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Number 53 – Fall 2018
Alumni
NEWSLETTER
Published by the Alumni Association of
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Contents
From the Director ...............3
The Early Years of the Museum
Training Program at the Institute of
Fine Arts: Tears and Connoisseurship . 4
Navigating my Student Years at the
Institute in Preparation for an
Academic Career ...............6
Back to the Homeland ............8
Art and Business ..............10
In Memoriam
Linda Nochlin ..............13
Egbert Haverkamp-Begemann ..14
Marjorie Susan Venit .........16
The Year in Pictures ............18
Faculty Updates ...............20
Alumni Updates ...............25
Doctors of Philosophy Conferred
in 2017-2018 .................38
Masters Degrees Conferred
in 2017-2018 .................38
Institute Donors ...............40
Institute of Fine Arts Alumni Association
Officers:
President
Jennifer Eskin
Vice President
Jennifer Perry
Treasurer
Anne Hrychuk Kontokosta
Secretary
Johanna Levy
Alumni Board Members:
William Ambler
Susan Galassi
Kathryn Calley Galitz
Matthew Israel
Lynda Klich
lklich@hunter.cuny.edu
Debra Pincus
Katherine A. Schwab
KASchwab@fairfield.edu
Committees:
Walter S. Cook Lecture
Susan Galassi, Co-Chair
Katherine A. Schwab, Co-Chair
KASchwab@fairfield.edu
Yvonne Elet
Kathryn Calley Galitz
Debra Pincus
Gertje Utley
Student-Alumni
Lynda Klich, Chair
lklich@hunter.cuny.edu
Matthew Israel
Newsletter
Martha Dunkelman
Emily Rose Shoyer, student assistant
History of the Institute
Rebecca Rushfield, Chair
Alumni Reunion
Alicia Lubowski-Jahn, Chair
William Ambler
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From the Director
Christine Poggi, Judy and Michael Steinhardt Director
Welcome from the Director
The past year seems to have gone by in a flash,
but looking back, it was also full of wonderful
moments, new friendships, and exciting
initiatives. It has been especially rewarding to
meet so many of you, at events and lectures in
the Duke House, at the CAA Alumni Reunion
at LACMA last February, or at our alumni
gatherings and parties.
We are delighted to announce the appointment
of Kathryn Howley, Lila Acheson Assistant
Professor of Ancient Egyptian Art, who will
join us this fall. Professor Howley works
on Ancient Egypt and Sudan, focusing on
the role of material culture in negotiating
intercultural contact. Her recent co-edited
volume, Egyptology and Anthropology, brings
together papers from a 2017 symposium on
the future of the engagement between the two
fields. Professor Howley’s research is supported
by her current fieldwork project at the mid-
first millennium BC Amun Temple of Taharqa,
a Nubian king who also ruled over Egypt, at
Sanam in Sudan. We are thrilled to add this
excavation site to the four already sponsored
by the Institute (Aphrodisias, a Roman site
in Turkey; Selinunte, a Greek city in Sicily;
Samothrace in Greece; and Abydos in Egpyt).
Professor Howley’s first book, The Royal Tombs
of Nuri: Interaction and Material Culture
Exchange between Kush and Egypt c. 650-580
BC, will appear in 2019 in Brill’s Harvard
Egyptology Series.
It is also a pleasure to announce that Professor
Anne Hrychuk Kontokosta, an alumna of the
Institute and a specialist in Roman art and
architecture, will join us for three years as
Assistant Professor/Faculty Fellow. Two new
hires in the Department of Art History, NYU,
are also appointed to the Institute as Associate
Faculty. We join the DAH in welcoming
Associate Professor Prita Meier, a specialist
in African art and urbanism, and Assistant
Professor John Hopkins, who works on
Roman art and archeology. And we are
extremely pleased that Professor Lowery Stokes
Sims, last year’s Kirk Varnedoe Professor, will
return to teach one seminar per year for the
next three years.
Last winter, we held our first book launch and
happy hour to celebrate recent publications
by Professor Edward J. Sullivan and Professor
Dianne Modestini, featuring Latin American
and Italian food in honor of their books’
subjects. Both authors read short excerpts from
their books, and told us what had motivated
them to choose their topics. It was wonderful
to see so many people there—alumni, trustees,
faculty, students, staff, and other friends and
colleagues—and to share excellent food, wine,
and conversation. We plan to hold several more
of these events over the coming year and hope
you will attend if you can.
W
e have also now begun the process of
issuing an online, peer-reviewed journal titled
Lapis: The Journal of the Institute of Fine Arts.
It will be edited by Institute students with the
help of Managing Editor Conley Lowrance,
and with the supervision of Professor Alexander
Nagel. The team of five student editors has been
working this summer, and we eagerly await
their first number in May 2019.
This past year also saw the launch of the new
Conservation MA in Time-Based Media, with
an international, interdisciplinary symposium
held in May. Titled “It’s About Time!,” this
two-day conference brought experts in the
field to NYU for animated discussion and
exchange of ideas, establishing a vital network
that will generate discussion for years to come.
It is exciting to see Institute conservators
and scientists lead this extremely important
initiative under the guidance of Professors
Hannelore Roemich and Christine Frohnert.
The Institute has been seeking to create a more
inclusive student body who remain at the center
of all of our work. Our current students, soon
to become alumni, will be the next generation
of leading scholars, curators, conservators,
museum directors, and other arts professionals.
This past year we created the Institute of Fine
Arts Fellowship, which provides partial tuition
fellowships for a small number of Masters
students who qualify by virtue of financial need
or because they are from underrepresented
groups in the History of Art and Archaeology.
It is a modest beginning, but we hope to build a
more robust fellowship fund for these students
in the years to come.
Last year we mourned the loss of Professor
Egbert Haverkamp-Begemann and Professor
Linda Nochlin, both luminaries in their fields
who taught generations of students at the
Institute. A tribute was held for Professor
Haverkamp-Begemann in October 2017, and
another for Professor Nochlin in April 2018.
Both well-attended events provided occasions
for shared memories and stories that brought
the enduring significance of their work,
mentorship, and many friendships to life.
