826 schermerhorn COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2019 Dear students, colleagues, and friends, The last academic year was a particularly exciting one for the department. Zeynep Çelik Alexander’s book Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design won the College Art Association’s 2019 Charles Rufus Morey Book Award, a distinction given to just a single author across all fields of art history. Branden Joseph spent the year on leave as a Guggenheim Fellow and as the Paul Mellon Visiting Senior Fellow at CASVA, and Michael Waters was a fellow at Harvard’s Center for Italian Renaissance Studies in Florence. One exciting development that will benefit our faculty and students is the inauguration of a new fellowship program at Columbia’s growing Center for Study in Venice at Casa Muraro, currently directed by Holger Klein. Renovations of the house itself are making great headway. This past year, our faculty hosted a number of remarkable conferences. Here on campus, Meredith Gamer and Eleonora Pistis collaborated in organizing an event on British art and architecture, and a conference organized by Elizabeth Hutchinson on the ways that Native North Americans engage with cultural heritage at American museums packed the house at the Italian Academy. In Pictured from left to right: Avinoam Paris, Zoë Strother co-organized an important symposium on the persistence of the idea Shalem, Stefaan Van Liefferinge, Zeynep Çelik Alexander, Holger of “Primitivism” through much of the twentieth century. A. Klein, Gregory Bryda, Matthew Our close interaction with museums and the engagement of our students and faculty McKelway, Michael J. Waters, Elizabeth Hutchinson, Branden in curatorial projects has long been a distinction of the department, and this year was no W. Joseph, Meredith Gamer, Janet Kraynak, Jonathan Reynolds, Kellie exception. Matthew McKelway curated a major exhibition on the painter Nagasawa Rosetsu Jones, Ioannis Mylonopoulos, at the Museum Rietberg in Switzerland. Barry Bergdoll invited contemporary architects Alexander Alberro, Michael Cole. to exhibit projects at Olana. One of our MODA students curated a monographic show on Full-time faculty not pictured: Zainab Bahrani, Frédérique Alice Creischer, and the students in our MA program mounted an exhibition at Avery Library Baumgartner, Barry Bergdoll, around Clodion and Clodion forgeries that should still be on view when you receive this Diane Bodart, Jonathan Crary, Francesco de Angelis, Vidya magazine. We hope you will come to see that, as well as the exhibition our student Natasha Rosetsu: Ferocious Brush by the Agency for Cultural Affairs of the Dehejia, Rosalyn Deutsche, September 6–November 4, 2018 Government of Japan, the exhibit drew Noam M. Elcott, David Freedberg, Marie Llorens curated on Algerian contemporary art, which is on view until March 15 at the from collections in Japan, Europe, and the Anne Higonnet, Rosalind Krauss, Wallach Art Gallery. Eleonora Pistis, Simon Schama, The first retrospective exhibition of United States. Most notably, it included Z. S. Strother, Lisa Trever. Nagasawa Rosetsu’s painting outside a full-scale reconstruction of the interior Wishing you all a happy holiday season, Japan was held last fall at the Museum of the Main Hall (Hondo¯) of the temple Rietberg in Zürich. Curated by Professor Muryo¯ji, the best preserved of a group Matthew McKelway and Dr. Khanh Trinh of temples for which Rosetsu produced (Museum Rietberg), and co-sponsored interior paintings in 1786–1787. Michael Cole Inside front and back cover: Nagasawa Rosetsu, Dragon, 1786, detail from a set of six sliding Professor and Department Chair door panels. Ink on paper. Muryo¯ji, Kushimoto. Front cover: Art Humanities student Paige Hinkley at the Musée d’Orsay. 2 826 schermerhorn Photograph by Joanne Wang. ART HUMANITIES ART HUMANITIES Studying Art and Music Humanities in ART HUMANITIES Paris taught me, above all, the impor- tance of directly experiencing works of art and the places in which they were made. It’s one thing to look at photographs of Monet’s Water Lilies; it's something very different to see these paintings in the PARIS Musée de l'Orangerie on one day and on the next to wander in Monet's gardens at Giverny, looking at the scenes he For the fifth consecutive summer, the Department museums, as well as an excursion to Amiens painted, smelling the same air, touching of Art History and Archaeology participated in and an overnight trip to Amsterdam, were at the the same trees, and hearing the same the Art and Music Humanities program in Paris, heart of students’ experience. Without a doubt, sounds. Memories of these experiences based at Reid Hall and sponsored by the Center the most memorable of our museum visits were will stay with me forever. for Undergraduate Global Engagement. Taught tours of the Musée d’Orsay exhibitions Le modèle by art history professors Robert E. Harrist, Jr. and noir, given by curator Denise Murrell, and Berthe SOPHIE