʿ Amra, fifty-three miles east of Amman, an eighth-century Umayyad structure famous for Top: Amman, Jordan. View north from the Amman Citadel. Bottom:St. George’s STEFAAN VAN LIEFFERINGE ’06 PhD its frescoes. Bottom: Jerash, Jordan. The Propylaeum, gateway to the Temple of MATTHEW GILLMAN, PhD Candidate Church, Madaba, Jordan. Fresco map of the Holy Land, detail of Jerusalem. Associate Research Scholar and Director of the Media Center Artemis, built ca. 150 CE. Photographs by Gabriel Rodriguez. Photographs by Gabriel Rodriguez. for Art History

11 10 826 SCHERMERHORN students curate at the wallach art gallery

Lines of Flight ­— MODA Curates The Expanded Subject: New Perspectives in Photographic Portraiture from Africa Lines of Flight, presented April 20 to June artists who use serial methods to posit a new Sarah Diver ’16 MA. The pair took a cue 4, 2016 in the Miriam and Ira D. Wallach form of subjectivity as a means to explore from Deleuze and Guattari’s life work, Art Gallery, encompassed three related issues of race, sexuality, history, and the which explored all manners of learning From September 7 to December 10, 2016, clearly defined locales, creating effects at projects—two exhibitions and one series body. The artists included Bethany Collins, and communication that might disrupt the Miriam and Ira D. Wallach Art Gallery once disorienting and vaguely familiar. of educational programming—curated by Felix Gonzalez-Torres, Wade Guyton, dominant educational models and create presents The Expanded Subject: New Identifiable contextual elements serve to MODA students Katherine Cohn, David Leslie Hewitt, Ragnar Kjartansson, Emily a collaborative space. Each episode aimed Perspectives in Photographic Portraiture reinstate subjectivity, albeit uneasily, while Crane ’16 MA, and Leah Hartman ’16 MA. Kloppenburg, and Glenn Ligon. to contextualize pedagogical debates from Africa. Curated by Joshua I. Cohen at the same time posing critical questions The three co-curators faced the chal- Contemporary Ruins: Resistance to that arise when the fields of art and ’14 PhD, Sandrine Colard ’16 PhD, and about the nature of photographic repre- lenge of transposing their research into the Spectacular Image, curated by Leah education intersect. Hosts and guests Giulia Paoletti ’15 PhD,The Expanded sentation. the physical space of the gallery, and their Hartman, featured a selection of artists included Bethany Collins, David Crane, Subject features the work of four pho- Saïdou Dicko (b. 1979, Burkina Faso) dialogues revealed distinct points of view, who engage with the aestheticization of Marit Dewhurst, Jasmin Eli-Washington, tographers—Sammy Baloji, Mohamed captures the shadows of people on sunny allowing unforeseen resonances to take cultural heritage destruction and its recep- Daniela Fifi, Edith Gwathmey, Leah Camara, Saïdou Dicko, and George streets in West Africa, thus unsettling the shape between the projects. Each project tion by the global media. Works on view by Hartman, Pablo Helguera, Jessica Holmes, Osodi—who have produced experimen- conventions of portraiture while manag- investigated ruptures within current Lida Abdul, Kader Attia, Tammam Azzam, Emily Kloppenburg, David Levi-Strauss, tal portraits over the past fifteen years. ing to capture his subjects’ expressiveness discourses in order to propose intersec- Wafaa Bilal, Rokni Haerizadeh, and Yujin Michelle Marques, Ann-Marie Mott, and Whereas African photo-portraits are most and individuality and making reference to tions between the art-historical, the Lee responded to the spectacle of modern Allison Freedman Weisberg. The podcasts commonly understood as windows into the photographic recording of light and political, and the educational, as developed iconoclastic imagery, encouraging visitors are available at the Wallach Art Gallery African realities, the exhibition presents shadow. in the writings of Gilles Deleuze and Félix to consider more closely where mediated website. highly inventive photographic composi- Photographs by George Osodi (b. Guattari. The exhibition aimed to draw images of violence and destruction fall tions that elude the expected documenta- 1974, Nigeria) are grounded in a strong previously unexamined links between art within the intersection of art, propaganda, tion of social identity. social and political commentary whose and the world in which we live. and documentary. KATHERINE COHN, MODA Student The practice of Sammy Baloji (b. 1978, targets range from the oil industry to with the Walther Collection took place Life Serial, organized by David Crane, Katherine Cohn presented the podcast DAVID CRANE ’16 MA Democratic Republic of Congo) involves corruption in African politics. Osodi’s on October 21, and a fully illustrated presented the work of a diverse group of “Lines in Real Time” with co-producer LEAH HARTMAN ’16 MA transposing colonial portraiture—pictures pictures consistently include a subject— catalogue with texts by the curators and taken by and for colonizers in the former often anonymous or fictional—who an introduction by Professor Z. S. Strother Belgian Congo—into alternate backdrops: dominates the composition but reveals is co-published by Hirmer Verlag and the the post-colonial site of an abandoned thought-provoking dissonance with his Wallach Art Gallery. mine, or landscape paintings by colonial or her surroundings. explorers. Baloji’s series repurpose the Viewed together, these works colonial archive, activate historical aware- complicate prevailing Western notions ness, and challenge common assumptions of portraiture from Africa and offer about photographic authority. new ways of imagining portraiture and JOSHUA I. COHEN ’14 PhD Pictures by Mohamed Camara (b. subjectivities, whether in or beyond SANDRINE COLARD ’16 PhD 1985, Mali) remove their subjects from Africa. A symposium in collaboration GIULIA PAOLETTI ’15 PhD

Finesse “It is no longer a matter of trying to subvert or intrude. Those Their approach rests on the premise that those attuned to the strategies are now recognized and invited. Now it is a matter of codes and relations that reproduce a system are best positioned to finessing, which is certainly not enough,” the artist Louise Lawler transform it from within. observed in 1994, reflecting on the shifting relationship between The exhibition, curated by doctoral candidate Leah Pires and artists and institutions in New York at the turn of the 1980s. At a accompanied by an illustrated publication, will bring together moment when the rise of neoliberalism increasingly foreclosed site-specific and newly commissioned work by Lucy McKenzie, the possibility of an “outside” to the system, inherited notions Carissa Rodriguez, and Karin Schneider alongside works by Pia of critique were productively thrown into crisis by an emerging Backström, Phoebe D’Heurle, Emma Hedditch, and Jill Magid. generation of artists. It will complement the retrospective glance of WHY PICTURES A group exhibition at the Miriam and Ira D. Wallach Art Gal- NOW, a large-scale exhibition of Lawler’s work at MoMA opening lery from January 18 to March 11, 2017 will explore the continued in April 2017. Above: Emily Kloppenburg, Rumination (White Castle, December 20, 2014; October 12, 2015), 2016. Installation resonance of Lawler’s observation for younger artists whose work, photograph by Gerald Sampson. Top right: Leah Hartman at Argot Studios, New York, conducting a phone inter- view with David Levi-Strauss. Production photo from the recording of “Lines in Real Time” podcast episode two like hers, insistently finesses the relationship between the artist on March 11, 2016. Photograph by Sarah Diver. Bottom right: Wafaa Bilal, Lovely Pink: David I, II, and III, 2015. and the institutional and social structures he or she occupies. LEAH PIRES, PhD Candidate Installation photograph by Gerald Sampson.

13 12 826 SCHERMERHORN graduate programs: notes from the directors

Classical Studies Graduate Program of their links with other disciplines such as comparative literature, MA in Art History Samantha Deutch lectured on Digital Humanities. This session political theory, philosophy, and cultural anthropology. The global was complemented by workshops intended to familiarize partici- (CLST) class offered through CLST at Hadrian’s Villa, for example, uses n spring 2016, first-year MA students participated in the pants with essential digital tools, such as citation management and archaeology as the common ground for the study of social and Practices of Art History colloquium. Integrated into the curric- image management, in order to prepare students in the best possi- n fall 2016, the Department of Art History and Archaeology I economic history, the history of art and architecture, the history ulum the previous spring, this course, which examines the range ble way to continue in academia or enter the job market after they began hosting the Classical Studies Graduate Program. Clas- I of technology, and religion studies. of careers involving art history, was designed to help MA students graduate. MODA students, as well as Paris 1 Panthéon-Sorbonne sics-centered but not classicizing, CLST addresses the challenges Among the initiatives organized by CLST is The Classical imagine and shape their professional paths. Each year, leading art students enrolled in the Dual MA Degree Program, were invited posed by the rapidly changing intellectual and scholarly landscapes Dialogues, a successful “author meets critics” series that discusses professionals are invited to share their expertise on topics such to take part in these workshops. Two Paris 1 students and one of the present world, using them as an opportunity to expand innovative work in ancient studies as well as in fields bearing as curatorship, conservation, museum education, provenance re- Columbia student graduated from the Dual MA Degree Program and reshape the study of the ancient Greeks and Romans and the theoretical and methodological relevance for the understanding of search, connoisseurship, art writing, and digital humanities. Guest in 2016 after having spent one semester at the partner institution cultures they were in contact with. The program’s interdisciplinary classical antiquity. Recent meetings have addressed Greek theories presenters this year included Colin Bailey, director of the Morgan during their second year of study. The Dual MA Degree Program, scope is reflected in the wide range of research interests of its of color, tombs and burial customs in third-century Rome, Stoic Library & Museum; Deborah Cullen, director and chief curator which is part of the Alliance Program and allows selected Paris 1 PhD and MA students, who work with faculty members across notions of time, and Inkan iconoclasm. of the Wallach Art Gallery; Mecka Baumeister, conservator at the and Columbia students the unique opportunity to earn MA Columbia and constitute a vibrant intellectual community that The new chair of CLST, Professor Francesco de Angelis, Metropolitan Museum of Art; Rika Burnham, head of education degrees from both institutions, entered its sixth year this fall. strengthens and enriches the bonds among the four departments succeeds Professor Katja Vogt (Philosophy) and will continue at the Frick Collection; MaryKate Cleary, research director at Art that participate in the program: Art History and Archaeology, to build on the program’s potential. Recovery Group; Susan Schulman, dealer of Old Master European Classics, History, and Philosophy. and American prints; Prudence Peiffer, senior editor atArtforum ; The history of ancient art and the study of material culture are and Samantha Deutch, assistant director of the Center for the FRÉDÉRIQUE BAUMGARTNER among the core areas of CLST. The program variously supports FRANCESCO DE ANGELIS History of Collecting at the Frick Collection. With Carole Ann Director, MA in Art History art historical and field research, and encourages the investigation Classical Art and Archaeology Fabian, director of Avery Architectural and Fine Arts Library, Eighteenth- and Nineteenth-Century Art