This summer we were saddened to learn of the
death of Professor James B. McCredie, who
was director of the Institute for twenty years,
beginning in 1983. We will hold a celebration
of his work and legacy at the Institute on
Sunday afternoon, December 9, 2018.
I look forward to seeing you at the Duke House
this year, and hope you will introduce yourself
if I have not yet met you! We are so fortunate
to have you as strong supporters and advocates
for our students and programs. And to our
new alumni, whose achievements we proudly
celebrated at graduation, please stay in touch!
We would love to hear from you, and to have
you join us at the Duke House in the future!
Christine Poggi
Judy and Michael Steinhardt Director
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The Early Years of the Museum Training Program at the
Institute of Fine Arts: Tears and Connoisseurship
Debra Pincus, PhD ’74
Painted Jar, Shipobo, Peru, c. 1968. Metropolitan Museum of Art, Rogers Fund, 1971
For many Institute of Fine Arts graduates
– including many who never entered the
museum or gallery world – one of the
formative experiences of their Institute career
was participation in the Institute’s Museum
Training Program. e program was initiated
in 1958 under the director of the Institute,
Craig Hugh Smyth, and the director of e
Metropolitan Museum of Art, James Rorimer,
as a collaborative eort between the two
formidable institutions within hailing distance
of each other on Fifth Avenue. Colin Eisler,
who was teaching at Yale and was curator of
the Yale Art Gallery, was lured by Smyth to the
faculty of the Institute with the understanding
that part of his role would be the development
of this new course.
Under the label “Museum Training and
Connoisseurship,” the program was set up over
three semesters of work. e rst semester’s
course functioned as an introduction, open
to all Institute students. It was a prerequisite
for the courses that followed. Lectures were
given by Eisler and members of the Met
sta on connoisseurship and the history of
the museum. Site visits were included to
museums in New York and others nearby.
e pace quickened in the second semester,
which functioned as a colloquium with a
limited number of students, generally under
twenty. When I took the course in 1960, the
set-up consisted of weekly meetings, each in a
dierent department of the Met and led by a
curator of that Department.
I remember those meetings with pleasure
and fondness. is was the rst time I heard
the words Meissen and Sèvres and was
introduced to the dierence between hard
and soft paste porcelain. I began to be able
to identify collectors’ marks on drawings and
prints and started using Frits Lugt’s amazing
reference tool on the subject. I held a small
bronze sculpture in my own—gloved—hands
and began to be smitten by the medium
of sculpture. As the nal assignment of the
course, we edging connoisseurs were given
the task of nding an object on the art market
for a modest sum. As I recall, in my year
it was to be no higher than $50, but later
would go up considerably. e piece was to
have value as an art object, and ideally, even
to be of museum quality. Challenging and
frightening? You bet. e last meeting of the
course consisted of presentation of the objects
with an accompanying “pitch” to an assembled
group of judges consisting of Institute faculty
and Met curatorial sta.
When I took the course New York was
a dierent city with a dierent art market.
Modest antique shops were still to be found in
Greenwich Village and on ird Avenue, and
high quality graphics could still be purchased
at quite aordable prices. Nevertheless,
scouring the city for a respectable purchase
was a daunting experience. I settled on a
majolica albarello (or apothecary jar) labeled
Basilicum—a container for herbs—purchased
in a ird Avenue antique store for, as I recall,
around $40 (remember this was 1960), which
I then madly researched, settling on a narrative
that placed the object in 19
th
-century Italy as
the re-creation of a 16
th
-century Netherlandish
type. e winner of the exercise that year
was J. Carter Brown, the same Carter Brown
that we know as the Director of the National
Gallery of Art in Washington. With great
bravura, Brown presented a drawing to the
group, displaying it and explicating it with a
condence and style that was his alone.
e Met had the option to buy the
winning object. Anita Fiderer Moskowitz,
who took the course in 1971, has told me
of her own search, which, she confesses,
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began with tears. She ended up presenting a
large ceramic vessel from eastern Peru dating
from the late 1960s, made in the region of
the upper Amazon by a tribe known as the
Shipibo Indians. e vessel, handsomely
decorated on the exterior with a geometric
pattern, was used to store an alcoholic
beverage known as masato. As Moskowitz
argued in her presentation, the vessel was not
only a beautiful object with an interesting
social history behind it, but also a type of
which the Met had no example. She was
judged the winner of the group that year,
and the purchase of the piece by the Met was
announced in an article by Moskowitz in the
Metropolitan Museum of Art Bulletin of 1971
entitled “Beer Barrel of the Amazon.”
e program was capped with a third
component that brought the Institute
student into e Metropolitan Museum
of Art for nine months working in a single
department of the museum on a full-time
basis. It was not easy to decide to take a break
from Institute classes in order to participate
in the internship component of the course.
I decided not to continue with the nal
semester for reasons along those lines, but
if I were to do it over again, I would change
my decision. ose who did the internship
component recount unforgettable learning
experiences. ere was the seemingly
mundane but crucially important training
in handling objects and writing wall texts
and labels. But there were also the complex
experiences of participating in the team
eort of the mounting of a major exhibition,
engaging with donors, and, in a few cases,
mounting a small exhibit of one’s own.
Caption to come?
Over the years there have, of course, been
a number of changes, and more are planned.
In the 1990s, the third component of the
course, the internship, was changed so as to
be restricted to Ph.D. students, the rationale
being that students could more easily take
time out from researching the dissertation
than interrupting the sequence of learning
represented by courses. e program has
come under the supervision of a succession of
dierent individuals from both the Institute
and the Met. e intern year has also had
a changing character, with the entire group
tending to focus on the preparation of one of
the museum’s major exhibitions.
Yet the magic has quite clearly remained.
Posts by recent participants on the Met’s web
site [metmuseum.org/about-the-met/curatorial-
studies] echo the eye-opening experience that
course was for me so many years ago. Anita
Moskowitz has summed it up perfectly: “e
experience … taught me that one could start
with absolutely no knowledge of a subject
and if one put one’s mind to it and worked
hard at the research, it is amazing what could
be learned.”