HECHT, ’22 Lindsay Cook and music professors Magdalena Morisot, given by Professor Anne Higonnet, a Columbia College Baczewska and Elaine Sisman—along with the foremost authority on the artist. Both visits took assistance of PhD candidates Audrey Amsellem place on Mondays, when the museum is closed and Barthélemy Glama—thirty-four of Columbia’s to the public. The privilege of this special access very best undergraduates took part in a dozen with the guidance of such eminent scholars was hours of class weekly, visited numerous museums not lost on the students: one is said to have and historical sites, and attended several musical broken out in tears of joy. The exhilaration and events, including an opera and an evening at an intellectual excitement we all felt throughout the iconic jazz club. summer is best expressed by the magazine’s cover photograph showing General Studies The success of the joint program lies in the undergraduate Paige Hinkley extemporaneously pedagogical integration of Art and Music performing a grand jeté against the backdrop of Humanities, creating an ideal environment for one of the great clock faces of the Musée d’Orsay. the Core Curriculum philosophy to flourish—one CLOCKWISE FROM LEFT: Claude Monet’s in which ideas, discussion, and argument fuel garden at Giverny; students exploring Le ROBERT E. HARRIST, JR. continuous intellectual excitement. Students Corbusier’s Villa Savoye; Denise Murrell Chinese Art and Robert E. Harrist, Jr. in front of Édouard benefited profoundly from the unique position Manet’s Olympia; students drawing Greek of Paris in the history of art. Visits to the Louvre, LINDSAY COOK, ’18 PhD kouroi at the Musée du Louvre. Photographs Musée d’Orsay, Centre Pompidou, and other Visiting Assistant Professor, Vassar College by Joanne Wang and Robert E. Harrist, Jr. As a biomedical engineering student with a star-crossed love for the humanities, I found studying Art and Music Humanities in Paris this past summer to be a dream. I delighted in how our conversations of art and music blended into each other like the boundless colors of a Matisse painting. Our six summer weeks now live within us like a melody incorporated into the polyphony of our memories. JOANNE WANG, ’22 School of Engineering and Applied Science 4 826 schermerhorn 5 FIELDWORK: Pañamarca FIELDWORK: Pañamarca EXCAVATING ART, ARCHITECTURE, AND THE ENVIRONMENT PERU In July 2019, Lisa Trever and her research team Museum of Nature and Science), and with the carried out the second of three planned seasons assistance of Classical Studies PhD candidate of archaeological and paleoclimatological field- Mary-Evelyn Farrior, Trever has also been examin- work within and around the ancient Moche center ing the paleoclimatic history of the Nepeña Valley, of Pañamarca. Located on Peru’s north coast, this where Pañamarca is situated, in order to chroni- Above: Ceramic fragments, maize cobs, and yuca from city was home to a lively tradition of wall painting cle the changing landscape, the dynamic path of the excavations. Right: Excavation of a mural painting at Pañamarca in 2010. Photographs by Lisa Trever. Below: A from the sixth to eighth centuries CE, as seen in the river, and the effects of climatic disturbances test pit within the agricultural fields surrounding Pañamarca. murals first documented in the 1950s and those within the valley. Ice core data has revealed that Photograph by Hugo Ikehara. uncovered by Trever in her prior excavations. Pañamarca’s founding occurred in a time of Painters brought to life scenes of hand-to-hand climatic crisis with sustained droughts followed combat between a mythological culture-hero (now by intense flooding. Data from more than sixty known as Ai-Apaec) and a series of monsters new radiocarbon accelerator mass spectrometry from the sea, as well as religious ceremonies and dates coupled with ongoing analyses of pollen, martial pageantry, including a procession of war- phytoliths, and soil characterization from the riors dancing in elite regalia. Without texts and environs of Pañamarca will enable the team to inscriptions, ancient Peruvian art history must be test this scenario at the local level. This research, written through this evocative material as well as which has been supported by a grant from the through archaeological and scientific methods, Provost’s office and a gift to the department which are establishing a more comprehensive from the Rubin-Ladd Foundation, will allow for chronology for the site, its architecture, and its a better understanding of the ancient history of painting tradition. Pañamarca and its surroundings, as well as new insights into how cultural and environmental In partnership with archaeologist Hugo Ikehara history were intertwined. (Pontificia Universidad Católica de Chile), soils scientist Marco Pfeiffer (Universidad de Chile), LISA TREVER and archaeologist Michele Koons (Denver Pre-Columbian Art and Archaeology The Pañamarca team at the end of the 2019 field season.