MA in Modern and Contemporary Art: Critical and Curatorial Studies (MODA)

he MODA program enjoyed a busy and productive 2015– T 2016 year. In fall 2015, Director Janet Kraynak led a group of second-year students on a workshop trip (the third international trip in the program’s history) to view the 2015 Venice Biennale. Students viewed the main exhibitions of the Biennale, including internationally acclaimed curator Okwui Enwezor’s All the World’s Futures, in addition to numerous off-site pavilions throughout Venice, including the Armenian pavilion on the Island of San Lazzaro degli Armeni. The group also visited several important museums, such as the Punta della Dogana and the Peggy Guggen- MODA students David Crane, Sarah Diver, Anne Cicco, Elleree Erdos, Leah Hartman, heim Collection. At Columbia, the fall 2015 Critical Colloquium Maria Filas, and Natasha Rosenblatt in Venice. Photograph by Janet Kraynak. hosted guest lecturers Jason Farago, U.S. art critic for The Guardian and editor of the new journal Even, and art historians Liz Kotz ’02 PhD (Comparative Literature) and Siona Wilson ’05 PhD. MODA is pleased to announce that Page Benkowski, Taylor The spring 2016 Curatorial Colloquium welcomed guest speak- Fisch, and Georgia Horn each had their exhibition proposals ers Carlos Basualdo, senior curator of contemporary art at the selected for MODA Curates, to be held at the Wallach Art Philadelphia Museum of Art; David Platzker, curator of drawings Gallery in spring 2017. Fellow MODA students Inesa Brasiske and prints at MoMA; and independent curator and critic Joseph and Zhuofan Huang will be organizing a symposium, tentatively Wolin, who curated Open This End: Contemporary Art from the titled The Post-Socialist Object, to be held during the CAA Collection of Blake Byrne, which was on view at the Wallach Art conference in February 2017. Gallery last spring. The Curatorial Colloquium also visited a number of NYC-area exhibitions, including Open Plan: Andrea Fraser at the Whitney Museum of American Art, where students attended a special session with MODA graduate Megan Heuer JANET KRAYNAK ’06 MA, now director of public programs and public engagement Director, MA in Modern and Contemporary Art: Critical First-year MA students Sarah Eisen, Basak Araz Nalbantoglu, Laura Polucha, Emma Le Pouésard, Manabu Yahagi, Amy Chang, Roxanne Smith, Pierre Von-Ow, and John at the museum. and Curatorial Studies Webley at the Frick Collection on April 22, 2016, following a session on museum education led by Rika Burnham and Professor Frédérique Baumgartner. Photograph by Frédérique Baumgartner.

15 14 826 SCHERMERHORN honoring professor david rosand

Diane Bodart named to the David Rosand Professorship of Professor Kellie Jones named Italian Renaissance Art History MacArthur Fellow DIANE BODART WAS APPOINTED the David Rosand Assistant Professor of Italian Renaissance Art History THE DEPARTMENT OF ART HISTORY in April 2016. Bodart is a specialist of sixteenth- and seven- and Archaeology celebrates the award to Kellie Jones of a teenth-century art in Italy, France, and Spain. She is particularly MacArthur “genius” grant. We are not entirely surprised, known for her work on Venetian painting, including Tiziano because as both a curator and a historian, Jones has e Federico II Gonzaga (1998), now the standard reference on reshaped what we know about modern art. She has asked Titian’s relationship with his key early patron, and her prize-win- the most fundamental questions our field is responsible ning Pouvoirs du portrait sous les Habsbourg d’Espagne (2011), a substantial part of which was dedicated to Titian’s portraits for for, with passion and with rigor. What conditions make King Charles V. In addition to her teaching on campus, Professor art possible? How does art express individual and Bodart has taught for the past two summers in Columbia’s collective identities? What is the relationship between Summer Program in Venice. art and history? David Rosand, a revered scholar of Italian Renaissance art Jones has gone to the heart of the American experi- and Meyer Schapiro Professor Emeritus of Art History, left an history majors. Ellen Rosand, together with her sons, Jonathan ence to find great artists and great art. Looking where indelible mark on the Department of Art History and Archaelogy and Eric, made a leadership gift in support of the professorship and on his field more broadly. Such is Rosand’s legacy that follow- fund as did the Morris and Alma Schapiro Fund. David's graduate race blinded us, she has retrieved individual careers ing his passing in August 2014, his family, friends, students, and students also vigorously supported this effort, including generous and entire movements from ignorance and neglect. colleagues came together to honor his memory by raising funds gifts received from Arianna Packard Martell ’06 MA, ’13 PhD and Jones’s essays, many of them collected in her 2011 book for an endowed professorship, programming in Venice at Casa Francesca Price-Assetto ’04 MA and her husband Marco Assetto EyeMinded: Living and Writing Contemporary Art, vividly ’04 MBA. Finally, Art History Advisory Council members Steven Muraro, and a memorial fund to support special opportunities dismantle one unquestioned assumption after another. within the department. A lead gift to launch the campaign for Schwartz ’70 BA and Leo Swergold ’62 BA made contributions to Among the artists whose work she has brought to a the professorship came from Don and Sally Anderson, longtime the professorship and spearheaded a fundraising initiative among friends of Rosand and his widow, Ellen. The contributions toward members of the department’s Advisory Council. More than $3 wide public are Jean-Michel Basquiat, David Hammons, the professorship notably also included a significant commit- million was donated to the professorship fund by Rosand family Martin Puryear, Noah Purifoy, Betye Saar, Lorna ment from Bob Berne ’60 BA, ’62 MBA, who was, like Rosand, a members, friends, and Columbia alumni. Simpson, and Carrie Mae Weems. Columbia College alumnus. Berne and Rosand first met as art Jones’s many exhibitions, some of them undertaken Professor Kellie Jones in her office in Schermerhorn Hall. Image courtesy of the even before she became a graduate student, have reached John D. & Catherine T. MacArthur Foundation. IN DAVID ROSAND’s HONOR, Otto Naumann ’73 MA THANKS TO THE GENEROSITY of a number of public audiences across the country. Her 2006 Studio and Robert Simon ’73 BA, ’75 MA, ’82 PhD organized a special donors, namely Ellen Rosand, John G. and Carol Finley ’83 BA, Museum in Harlem exhibition and catalogue Energy / exhibition, In Light of Venice, at the Otto Naumann Gallery in ’86 JD, ’87 MBA, Caroline A. Wamsler ’98 MA, ’06 PhD and Experimentation: Black Artists and Abstraction, 1964-1980 1981 BA is from Amherst College. She has held curatorial New York City in January 2016. The exhibition featured import- DeWayne N. Phillips, and the Morris and Alma Schapiro Fund, asked us why we expect African diaspora artists to make positions at the Studio Museum in Harlem (1981–1983), ant works from the Renaissance to the eighteenth century. Otto the department has established endowment, fellowship, and art about race. Her 2011 exhibition and catalogue Now Naumann and Robert Simon graciously opened their doors to current use funds to benefit academic programming, structural Jamaica Arts Center (1986–1990), and Walker Art Center many alumni, faculty, and friends throughout the exhibition, upgrades, and renovations at Casa Muraro—the house and library Dig This! Art and Black Los Angeles, 1960-1980 revealed a (1991–1998); was U.S. Commissioner for the Bienal de sharing their love of Venetian painting and their devotion to of David Rosand’s teacher and colleague Michelangelo Muraro— major urban art scene. With her 2014 Brooklyn Museum São Paulo (1989); and was a curator of the Johannesburg David Rosand’s memory. In addition to showcasing beautiful which was bequeathed to Columbia in 2003 and has served as the exhibition Witness: Art and Civil Rights in the Sixties, Biennale (1997). Old Master paintings, Otto and Robert generously donated a physical heart and spiritual center of Columbia’s Summer Program she demonstrated the vital role of art in the struggle for Jones has always been a scholar with a plan to chal- portion of the sales to benefit the David Rosand Tribute Fund. in Venice ever since. Embodying the welcoming spirit Muraro American equality. In all her work, Jones has explored lenge. Systematically, she has devoted one project after showed Rosand in introducing him to the art, history, and culture how art has been constrained by injustice, analyzing the of Venice, Casa Muraro will be transformed into a Columbia another to expanding the boundaries of art history, to Center for Venetian Studies in the coming years, providing stu- effects of race and gender and how art can sometimes reaching new public audiences with beauty they did not dents and scholars with research interests in the art and culture of transcend its circumstances. anticipate. The department looks forward to what comes Venice and the Veneto with rich resources and opportunities for At Columbia, Jones has recently been valiantly next. Prepare to be surprised. scholarly exchange. serving the department as director of undergraduate studies. She is also a veteran of Art Humanities. Giovanni Bellini and Before coming to Columbia in 2006, she taught at ANNE HIGONNET Workshop, Venus at Her Yale University, where she received her PhD in 2009. Her Toilet, oil on panel, Nineteenth-Century Art 26.5 x 34 inches (67.3 x 87 cm)