Where to find the Institute Online
Institute Website: http://www.ifa.nyu.edu
On the website:
1 Click
Community, and then Alumni and find further links to, update your contact information,
Alumni Achievements, Alumni in the News and the Alumni Mapping Project.
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Sign up for the Institute email list at: https://www.nyu.edu/gsas/dept/fineart/mailinglist.htm
Explore the extensive library of videos of lectures and events at the Institute at: https://vimeo.com/ifa
Subscribe to the Duke House Diaries:
Email [email protected] with “Duke House Diaries” in the subject line and request to be added to the list.
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Navigating my Student Years at the Institute in
Preparation for an Academic Career
Wayne Franits, PhD ’87
Wayne Franits Studying for Institute Orals, 1983
I officially entered the Institute for the Fall
1981 semester, after having received an M.A.
degree in art history from Queens College
(CUNY) the prior February. I say “officially”
because I had actually begun taking classes
there in 1979. My advisor at Queens College,
Leonard Slatkes, spent the 1979-80 academic
year in the Netherlands and had suggested
that I contact Egbert Haverkamp-Begemann
in order to inquire whether I could study
with him during Slatkes’s absence. I was
terrified at the prospect of having to telephone
Haverkamp-Begemann yet I did what I was
instructed to do. He was kind on the phone
and amenable to my attending his lectures
but he insisted on first interviewing me in
person. So this twenty-two year old kid from
Long Island with big hair and an ill-fitting
suit somehow managed to make a positive
impression upon this world-famous professor
and thus entered into his tutelage for what
would eventually extend to eight full years.
I have many fond memories of my time
at the Institute and, if I am to be honest, some
less than fond ones as well. Most of the latter
occurred during my initial months there.
Hitherto, in my art history programs on the
undergraduate and M.A. level, I had been a
proverbial big fish in a small pond. Now I
suddenly discovered that I was a medium-
size fish in a very large lake, surrounded by
lots of very brilliant people, some of whom
were needlessly and unpleasantly competitive.
Obviously, adjustments had to be made to
varying degrees on my part. Sooner or later,
we all find our niche and I am happy to
report that I found mine as well though this
obviously took some time.
Naturally, academic matters lay at the
heart of my many wonderful experiences
during those years. Haverkamp-Begemann
had attracted a sizeable cohort of students–
some twelve to fifteen if I recall correctly. We
all participated in the same lecture courses
and seminars and so much more because
Haverkamp-Begemann was actually grooming
us for our future careers. I remember several
dinner parties at his Park Avenue apartment.
These typically involved beef bourguignon
made in a crockpot and lots of wine as we sat
in his crowded living room (whose walls were
graced with seventeenth-century Dutch and
Flemish drawings) while he held court with
whatever eminent scholar in our field from
around the world happened to be visiting him
at that moment. Many of these same eminent
scholars gathered in impressive numbers at
the Institute one Saturday in early March
of 1983 to celebrate the official publication
of a festschrift in honor of Haverkamp-
Begemann, marking his sixtieth birthday.
All of his students were invited and needless
to say, the proceedings made a tremendous
and lasting impression upon everyone who
attended. In addition, there were outings
with our mentor to exhibitions at museums
and related institutions–especially The
Metropolitan Museum of Art–as well as to
auction houses to view important art works
coming up for sale. Perhaps the ultimate
excursion of this sort was our “art tour”
of Eastern Europe and the former Soviet
Union in August of 1982. During this trip,
we saw some truly spectacular collections
that few westerners have had the privilege of
viewing. Nevertheless, traveling in Soviet-bloc
countries was an education in and of itself
on so many other levels. For example, the
exceptionally long lines of people at stores in
Moscow trying to buy even the most basic
household goods is forever seared into my
brain.
I learned so much from Haverkamp-
Begemann during those formative years. He
instilled in me not only a sound knowledge
of my field of seventeenth-century Dutch
and Flemish art but also the importance of
mastering foreign languages–he was always
dazzling in this regard–of visiting major (and
even minor) collections throughout the world,
of connecting with colleagues, and even the
need of assembling a good research library,
something that would become critical for me
as I would wind up teaching at a university in
a provincial location.
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Beyond academics, there were many
social occasions that I distinctly recall
with great fondness. A group of us would
sometimes periodically meet to have breakfast
at the Nectar Diner on Madison Ave. Back
then there were two of them: one on the
corner of 78
th
St. and the other, on the corner
of 79th St. (only the latter remains today).
Dinners were sometimes taken or fetched at
the same locales, along with Three Guys, still
standing and situated a few blocks further
south on Madison Ave. In those years, the
main hall of the Institute was filled with long
tables and chairs and served as a place for
students to congregate and have coffee or
lunch. (The current room serving this purpose
at the Institute used to house the Academic
Office, before it was relocated to the building’s
basement.) Unbeknownst to many students,
a group of us also played touch football on
Saturday mornings in Central Park; one time
we even had an “away” game at Columbia
University. There were also more “official”
social occasions, such as the annual Halloween
Party. Over the years, students (and even
faculty) donned some incredibly creative
costumes for this fantastic event, which was
also filled with dancing, eating, imbibing,
and all-around general mirth. Haverkamp-
Begemann would invariably dress as one of
the Dutch “masters” from the iconic cigar box,
itself a clever appropriation of Rembrandt’s
Syndics of the Draper’s Guild. One year, my
fellow student, Cindy Mack, dressed as one
of the court attendants from Velazquez’s
famous Las Meninas. She wore a mask and
voluminous gown in the seventeenth-century
style. But what was exceptionally clever about
her costume was the large doll (presumably
the Spanish infanta), wearing the very same
outfit, that moved about with her via remote
control!
Alas, all good times must come to end
and for me, that happened with my successful
dissertation defense in May of 1987. As I told
Donald Posner a few months after I received
my PhD degree, my years at the Institute were
a time of my life that seemed in many ways to
be larger than life itself. In early June of 1987,
my wife and I departed the metropolitan New
York area for Syracuse, NY, where I had been
offered a tenure-track position as an assistant
professor of art history at Syracuse University.
Among others, Haverkamp-Begemann played
a pivotal role in helping me to procure this
post. Thirty-one years later, I am still a faculty
member at Syracuse University, something
that I would not have predicted back in 1987.
The educational quality of the university itself,
the sheer novelty of affordable housing, the
surrounding countryside–the Finger Lakes
region–and, of course, the relative proximity
to New York have succeeded in keeping us
here. Even as I have remained tethered to the
same academic institution for so long, over
the decades the nature of my scholarship
has changed. My earliest publications were
devoted to what I might call iconological
studies of seventeenth-century Dutch art.
Such work was quite fashionable in the late
1970s and early 1980s, in the years before
postmodernism fully exerted its impact upon
the field of art history. Gradually, my attention
turned to the production of monographic
studies of Dutch artists, that is, to the
preparation of traditional catalogues raisonnés.
I was able to make this transition a smooth
one thanks to the training I had received at
the Institute where we were taught that the
object was just as important as contextual
considerations.
Wayne Franits with Students at the Herbert F. Johnson Museum of Art, Cornell University, 2017
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Back to the Homeland
Sarah Montross, PhD ’12
Josephine Halvorson, Measure (Tree), 2016, deCordova Sculpture Park and Museum,
originally commissioned by Storm King Art Center
I didn’t intend to move back to Massachusetts,
my native state, three years ago. Like many
emerging curators, I just felt very fortunate
to secure a good, albeit somewhat unusual,
job in the field I loved. As Curator at
deCordova Sculpture Park and Museum,
I work outdoors on the 30-acre grounds,
commissioning contemporary artists to create
new installations amid glacial rock formations
and massive oak trees, natural features that
rival some of the best large-scale sculptures in
the Park. I also organize indoor exhibitions
of modern and contemporary art within a
building that was once the home of wealthy
Boston area patrons, Julian and Elizabeth
de Cordova. I’m constantly moving inside
and outside, and my day-to-day activities
correspond with the rhythms of the seasons.
As I write this, summer is approaching, and
yesterday we installed a painted sculpture
of a massive tree trunk by artist Josephine
Halvorson among a grove of towering pine
trees. Halvorson has so attentively captured
the play of light and textures of tree bark,
moss, and burls, that the 24-foot tall flat
monolith nearly blends into its surroundings,
while also making the surrounding trees now
seem like uncannily flat stage sets. Fascinated
by these metaphysical interchanges of art and
nature, I’ve become ever more compelled to
absorb the surrounding landscape, its layered
histories, and its ecology in order to inform
my decisions for exhibitions and outdoor
commissions.
The last three years here have been a steep
learning curve, to say the least. Sometimes it
feels there was little in my formal art history
training in New York City that prepared me for
the logistics of cranes and concrete pads.
I spent much of my time at the Institute of
Fine Arts studying modern and contemporary
Latin American Art with Professor Edward J.
Sullivan. Through his mentorship and
scholarship, I developed a syncretic approach
to the study of art and have since developed
projects that involve expansive time periods,
geographies, religions, or that merge art history
with other cultural phenomena, particularly
the history of popular science. I learned
about developments of geometric abstraction
in Argentina or conceptual art in Chile,
while also taking courses on more canonical
Western movements of the twentieth century.
My dissertation focused in part on the Chilean
artist Juan Downey (1940-1993), who among
other far-reaching projects, lived among the
Yanomami communities of the Venezuelan
Amazon in the 1970s. Exploring thresholds
between art and anthropology, Downey’s work
still fascinates and troubles me, particularly
regarding the ethics of re-staging so-called
“native” encounters. Yet I can’t seem to escape
his influence, particularly the ways in which,
through his art, he densely wove together
aspects of ecology, technology, religion, mass
media, and politics. Since my time at the
Institute of Fine Arts, I often consider my most
meaningful exhibitions and research projects as
spun from this web of interdisciplinary topics.
After finishing my dissertation, I moved
to Brunswick, Maine, where I worked at the
Bowdoin College Museum of Art for a three-
year post-doctoral fellowship. While some
emerging scholars might have felt utterly
isolated from New York’s art world, I found
tremendous freedom there as my job involved
collaborating on exhibitions and co-teaching
in the galleries with dozens of faculty from
other disciplines—from geology to philosophy.
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Feeling released from my own insular studies,
this experience expanded my porous and
collaborative approach to art history and, most
surprisingly, reinvigorated my own research.
My time at the Bowdoin College Museum
of Art culminated with an exhibition and
publication titled Past Futures: Space Travel,
Science Fiction, and Post-war Art of the Americas.
The show explored avant-garde art across
the Americas amid the explosive growth of
the science fiction genre and the rise of the
Space Race. I explored how artists outside of
areas of dominant technological development
responded to catalytic events during the Cold
War, such as the lunar landing, while also
responding to their local realities. Traveling
through Mexico City, Buenos Aires, and other
countries for research, I befriended one of the
foremost scholars of Latin American science
fiction literature, and visited the studio of
visionary artist and poet Gyula Kosice, among
many other stops.
When I moved to the Boston area in 2015
for my curr
ent position at the deCordova, I
felt enthusiastic and also resistant to return
to my home state. I anticipated mingling
with clichéd New Englanders, who might be
described as a flinty, uptight, overly intellectual
or out-of-touch liberal elite. I recognize these
traits in myself but try to push against them.
I suspect this tension has, in part, led me to a
new research and exhibition project I’m now
developing called Visionary New England that
examines the legacy of utopian and spiritualist
practices in the region since the 1840s and
their impact on contemporary artists. This is
one of many projects I’m now planning, but
is the most involved in terms of historical
research and my own personal investment.
I started making day trips to local historic sites
and found that a number of utopian agrarian
communities flourished here, briefly, in the
1840s. Among the most prominent were
the Brook Farm Institute of Agriculture and
Education and Fruitlands. These intentional
societies resulted from urgent needs for
radical social reform and developed forms of
communal living that emphasized an equal
distribution of labor, in which all members,
including women, shared profits gained from
agriculture or other pursuits. Some of the
communities formed schools on their
grounds or devised experimental and
experiential methods for childhood education,
in order to impart new worldviews to a
younger generation.
Some of the communities were connected
to the religious and cultural philosophies of
Transcendentalism, which was expanding
outward from Boston in the 1820s and 1830s.