17 16 826 SCHERMERHORN conferences • lecture series • symposia

Bienniale Cultures in Africa Disrupting Unity and Discerning Global Latin America Ruptures: Focus Aleppo ince 1985, various African constituencies have organized rganized by Professor Alexander Alberro in collabora- Sbiennales as a means to participate in the world dialogue on eveloped jointly by Professor Avinoam Shalem and the Otion with Graciela Montaldo of the Department of Latin contemporary art and to nourish local imaginaries. Professor DCenter for Spatial Research at GSAPP, this spring 2016 lec- American and Iberian Cultures, the April 8, 2016 conference Z. S. Strother partnered with Maureen Murphy (University of ture series addressed the historiography of Islamic art by looking Global Latin America, sponsored by the Institute for Studies on Paris 1 Panthéon-Sorbonne) and the Institute of African Studies at significant moments of rupture in its development. Focusing on Latin American Art, brought invited scholars to Columbia to to explore this phenomenon in Biennale Cultures in Africa, an the city of Aleppo, Syria, invited speakers addressed topics from speak on the region’s relationship to globalization. international symposium which took place at Columbia on March the middle ages to our contemporary moment: Yasser Tabbaa George Yudice opened with a presentation of the work of 4, 2016. The event was a runaway success and testifies to the ever spoke on the remaking of Aleppo in the medieval period; Heghnar several collectives that critically address globalization in Latin rising profile of African artists in the global contemporary. Watenpaugh on Ottoman Aleppo and depictions of urban space; America and its local effects. Ana Luiza Nobre examined the way Toma Muteba Luntumbue opened the day in conversation Patrick Ball on contemporary human rights concerns; and Sussan nineteenth-century photographs of Rio de Janeiro depict the turbu- with Sandrine Colard ’16 PhD. As artistic director, Luntumbue Babaie on urbanity and the houses of Aleppo. lent process of the city’s modernization. Her panel talk was paired made it his mission to anchor the fourth edition of the Biennale The series ran in conjunction with a graduate seminar,Conflict with Adele Nelson’s presentation on Mario Pedrosa, the Brazilian in Lubumbashi in the complex reality of the Democratic Republic Urbanism: Aleppo, taught by Laura Kurgan, director of the Center art critic whose role in the evolution of twentieth-century Latin of the Congo, rather than produce an additional contemporary art for Spatial Research, and provided historical and art historical American art is increasingly a subject of scholarly attention. “comptoir” (trading post) for the globetrotting international art context for the examination of the urban and cultural cost of civil A second panel featured a presentation by Heloisa Espada world. He drew on site-specific artworks, an important contingent war. The multidisciplinary seminar was first in a series that will be on midcentury abstract photography in São Paulo, followed by of Congolese artists, and the integration of a local audience— offered as a part of the multi-university Mellon Foundation initia- Tatiana Flores’s talk surveying contemporary art practices that particularly school students—to create a genuine and produc- tive in Architecture, Urbanism, and the Humanities. can broadly be considered Caribbean and drawing upon works by tive encounter between the local and the global, in phase with Recordings of all lectures are available through the Center for artists that may be included in her upcoming exhibition. Edouard Glissant’s conception of “meteoric realities” that was Spatial Research website. Many thanks to the co-sponsors of the Both panels suggested that an array of interdisciplinary and the curatorial rationale of the event. lecture series: the Department of Art History and Archaeology, art historical approaches are necessary to conceptualize the idea Three academic papers explored specific histories in fran- the Middle East Institute, and the Center for Spatial Research. of a “global Latin America,” whose very meaning remained a cophone Africa. Ugochukwu-Smooth C. Nzewi (co-curator, dialectical spur to discussion. eleventh edition of Dak’Art Biennale; curator of African art, Hood DARE ANNE S. BRAWLEY Museum of Art, Dartmouth College) argued that Dak’Art made Adjunct Assistant Professor, GSAPP NICHOLAS MORGAN, PhD Candidate strategic use of a loose pan-Africanism to achieve a distinctive profile for itself in the global circuit of biennales and had been Cambridge-Columbia Graduate successful in launching the careers of an impressive number of Immersed: A Mellon Postdoctoral African artists and curators. Murphy examined the fascinating Student Symposium conflict between two biennales in Bénin in 2010, which centered Fellows Symposium on a debate on the nature and role of French influence. Professor he sixth annual Cambridge-Columbia Graduate Student n a May 3, 2016 symposium, Immersed, this year’s outgoing Strother examined the history of French patronage of the arts Symposium on April 8, 2016 featured the work of Cambridge Mellon Postdoctoral Fellows presented an evening of talks T in Africa as a form of “soft power” and used the Biennale in I graduate students Neylan Bağcioğlu, Julien Domercq, Angelica highlighting their latest research. Joseph Salvatore Ackley’s talk, Lubumbashi as an example of how independent artists’ associa- Federici, Taylor McCall, Tom Young, and David Zagoury, and “Submerged and Swallowed into the Late Medieval German tions are beginning to find means to assert more control over their Columbia graduate students Margot Bernstein, Amy Chang, Altarpiece,” explored the technical and visual strategies employed finances and mission. Lindsay Cook, Nina Horisaki-Christens, Hwanhee Suh, and by late medieval altarpieces to simultaneously distance and In the third section, iconoclastic South African artist Kendell Matthew Teti. While each year’s unique theme affords partici- pull the viewer into the glorified space of the altar ensemble. Geers gave an insider’s view into the success and polemics that pants from both sides of the Atlantic an opportunity to present Anastassiia Botchkareva, in “Compelling Contrasts: The Rhetoric drove biennales in Johannesburg in 1995 and 1997. Discussant their work and exchange insightful feedback, this year’s theme— of Aesthetic Heterogeneity in Early Modern Persianate Albums,” Chika Okeke-Agulu (Princeton University) ended the sym- Reception as Creation, Interpretation, Transformation—seemed theorized how both the viewer and artist of the early modern posium by considering the reasons for which biennales have particularly fitting as it attracted several scholarly papers on cultural Persian album could commune via trace, gesture, and sign. In gained much greater traction in the Francophone world, whereas cross-pollination. “Outside In: The Immersive Painted Decors of French Royal repeated efforts in English-speaking countries have not had the Following a long day of presentations (interspersed with Hunting Interiors,” Catherine Girard reconstructed a rarified same longevity. delightful coffee breaks), the symposium participants, along viewing experience, connecting the actual unfolding of a royal The day concluded with a well-attended reception hosted by with Professor Robert E. Harrist, Jr. and Dr. Alyce Mahon, dined hunt with its subsequent recollection in painted spaces. The the Department of Art History and Archaeology. with Dr. John Weber, who generously sponsors the Cambridge- symposium’s theme exploring immersion and immersive envi- Columbia Symposium each year. The next morning began with ronments broadly connected each of the fellows’ distinct areas of Z. S. STROTHER a walk along New York’s High Line and a visit to the Whitney focus. African Art Museum of American Art, organized by Julia Vazquez, graduate student liaison for the event. JOSEPH SALVATORE ACKLEY Term Assistant Professor, Barnard College MARGOT BERNSTEIN, PhD Candidate

19 18 826 SCHERMERHORN faculty highlights

Adam Eaker on Co-Curating Van Dyck: The Anatomy of Portraitureat the Frick Gallery alexander alberro published essays in Historians. Among his articles published was meeting of the Archaeological Institute South as a State of Mind and October, as well a contribution to David Hanks’s Partners in of America. He co-organized the work- as in Joaquín Torres-Garcia: The Arcadian Design: Alfred H. Barr, Jr. and Philip Johnson. shop The Cup of Dionysos: New Approaches became the eventual topic of my catalogue Modern (MoMA), Marta Minujín: Minucodes to the Kantharos at Columbia. During the essay. To complement the exhibition, I (Americas Society), Looters, Smugglers, diane bodart was appointed the summer he directed the third archaeological collaborated with Frick staff members and Collectors: Provenance Research and the first David Rosand Professor of Italian campaign at Hadrian’s Villa, with over eighty to develop extensive programming, Market (Walther König), and Parachute: The Renaissance Art History. To celebrate the students, team members, and collaborators including a symposium on the history of Anthology Volume IV ( JRP). His essay “To establishment of the Rosand professorship, participating. collecting Flemish Baroque art in America, Find, To Create, To Reveal: Torres-García she gave the keynote lecture, “Los borrones a study day for scholars in the galleries, and a and the Models of Invention in Mid-1940s de Ticiano: the Venetian brushstroke and In spring 2016 vidya dehejia presented concert of music from the court of Charles I, Rio de la Plata” was published in Spanish its Spanish translations.” She received a the 65th annual A.W. Mellon Lectures in translation by Fundación Telefónica. He Lenfest Junior Faculty Development Award the Fine Arts at the National Gallery in performed on period instruments. presented public lectures in Oslo, Vienna, to translate her book Pouvoirs du portrait sous Washington, DC. The six talks of the series, When I began my graduate education New York, Providence, Rio de Janeiro, les Habsbourg d’Espagne (CTHS/INHA, titled The Thief Who Stole My Heart, focused at Columbia, I fully intended to pursue a and Miami, and organized and moderated 2011). In 2016–2017 she is on sabbatical leave on the material life of sacred bronzes created traditional career in academia. My years at two international symposia at Columbia to work on a book project, Reflections in by master artists during the rule of the Chola the Frick Collection proved transforma- University, Global Latin America (see p. 19) Renaissance Painting. dynasty, ca. 850–1280. tive, however, and gave me a real love for and Rethinking Latin American Art. the variety, public engagement, and ob- While serving his first year as chair of the noam m. elcott published his first ject-focused nature of museum work. One zainab bahrani organized an department, michael cole published book, Artificial Darkness: An Obscure History week after the Frick exhibition opened, international workshop in Istanbul in several short essays. “Leonardo contra of Modern Art and Media (University of Adam Eaker in the galleries of the Frick Collection. Image courtesy of Michael Bodycomb, the Frick Collection. I assumed the post of assistant curator collaboration with the Metropolitan natura,” in a volume edited by Alessandro Chicago Press, 2016). His second book, of Northern Baroque paintings at the Museum of Art and Koç University, titled Nova and Fabio Frosini, picks up on Art in the First Screen Age: László Moholy- IN THE FALL OF 2013 I began a two- explore how Van Dyck set about making Metropolitan Museum of Art. I am deeply The Future of the Past, where she delivered themes from his recent book, Leonardo, Nagy and the Cinefication of the Arts, is year term as the Anne L. Poulet Curatorial his celebrated portraits. My dissertation, grateful to my professors at Columbia—in the keynote speech “The Absent Past: Michelangelo, and the Art of the Figure under advance contract with Chicago. He Fellow at the Frick Collection, supported which I completed during my time at the particular, my adviser David Freedberg— Heritage Destruction and Historical Erasure (Yale University Press, 2015). “What is a published “The Phantasmagoric Dispositif” by a grant from the Andrew W. Mellon Frick, focused on Van Dyck’s portrait sit- for the training that equipped me for this Today.” She presented her paper, “The Bozzetto?,” in a volume edited by Evonne in Grey Room as well as several catalogue Biopolitics of Collecting,” at Collecting and Levy and Carolina Mangone, focuses on essays for museums including MoMA and Foundation. This fellowship, subsequently tings as a form of artistic performance that opportunity. Now that I have begun my fascinated his contemporaries. Working work at the Met, I very much look forward Empires at the Scuola Lorenzo De Medici sculptors’ models, looking in particular at the Whitney, and gave invited lectures at Yale extended by a one-year appointment as on the Frick exhibition complemented to welcoming Columbia students to the and Kunsthistorisches Institut in Florence Bernini. He gave the keynote lecture for the and Rutgers. This fall Elcott launched The guest curator, gave me the opportunity my dissertation’s engagement with literary galleries. and participated in two panels at GSAPP conference Renaissance-Zeichnungen für und August Sander Project, a five-year collabo- to co-curate Van Dyck: The Anatomy sources by immersing me in the surviving on the work of modernist Iraqi architect nach Skulptur at the Bibliotheca Hertziana ration with MoMA to explore People of the of Portraiture, which was on view from physical evidence for Van Dyck’s method Rifat Chadirji. She continued work on her in Rome, and in May and June served Twentieth Century, Sander’s photographic March 2 to June 5, 2016. Working in of taking a likeness: his drawings and oil fieldwork project, Mapping Mesopotamian as directeur d’études at the École des Hautes portrait of German society. He was named Monuments. Études en Sciences Sociales in Paris, where a senior fellow at the International Research tandem with Stijn Alsteens, curator of sketches. I also developed an interest in ADAM EAKER ’16 PhD he gave lectures from his new book project Institute for Cultural Techniques and drawings and prints at the Metropolitan Van Dyck’s reception as reflected in the Assistant Curator of European Painting, frédérique baumgartner participated on Sofonisba Anguissola. This past year Media Philosophy (IKKM Weimar) for Museum of Art, I received a thorough collecting history of his portraits, which Metropolitan Museum of Art in a spring 2016 symposium organized by saw the publication of an Italian translation 2017, as well as a fellow at the Center for introduction to the making of a major the Louvre for the exhibition Hubert Robert, of the New History of Italian Renaissance Advanced Studies BildEvidenz: History and exhibition, from the initial conceptual- 1733–1808: un peintre visionnaire. She travelled Art, co-authored with Stephen J. Campbell. Aesthetics (Freie Universität Berlin) for 2018 ization and research travel through the to Paris with her daughter Joséphine, born Cole and Campbell are currently working on and 2019. negotiation of loans, production of the on October 30, 2015. She wrote a book a second edition of the book. catalogue, and installation of the show it- review and an exhibition review for The david freedberg took on the directorship self. Among my unforgettable experiences Burlington Magazine. The Italian translation of jonathan of the Warburg Institute, the first and once s 24/7 Late Capitalism and the Ends the greatest center for interdisciplinary was a visit to Genoa, where many of Van crary’ barry bergdoll’s teaching focused on the of Sleep was a finalist for the 2016 Terzani cultural history in the world. Central to his Dyck’s portraits remain in private palaces, Frank Lloyd Wright archive in Avery Library International Literary Prize. The prize is activities was the organization of a two- off-view from the public. I also participated in preparation for the 2017 Wright exhibition given annually for a work, fiction or non- and-a-half-day conference, attended by over in the conservation of the Frick’s own at MoMA. He enjoyed two short-term visit- fiction, of social and political significance. twelve hundred guests, celebrating the 150th portrait of a Genoese noblewoman, which ing positions during semester breaks, first as anniversary of the birth of Aby Warburg. He Michael Gallagher at the Met’s Department Simpson Visiting Professor at the University francesco de angelis published a book continues to chair the Academic Board of of Paintings Conservation was able to of Edinburgh, reconnecting with Richard on the mythological imagery of Etruscan the Wissenschaftskolleg in Berlin and will be restore its former glory. Anderson ’10 PhD, and later conducting an funerary urns and contributed chapters returning to Columbia in the spring to teach Van Dyck: The Anatomy of Portraiture intensive workshop at Tel Aviv University to both the Etruscan and Roman volumes and continue running Columbia’s Italian of the Wiley-Blackwell Companion. He was the largest exhibition in the Frick’s School of Architecture. He delivered the Academy for Advanced Studies in America. Haley Lecture at Princeton and was elected participated in conferences at the Getty history, bringing together over one a fellow of the Society of Architectural Villa, the Warburg Institute, and the annual hundred paintings, drawings, and prints to Installation view of Van Dyck: The Anatomy of Portraiture. Image courtesy of Michael Bodycomb, the Frick Collection.