These agrarian communities were meant to be
self-sustaining, deriving all necessary resources
directly from the land. Members were
strongly influenced by beliefs that the natural
world provided direct access to the divine.
Artists, writers, and other creative individuals
observed these developments, incorporating
Transcendentalist ideals into their art.
William James (1842-1910) sitting with Mrs. Walden
in Séance, before 1910. Credit: MS Am 1092 (1185),
Houghton Library, Harvard University
The utopian communities were short-
lived and flawed in that their ideals were
rarely sustainable. Nor did they achieve actual
equity across gender or race. Yet the practices
of self-sufficiency, social reform, progressive
education, and a spiritual communion with
nature have continued to evolve. Green Acre
in Eliot, Maine, for example, was founded
in 1894 by late-Transcendentalist Sarah J.
Farmer. Each summer, progressive intellectuals,
artists, and writers met there to discuss
Eastern religions, theosophy, the arts, science,
and philosophy. American painter Marsden
Hartley worked at Green Acre in the summer
of 1907, encountering mysticism for the first
time (which affected his work thereafter) and
finding support for his first solo exhibition
from one of the retreat attendees.
Thr
ough the late-nineteenth to mid-
twentieth century, within New England’s
urban intellectual centers, mysticism mingled
with experimental psychology. For example,
William James, father of American psychology,
visited séances and later wrote his famous
collection of lectures published in 1902 as
The
Varieties of Religious Experience. The American
Society of Psychical Research, founded in the
1880s by prominent doctors and academics
including James, pioneered research into
telepathy, hypnosis, and other forms of extra-
sensory communication. In the visual realm,
spiritualist photography emerged in the
United States with figures such as Boston-
based William H. Mumler at this time. By
the late 1940s and 1950s, the first psychiatric
studies using LSD and other opiates to treat
mental ailments and expand one’s creative
capacities emerged. Harvard Professor Dr.
Max Rinkel initiated the first United States-
based studies of LSD in the late 1940s, which
led to the now infamous Harvard Project, co-
led by Timothy Leary.
When we start to link together these
historic episodes of alternative belief systems,
world-building, and visionary thinking in
New England, artists of twentieth and twenty-
first centuries such as Hyman Bloom or Paul
Laffoley make much more sense. Rather than
cast them as simply outliers, they and many
others can be connected to a long, evolving
line of fellow cultural figures. I also suspect
that some of the artists I’m interested in have
been avoided by more canonical histories of
modern art due to the spiritual or religious
nature of their work. I feel that this history
of seekers and reformers strongly informs
aspects of contemporary art in the region
today. I hope I can develop the project
enough to chart this eclectic history while also
planning a major exhibition of contemporary
artists whose work aligns with these aspects
of ecology, faith, and pedagogy. Some of
their projects will be shown outdoors and in
connection to the local terrain.
Working as a contemporary art curator
today can involve deep archival research
matched by a thorough engagement with
contemporary art and relevant present day
topics. Informed by the cultivated naturalism
that surrounds me at deCordova, I do not feel
beholden to certain boundaries or standards
of traditional museum settings. I am just
beginning to understand what this could
mean in terms of working outdoors with
contemporary art.
10
Art and Business
Chip Holman, MA ’81
William Holman Gallery, East Village, New York
Working in the art world is always a
challenge. The commercial art world is the
greatest challenge I have undertaken over a
long professional career that included three
decades on Wall Street, hundreds of successful
transactions, bankruptcies, and takeovers after
I left the Institute of Fine Arts. I believe the
Institute provided me with a valuable M.A.
Studying the connoisseurship of works of art
is a rewarding undertaking but also difficult. I
was taught not only to “look” at works of art
and architecture, but, also how to “see” by my
professors and mentors at the Institute. My
three supervisors, Sir John Pope-Hennessy,
Henry Russell-Hitchcock, and Jonathan
Brown, all taught these values and were also
keen mentors to students about the world
outside academe and museums.
My original strategy in going to graduate
school was to train for the museum field,
beginning as a curator and thence aspiring
to a directorship. I was guided by some very
knowledgeable people: the “Pope,” Evan
Turner, Joe Rishel, Director and Chairman of
the Paintings Department at the Philadelphia
Museum of Art, and also by a family friend, J.
Carter Brown, (Institute, 1960), who went on
to become head of the National Gallery. For
administrative skills I went on to Columbia
Business School and graduated in 1982 to a
market with no arts jobs or funding and 18%
interest rates. Being penniless and pragmatic,
I abandoned the art world to spend three
decades on Wall Street. In 2011 I returned to
the art world and opened a gallery on Ludlow
Street on the Lower East Side.
Let me return to the beginning. I
earned a Diploma in History of Art from
Magdalen College, Oxford and then spent
a year in Philadelphia. In the City of
Brotherly Love, I cobbled together three
part-time positions, each paying under
$5,000, creating a gig economy sampler by
working for two museums and a dealer. In
the PMA’s Drawings, Prints and Photographs
department, I worked on the vast Stieglitz
holdings of all his contemporaries, and the
historic photo collection including works by
Paul Strand, Ray Metzger, Edward Steichen
and Robert Mapplethorpe. At the
Pennsylvania Academy of the Arts, I
collaborated with Vincent Scully of Yale
University, cataloguing a traveling exhibition
of the drawings of architect Louis I. Kahn.
I still recall sitting for hours in Mrs. Kahn’s
townhouse, cataloguing more than 2,000
drawings of everything her husband had ever
drawn that was not architectural. My third
Philadelphia “gig,” which engaged nights and
weekends, involved cataloguing hundreds of
maps, books and prints for Graham Arader,
the Americana dealer.
My work with Vincent Scully and
Graham Arader cataloguing hundreds of
objects from American history between
1610 to 1910 were both significant learning
experiences; I had to work quickly to establish
the importance, provenance and, often,
the price of the works I was cataloguing.
To be sold, the work had to be correct
in provenance, right in appearance, and
defensible to a buyer who was often a much
better expert on the drawing or book at hand.
After Philadelphia I moved to New York
to study at the Institute. The 400 block of
East 66
th
St. was my home: a fourth floor
railroad flat of two 9x9 foot bedrooms, with
a bathtub in the kitchen, at a bargain rent of
$275 a month — I was very lucky. I began in
art commerce as a young dealer in New York
during the four years of my MA and MBA,
paying for a good bit of the overhead. While
pursuing my courses at the Institute, I co-
founded a small bookshop at 619 Madison
Avenue called Barra Books. My partner was
Chris Jussel, owner of the famous Vernay &
Jussel English antiques dealership. Thanks
to Chris’ expertise in English furniture,
clocks, and country houses, we published
comprehensive catalogues of collections for
sale of decorative arts, trade catalogues, fabric
samplers, silver, wood salesmen’s books, famous
books on arms and armor, French furniture
makers like Boulle, England’s great furniture
books by Sheraton and Chippendale. As our
business grew, we added books on old master
drawings, prints, forgeries, some beautiful
and significant maps of the 17th and 18th
centuries, and a famous Jasper Johns illustrated
11
A
lumni
Voices
book of Samuel Beckett’s Foirades, bought
from a demolition crew with a huge dump
truck parked on Madison for $500 in cash.
As with all my early jobs, this was a
chance to “look” at thousands of objects,
and to make decisions and eventually
judgments that would allow one to “see” the
object or painting at hand. The essence of
connoisseurship for me was not to know what
an object actually was, but to have a feeling in
my throat that it was worth some effort to find
out. For any of you frustrated by job-seeking,
take as many part time appointments as you
can manage, go and look at everything, and
use your judgement to form a critical opinion:
good/bad, boring/interesting, don’t know/
move on, don’t know/more research, hate it/
and know why.
For 30 years after the Institute I worked
in financial markets managing merger
and acquisitions transactions, trading and
risk, and thousands of people for Lehman
Brothers, Baring Brothers Bank, Thomson
Reuters, and more recently for Davis Brody
Bond, architects of the World Trade Center
Memorial and Museum, where I was the
business partner working on the momentous
and emotional project for many years. My
own firm at the time, Thomson (Reuters)
Financial, lost 11 people on 9/11. I was in
the building the whole day before, and on
site all day on Tuesday 9/11. The entire site is
now open and I hope all of you will visit both
Memorial and Museum. They are not to be
missed.
In 2011 I rented a storefront and
transformed it into a gallery at 65 Ludlow
Street on the Lower East Side. We had our
first exhibition in October of that year.
Our first Institute employee was Kathleen
White (Institute, 2011), a scholar with
attitude, nicknamed Philip II, ever in ruthless
pursuit of Empire and gold. Katie looked at
everything that passed through the gallery
with a critical eye, but was always well read
and prepared with comparable artists and
works to discuss. Her strategy was: look at this,
look at that, who is best? Better than our artist?
What are they making? What thought went
into it? …some…maybe none?...These are very
useful skills.
Together we did some 25 exhibitions.
Katie wrote an important catalogue on Bill
Brandt and Photojournalism in 2013 and co-
authored with Adwoa Adusei (Institute, 2013)
an exhibition catalogue of the WWII drawings
of Rhinebeck soldier-artist Olin Dows. They
led the work independently and earned their
authorship of the publications.
The William Holman Gallery was run
by people from the Institute. Katie White
began with us on day one and did everything.
Adwoa Adusei joined later that year and read
documents and letters from WW II. People like
Louis Soulard (Institute, 2016) came for a few
weeks in the summer. For the last two years the
Gallery was blessed with a sales and research
director from Turin, Virginia Ciccone (Institute,
2017). Not only an Institute graduate but also a
Fulbright Fellow, she worked on the last fifteen
exhibitions, painted, installed, and marketed
with all of us. While Virginia was around we
had our best new artist’s shows, including
exhibitions of women artists from Brazil, Iran,
China, Spain, and Korea, local artists from
Purchase, NY and Hartford, installations,
talks, and sculpture. Now back in Turin, she is
looking for the next opportunity in Italy. After
four years, 40 exhibitions and several art fairs,
we closed the space. The reasons appear at the
end of the article.
My career has been a changeup of
interests and opportunities. Who could have
known that my experience as a dealer broadly
defined as: “Selling Expensive Things to
Difficult People,” would help me become
an expert in financial services, mergers and
acquisitions, and Wall Street information
companies, or help me manage traders and
salespeople with the same emotional skills
one uses to advise artists about their work or
a failed exhibition. Now I am a private dealer
with two small private venues and no fixed
six day a week schedule. This is a blessing,
though sometimes lonely. I have always loved
the art market and dealing in works of art,
but at the moment there are a lot of sales
avenues to pursue.
William Holman Gallery, Upper West Side, New York
12
Art and Business CONTINUED
As I began in 1977 as a dealer in books
and prints and as I closed a small public
gallery program in 2016, I can only reference
the words of a friend, Eugene Thaw, a great
expert and dealer, friend to the Institute and
the Morgan Library, who in 2007 concluded
the following after 50 years as a true scholar
dealer at the beginning of the great recession.
All still true today.
MR. MCELHINNEY: A number of the
people I’ve interviewed have said that they
think that the economy of the art world has
become more important than anything else.
It’s sort of going after the dollar trend.
MR. THAW: It’s why I retired. I mean, I’m still
capable of running E.V. Thaw & Company as
a business if I wanted to. But quite a number
of years ago I retired, because I just couldn’t
- everything had turned into money.
And people were buying trophies rather than
collecting art.
MR. MCELHINNEY: So it becomes a kind
of a nouveau riche status acquisition, black
tulips, 17th-century Holland and that kind of
thing.
MR. THAW: That’s right. When somebody
refuses to buy the last tulip, the whole
shooting match collapses.
MR. MCELHINNEY: Well, people are saying
that that realm of the art world is sort of
on the precipice at the moment. That the
galleries in Chelsea are sort of teetering on
the brink of oblivion, or a number of them.
A number of them aren’t real anyway. As we
know, they’re–
MR. THAW: Well, they’re all supported by
family money or investors or whatever.
MR. MCELHINNEY: Right, right.