21 20 826 SCHERMERHORN

faculty highlights

the Courtauld Institute of Art in 2004 and for one week at the Courtauld Institute of BOOK EXCERPT elizabeth w. hutchinson gave the 2015 Benjamin West Lecture at Swarthmore from Harvard University in 2011), Krauss also Art in May 2016. His article “Material Time” College, titled “Seeing Sovereignty in received the 2016 College Art Association’s appeared in Theorizing Images, ed. Žarco Paić Artificial Darkness Early Portraits of Native Americans.” She (CAA) Distinguished Lifetime Achievement and Kresimir Purgar (Newcastle on Tyne: was included in the exhibition catalogue Award for Writing on Art, whose commenda- Cambridge Scholars Publishing, 2016), and In the beginning—the biblical beginning—“the for Picturing the Americas: Landscape Painting tion identified her as “a revolutionary in criti- he is currently working on an anthology of earth was without form, and void; and darkness from Tierra del Fuego to the Arctic, which cal method and one of the most theoretically essays on art and time. In September 2016 he was upon the face of the deep.” All cosmogonies traveled from Toronto to Arkansas to Sāo engaged of American art historians.” was a guest scholar at the Getty Institute in begin in formless darkness. Creations commence Paulo, and in Picturing, the first volume of Read more on Rosalind Krauss, see pp. 8–9. Los Angeles, where he will be in residence for with the creation of light. Without form, dark- the Terra Foundation Essays exploring much of the academic year. ness was the void, the nothing, from which God the fundamental ideas and concepts that janet kraynak published “Therapeutic created ex nihilo. And yet darkness has a history have shaped American art and culture. Her Participation: On the Legacy of Bruce stephen murray returned to Columbia and a uniquely modern form. Ancients and early lectures included a presentation on twen- Nauman’s Yellow Room (Triangular) and in November 2015 after holding a fellowship moderns alike knew darkness as chaos and ab- tieth-century painter Jaune Quick-to-See Other Works” in the MIT Press anthology at the Université de Picardie, Jules sence, night and shadow, evil gods and melan- Smith in honor of a retrospective exhibition Practicable: From Participation to Interaction in Verne. He delivered talks at Pennsylvania cholic thoughts, the color or noncolor black. They at the National Museum of American Art. Contemporary Art. She completed a commis- State University and at the University of knew darkness principally as negation. Moderns sioned monographic text on contemporary Connecticut. He is busy at work on a new mobilized artificial light to conquer the dark, kellie jones was named a 2016 MacArthur holger a. klein taught Art Humanities at artist Jon Pestoni for the forthcoming Jon e-book, titled Life of a Cathedral: Notre-Dame disenchant the night, and create new media Fellow (see p. 17). She recently published Reid Hall in fall 2015 and served as Alliance Pestoni: Family Plot. She participated on the of Amiens, to be accompanied by a website and art. The dark corners untouched by artificial catalogue essays for Maren Hassinger… Visiting Professor at the Université Paris 1, Whitney Museum panel for the book Critical featuring over one thousand high-resolution light retained the qualities of ancient darkness, Dreaming, Spelman College Museum, Panthéon-Sorbonne. During the summer Landscapes: Art, Space, Politics, in which she images, panoramas, video, and animations. whatever its modern labels: gothic, sublime, Atlanta; Bruce Conner: It’s All True, San he held a visiting fellowship at the Center is a contributing author, and also moderated The project is intended to serve the teachers unconscious, uncanny. This much is well known. Francisco Museum of Modern Art; David for Advanced Studies of the Ludwig- a panel, “Performativity and Methodology,” and students of Art Humanities. He was nom- LMU Less familiar, but no less vital, is the history of artificial darkness. Modern Hammons: Five Decades, Mnuchin Gallery, Maximilians-Universität (CAS ) in at the symposium Step Into Liquid: Art and inated an honorary member of the Société artificial darkness negated the negative qualities ascribed to its timeless New York; and Betye Saar: Uneasy Dancer, Munich to complete a book manuscript on Art History in the Post-Fordist Era, held at the académique de l’Aube in recognition of his the Byzantine church of Hagia Sophia in Institute of Fine Arts, NYU. This September counterpart: divorced from nature and metaphor, highly controlled and Fondazione Prada, Milan. Her second book seminal publication, Building Troyes Cathedral. Vize, Turkey. His new book, Saints and Sacred she presented her paper “Museum as Score” circumscribed, it was a technology that fused humans and images. More with Duke University Press, South of Pico: African American Artists in Los Angeles in Matter: The Cult of Relics in Byzantium and in the eighth annual Anne d’Harnoncourt ioannis mylonopoulos gave lectures precisely, controlled artificial darkness negated space, disciplined bodies, and the 1960s and 1970s, will be published in Beyond (Harvard University Press, 2015), Symposium held at the Philadelphia Museum at the Harvard Center for Hellenic Studies suspended corporeality in favor of the production and reception of images. spring 2017. She is excited to participate co-edited with Cynthia Hahn, explores the of Art. She has also completed a busy first in Greece (Nafplio), UC Santa Barbara, In the middle of the nineteenth century, physiologists cleaved blackness in November’s “Black Portraitures III” veneration of saints and their relics in late year as the director of MODA. UCLA, the University of Pennsylvania, from darkness; inventors patented photographic darkrooms; and impresarios conference at University of Witwatersrand, antiquity and the medieval period. the University of Tübingen, and the Free extinguished the lights in their theaters. By the late nineteenth century, Johannesburg along with Columbia 2015–2016 was a momentous year for University of Brussels. He co-organized the darkness was controlled in a series of complementary sites, above all dark University colleagues Mario Gooden, Mpho matthew mckelway. The Mary Griggs international conference Money and Ritual theaters and the velvet light traps known as “black screens.” These sites for Matsipa, and Mabel Wilson from GSAPP. Burke Center for Japanese Art, his brainchild, in the Greco-Roman World at the University the production and reception of images formed circuits of darkness that will transform both the field of East Asian art of Tübingen. He was elected member of helped shape modern art, modern media, and their subjects. branden w. joseph spoke at Yale history and the department, which will be the board of the Archaeological Society University, the University of Chicago, the the center’s home. He published an article on Foundation and became member of the An excerpt from NOAM M. ELCOTT’s Artificial Darkness: An Obscure History of Modern University of Notre Dame, the University of early representations of the Kabuki theater editorial board of the Tübinger Archäologische Art and Media. Chicago: University of Chicago Press, 2016, excerpted and adapted Paris, Cambridge University, the Brandhorst in Kokka, the Japanese art history journal Forschungen. During the summer he contin- from pages 1, 4–5. Museum (Munich), the Serpentine Gallery founded in 1889. In May, McKelway and ued his excavation in Boeotian Onchestos. (London), and the LUMA Foundation Shimizu Shigeatsu, professor of architecture (Zurich). He published “A Crystal Web Image at Kyoto Institute of Technology and visiting While teaching art and architectural history meredith gamer spent the past year as a anne higonnet won the Barnard of Horror: Paul Sharits’ Early Structural and scholar at Columbia, organized a joint-field at Grinnell College, eleonora pistis postdoctoral fellow at the Institute of Sacred Tow Award for Teaching Excellence and Substructural Cinema” in Paul Sharits: A seminar on architecture and paintings in worked on her book manuscript on Nicholas Music at Yale University working on her book Innovation. She delivered a three-part lecture Retrospective, “Unclear Tendencies: Carolee situ at temples in Kyoto and Nara. He gave Hawksmoor and published two articles, manuscript, The Sheriff’s Picture Frame: Art series in the Met Speaks program; gave Schneemann’s Aesthetics of Ambiguity” lectures at the Metropolitan Museum of Art, “‘Tironibus pro exemplo’: Henry Aldrich’s and Execution in Eighteenth-Century Britain. endowed lectures at Bard and the University in Carolee Schneemann, Kinetic Painting, Seoul National University, and the University Elementa Architecturae and architectural She was appointed a fellow of the Center for of Oregon, as well as the McKee lectures in “Nose-to-Nose with a Mutant: UFO of Heidelberg, and spent much of the education at Oxford,” in the volume Traduire the Study of Material and Visual Cultures of Greenwich, CT; and presented a talk in a Photography” in Imponderable: The Archives summer researching Japanese art in Italian l’architecture, and “Nicholas Hawksmoor: Religion for its current project cycle, Material bar as part of the Raising the Bar program. of Tony Oursler, and the liner notes to the LP and German collections, exploring Rome, Creating the Image of a New Oxford,” in the Economies of Religion in the Americas: Arts, She published an introduction to a web- reissue of Tony Conrad with Faust, Outside rosalind e. krauss published Willem and hiking in the Alps. international journal Annali di Architettura. Objects, Spaces, Mediations. During the site project in Journal18, a review essay on the Dream Syndicate. With Sabine Breitwieser, de Kooning Nonstop: Cherchez la Femme During the summer she co-taught a PhD summer she participated in Making Britain Vigée Lebrun in Apollo, a review in Public he co-curated the exhibition Carolee (University of Chicago Press, 2016), in which keith moxey, who retired this year, gave seminar at Università Iuav in Venice, and Modern, held in honor of Professor David Books picked up by LitHub Daily as “the best Schneemann: Kinetic Painting for the Museum she overturns accepted histories and iden- lectures at the Periodization conference at this fall she was invited to give a talk at the Solkin at the Courtauld Institute of Art. of the literary internet,” and an op-ed on the der Moderne, Salzburg, the first large-scale tifies a tripartite template that informed de the Folger Library in Washington, DC; in department’s Collins/Kaufmann Forum for $20 bill in The Hill. museum retrospective of the pioneering Kooning’s long and varied career. After hav- Tokyo and Kyoto last December; and at Modern Architectural History. feminist artist. ing received two degrees honoris causa (from Harvard in March. He was a visiting expert 23 22 826 SCHERMERHORN faculty highlights

History and Aesthetics at the Freie Universität Emeritus Faculty Frick Interpretive Fellowship lindsay cook: “Paris Match? Architectural Museum of Modern Art, Museum Research Berlin. During the 2016–2017 academic changduk kang: “Picturing Production: Citation in the Parish Churches of the Consortium Fellowship year he will hold the Robert Sterling Clark richard brilliant completed the Plates in the Encyclopédie and the Descriptions Chapter of Notre-Dame of Paris” elizabeth gollnick: “Diffusion: The Art Visiting Professorship at Williams College. book Death: From Dust to Destiny, due out in des arts et métiers” alvaro luis lima: “Dissociations: of Light and Space in Postwar California” spring 2017. His article “Not the Art History I Liberalism and Modern Art in Mozambique” In fall 2015 z. s. strother conducted Used to Know” was published in Source, Vol. Fulbright Fellowship hwanhee suh: “Collaboration Nippon Foundation Fellowship a research trip to the 4th Biennale of 35, Fall 2015/16. He is currently working on a carrie cushman: “Temporary Ruins: and Competition: The Dynamics of xiaohan du: “On A Snowy Night: Yishan Contemporary Art in Lubumbashi new book, Antiquity and the Renaissance, and Miyamoto Ryûji’s Architectural Photography Seventeenth-Century Chinese Paintings” Yining (1247–1317) and the Development of (Democratic Republic of the Congo). This an article on the selfie. in Postmodern Japan” robert wiesenberger: “Visible Zen Calligraphy in Medieval Japan” experience served as a springboard for daria foner: “The Infant Artist: Images of Language: Muriel Cooper at MIT” co-organizing an international conference, esther pasztory gave readings from her Children in Italian Renaissance Art” Paul Mellon Centre Junior Fellowship Biennale Cultures in Africa, at Columbia in book Aliens and Fakes: Popular Theories about alex weintraub: “Swift Passages: Heinrich Schliemann Fellowship brigid von preussen: “The Antique March 2016. Her book Humor and Violence: the Origins of Ancient Americans (2015). She is Van Gogh’s Media and the Production of david schneller: “Strangers in the Shrine: Made New: Commercial Classicism in Late Seeing Europeans in Central African Art will working on a memoir, Colors of the Horizon, Modernism” Itinerant Objects in Greek Sanctuaries of the Georgian Britain” appear with Indiana University Press later and a fantasy novel, The Maya Vase, a who- Geometric and Archaic Periods” this year. done-it, time travel, ghost story romp. Georg-August University in Göttingen, Pierre and Marie-Gaetana Matisse avinoam shalem gave the Khalili Lecture Cultures of Expertise from the 12th to the Josephine de Karman Fellowship Fellowship at the School of Oriental and African Studies, michael j. waters spent the past year as 18th Centuries Research Fellowship andrea vazquez de arthur: “Portraits, matthew teti: “Terrorism in American London on “Matisse’s Cairene Tent” and the Scott Opler Research Fellow in Oxford. gabriella szalay: “Materializing the Past: Pots, or Power Objects? On the Imagery and Art, Media, and Popular Culture of the the lecture “Meyer Schapiro’s Early Travels His article on newly discovered architec- The History of Art and Natural History in Ontology of Wari Faceneck Vessels” 1970s” and the United Mediterranean” at the tural drawings after Francesco di Giorgio Germany, 1750–1800” Bibliotheca Hertziana, Rome. He co-ed- appeared in Pegasus. He presented research Kress Foundation, Kress Institutional Rudolf Wittkower Finishing Grant ited The Salerno Ivories: Objects, Histories, at the Renaissance Architecture and Theory Gladys Krieble Delmas Foundation Fellowship at Kunsthistorisches Institut sophia d’addio: “Painted Organ Shutters Contexts with Francesca Dell’Acqua, Anthony Scholars Annual Meeting, the Renaissance Fellowship in Florenz in Renaissance Italy” Cutler, Herbert L. Kessler, and Gerhard Society of America Annual Meeting, and at roberto pesenti: “Gothic Encounters: rachel boyd: “Specialization and Wolf (Berlin, Reimer Publishing, 2016), to the conference Placing Prints at the Courtauld Artistic Interaction between Venice and Experimentation: The Technology of the Yale Center for British Art Visiting Scholar which he also contributed the epilogue, Institute of Art. He delivered lectures at the France in the Late Middle Ages” Della Robbia Workshop, ca. 1430–1550” Fellowship and published “The Poetics of Portability” Ashmolean Museum, University of Oxford, brigid von preussen: “The Antique in Histories of Ornament: From Global to and University of York. In February 2016 he GSAS-CU International Travel Fellowship Kress/Meadows/Prado Curatorial Made New: Commercial Classicism in Late Local (Princeton University Press, 2016). was elected to the Society of Fellows Council margot bernstein: “Carmontelle’s Fellowship Georgian Britain” He was awarded fellowships at the German of the American Academy in Rome. Facebook: Portraiture, Persona, and julia vazquez: “The Artist as Curator: Archaeological Institute in Rome and at the Permeability in Eighteenth-Century France” Diego Velázquez, 1623–1660” Center for Advanced Studies BildEvidenz: raymond carlson: “Michelangelo: Art other predoctoral and Literary Culture in Sixteenth-Century Luce/ACLS American Art Fellowship fellowships Italy” gillian young: “Electric Theater: Joan carrie cushman: “Temporary Ruins: Jonas and the Emergence of Performance Miyamoto Ryûji’s Architectural Photography Art in the 1970s” Museum of Modern Art, Contemporary in Postmodern Japan” and Modern Art Perspectives Fellowship Bibliotheca Hertziana, Max Planck C.V. Starr Fellowship yasmine espert: “Epicenters of Medici Archive Project, Eugene Grant rattanamol johal Predoctoral Fellowship “Kangra Folios dissertation gale berninghausen: Transnational Media” Research Program on Jewish History clare kobasa: “Printmaking in Sicily, in Fresco Secco: Wall Paintings in Royal sofia gans: “Between Tradition and and Culture in Early Modern Europe fellowship awards 1624–1685” Temples and Audience Halls, Eighteenth to Innovation: Rethinking the Tomb of St. Fellowship summer the Nineteenth Centuries” for 2016–2017 Sebald in Nuremberg” lorenzo vigotti: “The Origin of the fellowships Center for Advanced Study in the Visual matthew peebles: “Act as Attribute: The natasha llorens: “Imagining Violence, Renaissance Palace: Private Architecture Arts, 24-Month Chester Dale Predoctoral Attacking Body in Ancient Greek Art” Imagining the Nation: Algerian National during the Florentine Oligarchy, 1382–1432” Fellowship Cinema between 1965 and 1979” Cathedral Fund Summer Fellowship Ary Stillman Departmental Dissertation catherine damman: “Unreliable C.V. Starr Finishing Grant The Metropolitan Museum of Art, susannah blair Fellowship Narrators: Laurie Anderson, Julia Heyward, lucas cohen: “Port of Flanders” GSAS Research Excellence Dissertation Theodore Rousseau Fellowship vivian crockett: “ ‘The Skin of All’: The and Jill Kroesen Perform the 1970s” nomaduma masilela: “Set Setal’s Fellowship rozemarijn landsman: “Ar t, Dr. Lee MacCormick Edwards Doctoral Racial Politics of an Anthropophagic Return Imaginaire: Intervention in Public Space, sonia coman: “New Values in Art: Technology, and the City: The Work of Summer Fellowships in Hélio Oiticica and Lygia Pape” Center for Advanced Study in the Visual Historiography, and Conceptualism” Japanese and Japoniste Ceramics, Jan van der Heyden (1637–1712)” caitlin beach, margot bernstein, Arts, Wyeth Predoctoral Fellowship maggie mustard: “Atlas Novus: Kawada 1866–1904” yasmine espert, daniel ralston, Asher Family Fellowship caitlin beach: “Sculpture, Slavery, and Kikuji, The Map, and Postwar Japanese emily cook: “Legacies of Matter: Morgan Library & Museum, Samuel H. alex weintraub arathi menon: “Kerala Hipped and Commodity in the Nineteenth-Century Photography” Tradition, Innovation, and Re-mediation in Kress Predoctoral Fellowship Gabled: An Atypical Sacred Style” Atlantic World” leah pires: “Finesse: Louise Lawler in the Materials of Roman Ideal Sculpture” robert fucci: “Jan van de Velde II (c. Collaboration, 1978–1984” 1593–1641): The Printmaker as Creative Artist in the Early Dutch Republic”