MR. THAW: But it just didn’t become fun
anymore. And I did this thing out of love
and out of interest. And so I continue to
collect in the areas that I’ve told you about,
and that satises my need to acquire and
my need to study and my need to be up on
some aspect of the arts. But I can’t play in
the market anymore in the big way that I
was doing, you know. Anyway, the joy went
out of it. And I made enough money I could
retire and live on what I had and could be a
philanthropist. I created the foundation that
we have now, and I’m enjoying what I do.
And I don’t have to have the satisfaction
now of another deal.
1
1
https://www.aaa.si.edu/collections/interviews/oral-
history-interview-eugene-v-thaw-13687#transcript
I don’t need that satisfaction either.
Institute of Fine Arts Alumni Association Mission Statement
The mission of the Alumni Association of the Institute of Fine Arts is to foster a strong sense of community
among the alumni through social and scholarly events, and through the publication of the Newsletter; to support
student research through travel grants with funds raised by the Association; and to preserve the history of the
Institute through recording oral histories and the collecting of archival documents.
13
In Memoriam: Women Art and Power:
In Loving Memory of Linda Nochlin (1931 – 2017)
Robert Lubar Messeri, PhD ’88
Linda Nochlin speaking at the Institute of Fine Arts
More than twenty years ago I asked my dear
friend and colleague Linda Nochlin why
she became an art historian. Her answer was
as characteristically pithy as it was elegant:
“Because I believe in social justice,” she
responded. At the time Linda’s comment
seemed at once odd and entirely apposite to
me. Odd because art history is still one of the
most reified disciplines within the academy—
inseparable from the marketplace for luxury
goods and the constellations of power and
wealth it services. Apposite because power
was at the very heart of Linda’s scholarly
enterprise—its assumptions, its ideological
work, and its transformative potential. Today,
as the foundational principles of liberal
democracy and social emancipation are
under siege, Linda’s intellectual example is
especially urgent.
To say that Linda transformed the
dominant narratives of art history is a gross
understatement because her teaching and
scholarly work influenced the thinking of
three generations of students far beyond the
purview of her academic discipline. Had
her work remained within the traditional
boundaries of art history her contributions
to the study of French art in particular
would still be remarkable. From Courbet to
Post-Impressionism, Linda largely rewrote
the long Nineteenth Century. But she was
foremost a “first wave” feminist who helped
to define the discourse at its inception, just
as she enriched and expanded its scope over
the course of six decades. The relationship
among women, art and power, deftly
configured in an eponymous collection
of her essays, was at the center of Linda’s
thinking, with implications that extend
to the fields of Art History, Comparative
Literature, Post-Colonial studies, Sociology,
Women’s Studies, Gender Studies, and
Queer Studies, to cite the most obvious
applications of her work. Few scholars ever
achieve that kind of reach, but then again,
Linda was exceptional in all senses.
Linda was a cultural warrior who
effortlessly combined theory with social
praxis. She defended her beliefs with
exceptional clarity, precision, and force,
but her approach enfranchised rather than
alienated people. An enormously powerful
woman, she wielded that power for the
greater good, and always with consummate
grace and kindness. Linda was power-full and
power-sharing.
Linda was my friend, my colleague,
my mentor, and my inspiration. It is still
inconceivable to me that she is no longer
among us, as her life force was the force of life
itself. In its place there is a vacuum. Historical
memory lives on, and Linda will continue
to inspire future generations of students and
scholars. But affective memory has a short
shelf life. For those of us who knew Linda
as a person and not just as the brilliant art
historian, writer, and critic she was, we can
only say thank you. Thank you, dear Linda,
for your vision, for your intellect, for your
humanity, for your compassion, and for
your unfailing friendship. We are all forever
changed by your example.
Linda Nochlin
14
In Memoriam: Egbert Haverkamp-Begemann (1923 – 2017)
Mariët Westermann, PhD ’97
Egbert Haverkamp-Begemann lived a long,
remarkable, and fruitful life. Well before we
lost him in the summer of 2017, I thought
of it as a quintessentially 20
th
-century set of
displacements. He adjusted to them with
remarkable equanimity and with sustained
attachment to places and people in the
receding past. As his student at the Institute
of Fine Arts and later his faculty colleague
I valued his innovative contributions as a
scholar and teacher of Dutch and Flemish
art, as a bibliophile of the discipline, and as a
phenomenal connoisseur of drawings, perhaps
the art form he loved best. But what stays
most present is the way in which he embedded
this expertise in a broader commitment to
knowing the world, to participating in shared
human endeavors, and to mentoring his
students.
Egbert was born in the small Dutch city
of Naarden, but spent little time there as his
parents joined an intrepid cohort of Dutch
idealists drawn to the new Soviet Union. For
about a decade they raised their young family
in Kemerovo (Siberia) and Moscow while his
father served the communist experiment as a
civil engineer. As the deleterious excesses of
Stalin’s social engineering became manifest,
the family returned to the Netherlands in the
mid-1930s, to live near Haarlem and then in
Dordrecht. When you traveled to Haarlem
with Egbert, he would delight in pointing out
that his father had helped renovate the elegant
art nouveau train station.
Profoundly affected by his family’s work
for social justice, Egbert pursued law at the
University of Utrecht in the mid-1940s, but
insistent memories of early museum visits in
Haarlem and Amsterdam led him to change
his field to art history. When I asked him
about his family’s reaction to his choice of
career in a traditionally elite discipline, he
said they had supported it as it was clear he
could teach others about humanistic values
through the medium of art. It was a point of
pride for him, however, that his first article
was published in De Groene Amsterdammer,
one of the oldest progressive journals in the
N
etherlands. Published in 1947, Egbert’s
opinion piece offered a new view of
Rembrandt’s Nightwatch, later the subject
of his eloquent and perhaps best-known
monograph (1982).