25 24 826 SCHERMERHORN alumni news

subhashini kaligotla: “Shiva’s taryn marie zarrillo: “Artistic anthony alofsin ’87 PhD was named Since 2006 adrianne bratis ’05 MA will be expanding to a 3,000-square-foot 2015–2016 ma fellowships Waterfront Temples: Reimagining the Patrimony and Cultural Politics in Early Wilder Green Fellow for 2015–2016 at the has curated a private contemporary art storefront in the flower district this year. Sacred Architecture of India’s Deccan Seicentoundergraduate Venice” (David Rosand, Diane MacDowell Colony. His book Ingenious collection, now the subject of Embracing the Region” (Vidya Dehejia) Bodart)awards and prizes Giant: Frank Lloyd Wright in New York will Contemporary: The Keith L. and Katherine ariel paige cohen ’16 MA was admitted Caleb Smith Memorial Fellowship for MA receive publication from Oxford University Sachs Collection at the Philadelphia Museum to the History PhD program at the Students sandrine larrive-bass: “Embodied Press in 2017. of Art. She contributed five essays to the University of Virginia and spoke at the sarah diver Materials: The Emergence of Figural Meyer Schapiro Book Prize For Excellence exhibition catalogue. Association of Israel Studies conference in Imagery in Prehistoric China” (Robert E. In Art History (Awarded To Senior Thesis eric anderson ’09 PhD was named June on her MA thesis. Harrist, Jr.) Writers) Fulbright-Freud Visiting Scholar of molly brunson ’00 BA published Russian 2015–2016 megan baker: “Peinte par elle-même: the Psychoanalysis. He will spend the spring Realisms: Literature and Painting, 1840–1890 alessandra comini ’69 PhD published dissertations risham majeed: “Primitive before Digital Reassertion of Female Artistic Style term at the Sigmund Freud Museum in (Northern Illinois University Press, 2016). her fourth art history murder mystery, The Primitivism: Medieval and African Art in in Eighteenth-Century France” (Sponsor: Vienna. Munch Murders, in January and a new edition defended the 19th Century” (Stephen Murray) Anne Higonnet) bettina sulser bryant ’96 BA acquired of In Passionate Pursuit: A Memoir in July. eyvana bengochea: “From Stalin to the julia a. assante ’00 PhD published “Men the Palma il Vecchio painting, “A Shepherd She attended her Barnard College sixtieth emily beeny: “Poussin, Ballet, and andrew manson: “Rationalism and Surrealists: Connecting Exhibition Practice Looking at Men: The Homoerotics of Power and Two Women,” featured in the exhibition reunion in June. the Birth of French Classicism” (David Ruins in Roma Mussoliniana: The 1934 Between the Wars in France and Germany” in the State Arts of Assyria” in Being a Man: In Light of Venice: Venetian Paintings in Honor Freedberg) Palazzo del Littorio Competition” (Mary (Sponsor: John Rajchman) Negotiating Ancient Constructs of Masculinity of David Rosand. A portion of the purchase katelyn crawford ’06 BA curated an McLeod) sean delanty: “On UFO Photography” (Routledge, 2016). will benefit the David Rosand Tribute Fund exhibition on American watercolor at the colby chamberlain: “George Maciunas (Sponsor: Branden W. Joseph) at Columbia University. Nelson-Atkins Museum of Art. She will and the Art of Paperwork” (Branden W. rory o’neill: “Gothic on the Edge: jacob gagne: “Meat Monumentalized: The catalogue forstephanie barron’s complete her PhD at the University of Joseph) Light, Leviation and Seismic Culture the Slaughterhouses of Francisco Salamone” ’74 MA LACMA exhibition New Objectivity: victoria camblin ’06 BA was awarded Virginia in the fall. on the Evolution of Medieval Religious (Sponsor: Barry Bergdoll) Modern German Art in the Weimar Republic a writing fellowship by the Rauschenberg christina charuhas: “The Disobedient Architecture of the Eastern Mediterranean” eleanor goerss: “Fragmented Temple 1919–1933 won the CAA Alfred H. Barr Jr. Foundation. She co-curated the 2016 sabina de cavi ’07 PhD edited the Isle: Bermudian Aesthetic and Material (Stephen Murray) & Maiden Intact: The Art of Sanctuary and Award and first prize from the Art Museum relaunch of the Atlanta Biennial. volumes Giacomo Amato (1643–1732): Culture in the British Atlantic, 1609–1753” Sermon Book in the Seventeenth-Century Curators Association. Catalogo dei disegni a Palazzo Abatellis. (Elizabeth W. Hutchinson) stephanie o’rourke: “Bodies of Amsterdam Begijnhof” (Sponsor: Diane allison caplan ’11 BA completed a Architettura e decorazione nella Sicilia Barocca Knowledge: Fuseli and Girodet at the Turn Bodart) louise stewart beck ’11 BA accepted graduate research internship at the Getty dal progetto alle manifatture (De Luca Editori heather clydesdale: “The Jiuquan of the Nineteenth Century” (Jonathan kolleen ku: “Figuring Sensation: Kazimir a conservator position at the Henry Ford and was a contributing author for the d’Arte, 2016) and Dibujo y Ornamento: Tombs: Reordering Art and Ideas on China’s Crary) Malevich’s Late Figurative Paintings Museum on an IMLS-funded project Met-Getty exhibitionGolden Kingdoms: Trazas y dibujos de artes decorativas entre Frontier” (Robert E. Harrist, Jr.) (1926–1935)” (Sponsor: John Rajchman) focusing on early electrical objects. Luxury and Legacy in the Ancient Americas. Portugal, España, Italia, Malta y Grecia (De giulia paoletti: “Un Nouveau Besoin: aidan mehigan: “Toward a Benedictine In September she began a two-year CASVA Luca Editori d’Arte, 2015). jessamyn conrad: “The Meanings of Photography and Portraiture in Senegal Architecture: The Campus of Portsmouth colleen becker ’08 PhD founded the low- Ittleson Fellowship with the National Duccio’s Maesta: Architecture, Painting, (1860-1960)” (Z. S. Strother) Abbey, 1952–present” (Sponsor: Barry carbon biotechnology company Sampson. Gallery of Art. marie-stephanie delamaire ’13 PhD Politics and the Construction of Narrative Bergdoll) She was nominated for the C3E Award was named associate curator of fine arts at Time in the Trecento Altarpieces for Siena aaron rio: “Ink Painting in Medieval kady pu: “Taming the Bull: Bull-Leaping in the Entrepreneurship category and in lynn catterson ’02 PhD was appointed Winterthur Museum, Garden and Library. Cathedral” (Holger A. Klein) Kamakura” (Matthew McKelway) in the Ancient Mediterranean” (Sponsor: August her company was awarded a grant to the board of the International Art Market Her forthcoming exhibition, Lasting Ioannis Mylonopoulos) for prototyping through Climate-KIC. Studies Association. She gave talks in Impressions: the Artists of Currier & Ives, adam eaker: “Lore of the Studio: Van andrew sawyer: “Frame Work: The sofia silva: “Guillermo Kuitca’s Produced London, Oxford, New York City, Florence, explores the career of Frances Bond Palmer. Dyck, Rubens, and the Status of Portraiture” Contexts of Walker Evans” (Elizabeth Space in the Age of Globalization” (Sponsor: adrienne baxter bell ’05 PhD published Heidelberg, Munich, and Ghent. Two (David Freedberg) Hutchinson) Kellie Jones) an essay in Locating American Art: Finding articles and an edited volume, The Art of the sonja drimmer ’11 PhD gave lectures Art’s Meaning in Museums, Colonial Period to Deal: Dealers and the Global Art Market from at her alma maters Brown University and frank feltens: “Ogata Kōrin (1658–1716) alexandra tunstall: “Woven Paintings, Senior Thesis Prize the Present (Ashgate, 2016). She presented 1860 to 1940, are forthcoming. Columbia. She published two articles and and the Possibilities of Painting in Early Woven Writing: Intermediality in Kesi Silk eleanor goerss papers at CAA in 2015 and at a Museo Correr spent time at the Houghton Library and Modern Japan” (Matthew McKelway) Tapestries in the Ming (1368–1644) and conference in 2016. elizabeth childs ’89 PhD gave talks the Beinecke Library as a Mellon Fellow Qing (1644–1912) Dynasties” (Robert E. Summer Thesis Travel Grants on Gauguin at the Phillips Collection, in Critical Bibliography. She received a huffa frobes-cross: “Various Harrist, Jr.) benjamin davidoff, CC ’17 for research annette blaugrund ’87 PhD curated Middlebury College, CAA, and the Yale research grant from the British Academy. Representational Tasks: Art and Activism on the architecture of ancient synagogues in Thomas Cole: The Artist as Architect for University Art Gallery. She published an in the Early Work of Martha Roster, Allan taryn marie zarillo: “Artistic Patrimony Israel, Turkey, and Italy. the Thomas Cole National Historic Site essay in the catalogue for Mata Hoata: mary d. edwards ’86 PhD presented Sekula and Fred Lonidier, 1967–1976” and Culutral Politics in Early Seicento geon woo lee, CC ’17 for research on and co-authored the accompanying book Arts et société aux îles Marquises at the a paper on Raphael’s “Madonna of the (Branden W. Joseph) Venice” (David Rosand and Diane Bodart) modern architect Kim Swoo Geun in Korea. (Monacelli Press, 2016). The exhibition Musee de Quai Branly. She was awarded an Goldfinch” at Villanova last fall. She teaches elizabeth monroe, CC ’17 for research will travel to Ohio in November. Outstanding Faculty Mentor Award from at Pratt Institute, where she offered a lecture jennifer e. jones: “A Discourse on on contemporary artist Mark Bradford in the Graduate Student Senate at Washington on Native American art and architecture and Drawings: Amateurs and Connoisseurs New Orleans. phyllis braff ’81 MPhil authored an essay University. a seminar on pictorial narrative. and the Graphic Arts in Early Eighteenth- isabella rosner, CC ’17 for research on for the Philip Pavia, Drawings and Sculpture Century Paris” (Richard Brilliant) nineteenth-century needlework in England catalogue and presented “Pavia as Editor, ClampArt, a gallery opened by brian paul theodore feder ’75 PhD continues and Massachusetts. ‘It is,’ and Mid-Century Sculpture” in the clamp ’00 MA specializing in photography to head Artists Rights Society and Art Lichtenstein Lecture Series. and modern and contemporary works, Resource, both of which he founded. He

27 26 826 SCHERMERHORN alumni news

published works on James Joyce, Günter claudia goldstein ’03 PhD wrote a juliet koss ’90 BA was a visiting scholar at In 2015 olivia powell ’12 PhD returned Medieval Books (Yale University Press) and mary b. shepard ’90 PhD co-authored Grass, Marcel Proust, and artists’ copyrights. festschrift in honor of David Freedberg the Harriman Institute in 2015 and a visiting to Columbia as the associate director of four articles. “Sufference fait ease en tempe: Word as Image In April the French government awarded and a chapter in Bloomsbury’s A Cultural fellow at the Sterling and Francine Clark Art development initiatives. She continues to at St Michael-le-Belfrey, York” in Word & him the title Chevalier de l’Ordre des Arts et History of Furniture. She will contribute a Institute in 2016. teach Art Humanities and publish in the field roko rumora ’14 BA joined the Brooklyn Image, 32, no. 2 (2016). des Lettres. catalogue essay to the Kunsthistorisches of museum education. In fall 2017 she will Museum’s digital initiatives team as lead Museum’s 2019 Bruegel retrospective and cornelia lauf ’92 PhD honed an ancient co-edit a special edition of the Journal of audience engagement associate for European ellen shortell ’99 PhD attended the christina ferando ’11 PhD was was interviewed for a BBC documentary craft: her Gold Award-winning Italian olive oil. Museum Education. art, guiding visitors via the award-winning twenty-eighth international colloquium of the appointed dean of Jonathan Edwards College on Bruegel’s “Harvesters.” “Ask Brooklyn Museum” app. Corpus Vitrearum in Troyes where she was at Yale University, beginning fall 2016. jennifer lee ’14 BA accepted a role on the catherine roach ’09 PhD published elected to a four-year term as vice president michiko simanjuntak grasso ’97 BA CFO’s team at SpaceX. Pictures-within-Pictures in Nineteenth-Century nicole rumore ’13 BA joined Prentice on the international board. carmen ferreyra ’14 MA founded joined Cooper Hewitt, Smithsonian Design Britain (Ashgate, 2016). Cultural Communications as account the Curatorial Program for Research, a Museum as director of membership and ian marshall ’14 BA was appointed manager. zachary small ’15 BA published articles nonprofit organization promoting art scenes individual giving. curatorial director of Uprise Art. c. brian rose ’87 PhD, James B. Pritchard in Hyperallergic, BOMB Magazine, and The in emerging cities, which produced three Professor of Mediterranean Archaeology tina rivers ryan ’16 PhD joined the Met’s New Inquiry. In February he was dramaturg residency programs across Europe and barbara guggenheim ’76 PhD stephanie nass ’13 BA graduated culinary at the University of Pennsylvania and Department of Modern and Contemporary for the Mabou Mines production, Imagining South America and awarded scholarships published Art World: The New Rules of the school at ICC. She founded Victory Club, Peter C. Ferry Curator-in-Charge of the Art as a curatorial assistant. She is working the Imaginary Invalid. His first playVANITAS to 26 curators this year. Game (Marmont Lane, 2016). a roving supper club that hosts meals in art Mediterranean Section of the Penn Museum, on two shows at the Met Breuer for 2017: received a mainstage workshop at Dixon spaces, and launched a line of edible textiles received the Archaeological Institute of the first American museum retrospective Place in November. david fierman ’05 BA opened the gallery thomas v. hartman ’96 MA received called “Chefanie Sheets.” America’s Gold Medal for Distinguished of Lygia Pape, and the survey Delirious: FIERMAN, which features the work of the Distinguished Teaching at the Graduate Archaeological Achievement. His book, Modernism Beyond Reason, 1950–1980. Recent Reelected counselor of the Renaissance Columbia graduates nora griff in ’12 MFA Level award at Rosemont College, where he sasha nicholas ’04 MA advanced to The Archaeology of Greek and Roman Troy publications include an interview in the Society of America (2016–19), jeffrey and julia phillips ’15 MFA. teaches in the graduate publishing program. candidacy at the CUNY Graduate Center (Cambridge University Press, 2014), Walker Art Center’s catalogue, a research chipps smith ’79 PhD taught the fortieth and served as consulting curator for synthesizes the results of his last 25 years module for the Tate, and articles for Artforum, international summer course at Herzog andrew finegold ’12 PhD joined the john hobson ’13 BA completed his MA at Human Interest: Portraits from the Whitney’s of excavations at Troy. Art in America, Even, and Document. August Bibliothek in Wolfenbüttel, “Art, faculty of the University of Illinois, Chicago George Washington University. He recently Collection. Reformation, and the Cult of Martin Luther.” as assistant professor of art history. He joined the National Gallery of Art as a staff zac t. rose ’05 BA completed his PhD in tomoko sakomura ’07 PhD published co-edited the forthcoming volume Visual assistant in the Office of the Congressional lawrence w. nichols ’90 PhD History of Art at the University of Cambridge Poetry as Image: The Visual Culture of Waka in francesco spampinato ’06 MA published Culture of the Ancient Americas: Contemporary Liaison. published a monograph on the paintings and joined the Asian Art Museum of San Sixteenth-Century Japan (Brill, 2016). Can You Hear Me? Music Labels by Visual Perspectives (University of Oklahoma Press) of Hendrick Goltzius and reviewed the Francisco as manager of communications. Artists (Onomatopee, 2015) to accompany the with ellen hoobler ’11 PhD, which peter holliday ’75 BA published American Joachim Wtewael retrospective for The donald sanders’ ’84 PhD company exhibition at Onomatopee, Eindhoven, later collects scholarly papers in honor of esther Arcadia: California and the Classical Tradition Burlington Magazine. As senior curator at donald rosenthal ’78 PhD published Learning Sites received NSF grants to develop restaged at Printed Matter in 2016. pasztory ’71 PhD. (Oxford University Press, 2016), which the Toledo Museum of Art he acquired Luca an expanded version of “Aubrey Beardsley’s a smartphone app for automatic translations explores how Californians shaped their Giordano’s Liberation of St. Peter, Antoice Drawings of Tristan und Isolde” in Leitmotive of Mesopotamian cuneiform and Egyptian jenny moussa spring ’01 BA joined the alix finkelstein ’09 MA writes for the world using the influences of classical Berjon’s Still Life with Grapes, Chestnuts, and spoke on the drawings at a symposium hieratic scripts. He was keynote speaker at publishing team at Pixar Animation Studios, communications and marketing department of Greece and Rome. Melons, and a Marble Cube, Charles-François organized by the New York Wagner Society. the City of David archaeology conference where she works with Chronicle Books on Cooper Hewitt, Smithsonian Design Museum. Daubigny’s Auvers, Landscape with Plough, and received the Tartessos Prize for lifetime the Art of . . . book series. michael a. jacobsen ’76 PhD continues and Laurits Andersen Ring’s Rocks in a Field. lucille a. roussin ’84 PhD represents achievement in virtual archaeology. With Linda Hulin of the Center for to publish on ’50s road racing, most recently families whose art was looted by the Nazis, sarah stein-sapir ’08 BA is the director Maritime Archaeology, Oxford, senta on the Santa Barbara races of 1953 in Vintage kate nearpass ogden ’92 PhD published combining her art history and law careers. She johanna seasonwein ’10 PhD was of Pelham Holdings and heads her own art german ’99 PhD received a $12,000 grant Racecar Journal. Yosemite (Reaktion Books, 2016), a cultural teaches at the Benjamin N. Cardozo School selected for the Association of Art Museum advisory company, Stein-Sapir Art, through from the Honor Frost Foundation for the history of the spectacular scenic location. of Law and in the ArtMarket, a graduate Curators’ mentorship program for 2016–17. which she acquired art for a number of project “Down from the Sea: Mariners’ Lives jacqueline jung ’02 PhD received tenure program at FIT/SUNY. This year she gave a She is organizing an exhibition of Indigenous major developments in Manhattan and the Onshore in the Late Bronze Age Eastern and was promoted to associate professor alexandra onuf ’06 PhD received tenure lecture on the mosaic from Lod, Israel and contemporary women artists for 2019. surrounding area. Mediterranean.” and director of graduate studies for the and was promoted to associate professor of published an article on the Madaba Map. History of Art Department at Yale. Her art history at the University of Hartford. phoebe segal ’07 PhD was promoted to tatiana suridis ’15 BA was promoted to alma gharib ’09 MA studies stress and book, Eloquent Bodies: Movement, Expression, paige rozanski ’08 MA will see the debut Mary Bryce Comstock Curator of Greek sales assistant to the senior partner at the resiliency in infants and visual behavior in and the Human Figure in Gothic Sculpture, is esther pasztory ’71 PhD (see Faculty of three exhibitions she helped curate for and Roman Art at the Museum of Fine Arts, David Zwirner Gallery. neurological disorders as a postdoctoral under contract with Yale University Press. Highlights, pp. 21–24). the National Gallery of Art: In Full Swing: Boston. She collaborated on exhibitions and scholar in the Viterbi School of Engineering She presented papers in Basel, Paris, Warsaw, Stuart Davis, In the Tower: Barbara Kruger, gallery reinstallations and made acquisitions The Delaware Art Museum appointedsam at USC. She completed her PhD at Caltech Philadelphia, Toronto, and Washington, DC. richard a. pegg ’01 PhD is special and Los Angeles to New York: Dwan Gallery, of ancient coins. sweet ’77 BA executive director and chief in spring 2015. exhibition curator for The Shogun’s World: 1959–1971. She authored an exhibition history executive officer, effective July 1, 2016. john klein ’90 PhD will publish The Japanese Maps of the Eighteenth and Nineteenth for the Dwan Gallery catalogue. david shapiro ’01 BA was a contributing amy golahny ’84 PhD reviewed Robert Essential Quality of Art: Matisse’s Late Centuries at the Art Institute of Chicago. He author for “Appraising Art in the Realm jamie shi ’13 MA reconnected with fellow Fucci’s Rembrandt’s Changing Impressions, Decorations with Yale University Press published articles on Japanese map plates and kathryn m. rudy ’01 PhD was on research of Fraud: The Luke Brugnara Case” in the MODA graduate leigh tanner ’14 MA a fall 2015 exhibition at the Wallach Art in 2017. the Chinese world map of 1858. leave as a Getty Scholar and as a Wanley Fellow Journal of Advanced Appraisal Studies (2016). while working on the Shanghai Project, an Gallery, for The Burlington Magazine. at the Bodleian Library. In 2015 she published interdisciplinary ideas platform launched this Postcards on Parchment: The Social Lives of fall. The pair look forward to an exciting year

29 28 826 SCHERMERHORN alumni news With Thanks

The strength and renown of Columbia’s Department of Art History and Archaeology derive not only from the expertise and of programming, exhibitions, workshops, contemporary Hungarian photography barbara ehrlich white ’65 PhD will and screenings. which ran from May through July as part of publish Renoir: An Intimate Biography with dedication of the faculty, but also from alumni and friends who carry forward the intellectual mission of the department the Modernity X Hungary festival. Thames & Hudson in 2018. and who provide financial support for professorships, fellowships, symposia, and an array of programs and projects that erin thompson ’10 PhD gave a talk at enhance our core offerings. Columbia to mark the release of Possession: alan wallach ’73 PhD co-edited veronica maria white ’09 PhD The Curious History of Private Collectors from Transatlantic Romanticism, British and became curator of academic programs at patrons Antiquity to the Present (Yale University American Art and Literature, 1790–1860 the Princeton University Art Museum. Morton C. Abromson and Joan L. Nissman • Marco and Francesca Assetto • Mary Livingston Griggs and Mary Griggs Burke Press, 2016). She co-curated an exhibit at (University of Massachusetts Press, 2015) Foundation • Angelos Chaniotis • Chrest Foundation • Dr. Lee MacCormick Edwards Charitable Foundation • Carole T. John Jay on artists’ and scholars’ creative and organized “The Hudson River School carol wiseman ’72 MA co-authored and John G. Finley • Mary and Howard Frank • J. Paul Getty Trust • Institute for Studies on Latin American Art (ISLAA) • Otto reactions to the destruction of cultural Reconsidered,” a two-part session at CAA. The United Nations at 70: Restoration and Naumann, Ltd., New York, NY • Estate of Ellen C. Oppler • Ellen Rosand • Sarah and Eric Rosand • The Morris and Alma Schapiro property. He will join Panorama as an executive Renewal (Rizzoli, 2015) with Martti Ahtisaari, editor in 2017, in which his “bully pulpit” former president of Finland and winner of the Fund • Lauren and Steven Schwartz • Robert Simon Fine Art, Inc. • Kyriakos Tsakopolous • Caroline A. Wamsler and DeWayne N. lee ullmann ’10 PhD co-edited a book on commentary on connoisseurship also 2008 Nobel Peace Prize. She is working on a Phillips • John C. Weber Hittite landscape and geography which has appeared last fall. book about Louis Kahn to be published by the been accepted by Brill for publication. University of Virginia Press. benefactors virginia-lee webb ’96 PhD published Joan D. Baekeland • Armand Bartos, Jr. • Barbara C. Buenger • Byzantine Studies Conference • Catherine and Steven gary van wyk ’95 PhD curated two Embodied Spirits: Gope Boards from the Carlson • Hester Diamond • Georgia Riley de Havenon and Michael H. de Havenon • Jeffrey Hoffeld • Carol F. Lewine • Charles exhibitions combining modern and Papuan Gulf (5 Continents Editions, 2016), R.H. Miers • Osage Investments, Inc.• Melinda L. Parry • Jonathan M. Rosand and Judy L. Polacheck • Emily J. Sano • Carl the first book devoted exclusively to the Brandon Strehlke • Nicholas Fox Weber • Mark S. Weil • Jonathan Weiss and Abigail Wolf • Gregory A. Wyatt • Koichi Yanagi study of these ritual objects. sponsors Lucy A. Adams • Cynthia Bronson Altman • Annette and Stanley M. Blaugrund • Heather D. Colburn Clydesdale • Joseph Connors • Sharon Flescher • Ellen Berland Gibbs • Adelaide Bennett Hagens • Peter Jay Holliday • Frederick Ilchman • Carol Lorenz • Priscilla H. Otani and Michael T. Yochum • Doralynn Pines • James Maxwell Saslow • Nancy P. Sevcenko • Joseph Solodow • Allen Staley • Weston W. Thorn • Gertrude Wilmers • Hon Chung Woo Columbia Art History and Archaeology Advisory Council Support the Department of Art History and Archaeology sustainers and give online Philip E. Aarons, Esq. Frederick David Hill Louise Riggio Sarah Ahmann and Doug Kligman • Pauline Albenda • Eloise M. Angiola • Lilian A. Armstrong • Maria Morris Hambourg Barlow • Armand Bartos, Jr. Jeffrey M. Hoffeld Jonathan Rosand Richard J. Benenson • Babette Bohn • David J. D. Cast • Petra T. D. Chu • Maria Conelli and Kim J. Hartswick • Jonathan Crary The department greatly appreci- Frances Beatty Frederick Ilchman Terez Rowley • Ilene H. Forsyth • Grace A. and Monroe M. Gliedman • Stacy C. Goodman • Dean H. Goossen • Maeve C. and Andrew Gyenes • Annette Blaugrund Steve Kossak Steven and Lauren Schwartz ates the commitment and loyalty of its alumni and friends. As Andree Hayum • Dimitri and Marlene Hazzikostas • James A. Hoekema • Michael Jacoff • Stanley Jernow • Caroline Anne King • Nelson Blitz, Jr. and Carol F. Lewine Bernard T. and Lisa Selz a demonstration of this support, Timothy Brian King • Michael J. Knight • Alla and Jaroslaw Leshko • Carla G. Lord • Catherine Lucia • Maxine S. Maisels • Catherine Woodard Glenn D. Lowry Robert B. Simon please consider making a tax Jonathan R. and Philippa Feigen Malkin • John C. Markowitz • Courtenay C. McGowen • Voichita Munteanu • Lucy A. Oakley • Jean Magnano Bollinger Mary A. Lublin Leopold and Jane Swergold deductible donation at the Judith H. Oliver • Gary G. and Mary Ann Otsuji • Richard A. Pegg • George Nelson Preston • David Micah Rifkind • Terry H. Fiona Donovan Philippa Feigen Malkin Dale C. Turza department's secure web Robinson • Patricia Joan Sarro • Ann Seibert • Kathryn Lee Seidel • Shelley Elizabeth Smith • Frank R. and Emilie E. Stamer Theodore Feder Philippe de Montebello Caroline A. Wamsler donation portal: Foundation • Louisa R. Stark • Howard M. Stoner • Leslie Tait • Bor-Hua Wang • Masako Watanabe • Barbara E. and Leon S. Sharon Flescher Amy D. Newman Mark S. Weil White • Irene J. Winter • Susan E. Wood and Barney J. Bauer Kate Ganz Doralynn Pines H. Barbara Weinberg https://giving.columbia.edu/ Marian Goodman Amy Greenberg Poster Gertrude Wilmers giveonline/?schoolstyle=321 supporters Michael and Georgia Rosemary F. Argent • Trenton Barnes • Robert Bischoff • Susan L. Braunstein • Nancy Acheson Houghton Brown • David C. de Havenon Thank you for choosing to Christman and Mary B. Wakeford • Christiane C. Collins • Elizabeth and Constancio Del Alamo • Hillary Ann DeMarchena • Mary give to the Department of Art Douglas Edwards • Henry and Barbara A. Fields • Nora C. Fisher• Aphrodite Flefleh • Meredith Ellen Fluke • Raymond Andrew History and Archaeology. Foery • William Geo Foulks • Chelsea Foxwell • Trudie A. Grace • David and Ruth Green • Piri Halasz • Doris A. Hamburg and Gerald S. Garfinkel • Alison L. Hilton • Joyce Houston • Lewis C. Kachur • Michael E. Klein • Ruth Kozodoy • Jane Kristof• Jonathan Kuhn • Jack Henry Kunin • Dana Lee Liljegren • Kenneth W. and Janet M. Maddox • Nina A. Mallory • Sharon C. Matthews • Helen Meltzer-Krim • David J. Menke • Jánszky Michaelsen • Phillip J. Nelson • Michael Ede Newmark and Carolyn W. Newmark • James H. North and Louise V. North • Andrea Herbst Paul and Jacques M. A. Paul • Jerome J. Pollitt • Elisabeth Rochau-Shalem, MANAGING EDITOR Megha Ralapati and Adam Waytz • Helen A. Raye • Donald M. Reynolds • Anna C. Roosevelt • Ronald R. Rosenblatt • Donald A. Emily Benjamin, COPY EDITOR; ALUMNI INFORMATION Rosenthal • Marie L. Schmitz • John F. Scott • Gwendolyn Sinclair • Jeffrey and Sandra Smith Romaine Somerville • Damie and Gabriel Rodriguez, PHOTO EDITOR Diane B. Stillman • Dalina Sumner • Virginia Bush Suttman • Deborah L. Thompson • Samantha Warren • Judith Glatzer Chris Newsome, FELLOWSHIP INFORMATION Wechsler • Anne Weinshenker • Irene L. Wisoff • Georgia S. Wright • Thomas William Yanni Faith Batidzirai and Sonia Sorrentini, PRODUCTION MANAGEMENT Emily Ann Gabor, EDITORIAL ADVISOR Contributions provided funding for individual and group study and research; conferences, symposia, and lectures; projects by the Media Center for Art Linda Florio, Florio Design, DESIGN History; and various other department initiatives. This list reflects gifts received between July 1, 2015 and June 30, 2016. We regret any errors or omissions.

31 30 826 SCHERMERHORN