Egbert Haverkamp-Begemann
Egbert obtained his master
’s degree
(doctorandus) at the University of Amsterdam
under the mentorship of Professor I.Q.
van Regteren Altena (1899-1980), a well-
regarded scholar who was also director of the
Rijksmuseum print room and an outstanding
collector of old master drawings. Van Regteren
Altena fostered Egbert’s career-long affinity for
drawing and encouraged his work towards a
doctoral dissertation on the prints of Willem
Buytewech, a topic that in the end led him to
J.G. van Gelder (1903-1980) at the University
of Utrecht. Van Gelder shared his curiosity
about the draftsmen and printmakers who
created and disseminated the new imagery of
the early Dutch Republic, focused on local
landscape and middle class and rustic figures.
The dissertation on Buytewech (1958),
awarded with the rare Dutch cum laude
distinction, was one of the first studies to call
attention to the interaction between word and
image in this art, and the ways the texts might
give us purchase on their meaning beyond
their long-praised ‘realism.’ Nevertheless,
the wave of iconographic study of seemingly
secular Dutch themes that inundated the field
from the late 1950s well into the 1980s had
limited interest for Egbert, who always felt this
art was too nuanced and rich to be decoded
with emblematic precision. He preferred
careful, sustained looking at paintings,
drawings, and prints as objects made by
particular artists with specific techniques, and
favored a broader horizon of interpretation
that would allow for multiple ‘associations’
viewers might derive from works of art.
Indeed, Egbert’s scholarly contributions
were rigorously focused on the study of
the works of individual artists in particular
media. In 1950, soon after completing his
master’s studies, he had become curator of
prints and drawings, and later also paintings,
at the Museum Boijmans Van Beuningen
in Rotterdam. His exhibition catalogue of
oil sketches of Peter Paul Rubens (1953)
is an authoritative and highly sensitive
account of the forms and functions of these
innovative works. Egbert thought Julius
Held’s magisterial catalogue raisonné of
Rubens sketches of 1980 had surpassed his
publication, but his insights of 1953 remain
of critical value. A growing reputation built on
excellent catalogues of Rembrandt drawings
and the prints of Hercules Segers brought him
to the United States in 1959, for a year split
between the Institute for Advanced Study
in Princeton, where he worked closely with
Erwin Panofsky, and Harvard University,
where Svetlana Alpers briefly studied with
him. Egbert eventually encouraged her to
contribute the volume on the Torre de la
Parada to the Corpus Rubenianum Ludwig
B
urchard. His own Corpus volume dedicated
to Rubens’s Achilles Series came out in 1975.
The year in the US was piv
otal. In 1960
he went to Yale University, first as curator of
drawings and prints at the Yale University
Art Gallery. He soon became a professor in
the department of art history and eventually
15
continued on page 17
its chair. At Yale he collaborated closely
with scholars of vastly differing academic
persuasion, from George Kubler, with whom
he co-taught methods, to John Michael
Montias, the scholar of eastern European
economies who was to become a great archival
historian of Vermeer. In 1978 the Institute
of Fine Arts, recruited him to become John
Langeloth Loeb Professor. In New York he
served for several years as curator of 17th-
century Dutch and Flemish paintings at
The Metropolitan Museum of Art, where he
launched the ambitious project of cataloguing
the Dutch collection, a project that would be
completed by Walter Liedtke.
The genre of the catalogue was of great
historical and professional interest to Egbert,
and he developed a well-honed perspective
on what made for a thorough, precise, and
engaging collection or exhibition catalogue
that might outlive the next few art historical
fads. His catalogues raisonnés of Buytewech
and Hercules Segers (1973) as well as his many
exhibition catalogues have certainly met that
test. His inspired Creative Copies: Interpretative
Dr
awings from Michelangelo to Picasso (1988),
co-authored with Carolyn Logan, showed his
keen alertness to what artists see in the work
of others, often across dozens or hundreds
of years. He was a diplomatic, incisive, and
effective editor of one of the finest collection
catalogue projects of the past fifty years, the
scholarly catalogue of the Robert Lehman
Collection at the Metropolitan Museum
of Art, an initiative spanning fourteen
meticulously produced volumes by multiple
expert authors. Many Institute students were
fortunate to serve as research assistants to the
project, brought to completion in 2012.
At
Yale and at the Institute, Egbert was
a beloved, legendary advisor to dozens of
PhD students both in and outside his field.
He stood out for his generous mentorship,
genuine interest in the scholarly training
of new generations of students, and active
creation of opportunities for his students
to contribute to publications, exhibitions,
and conferences. He imbued in his students
a sweeping sense of the history of the
discipline and the study of Netherlandish
art. His primary means for doing so was
his Wunderkammer of a library, kept in
perpetual motion by a three-layered shelving
system that revealed treasure behind treasure.
Its organization had the twin virtues of
Dewey-like rationality and Warburgian
serendipity. To the left of the window was
the History of Art History. Down the wall
were the compendia on Dutch art and their
equivalents for Flemish art. Catalogues
were organized by cities, and within each
town museum catalogues were followed by
exhibition publications, the rarest ephemera
among them. Artists lined up alphabetically,
but Rembrandt and Rubens were just too
big and got their own wall-length shelves
of honor. You’d open almost any book
and a yellowed review or two—the source
meticulously recorded—would drift out. My
favorite section held the archival boxes of
offprints by art historians whom one could
only dream to have known personally, and
along with them a storehouse of biographies
and obituaries of art historians. The library’s
emphasis on the discipline’s past was
rigorously balanced by Egbert’s incessant
acquisitions of the most recent monographs
and catalogues in the history of European
art and culture, dozens of which would be
piled precariously on coffee tables, library
carts, and even on the fine Chinese carpet
underneath the giant wooden desk.
Egbert maintained a full schedule of
teaching, but it is fair to say that his greatest
achievements as a teacher were not in seminars
or lectures but in the informal classroom:
the museum, the exhibition, or his library,
the private collection, the dealer’s gallery,
the conservation lab. Egbert insisted that
we attend to the works of art turned up and
circulated in the trade, and the expertise that
lived there, and that we talk to conservators
and conservation scientists, whose
contributions to art history he valued before
many of his colleagues could see the point. He
traveled frequently with his classes, both in
the US and abroad. All of these visits and trips
were sources of unending life lessons:
How to date a letter: arabic numeral for
the day-slash-small roman numeral for the
month-slash-arabic numeral for the year.
Always put such a date on the front page of
any publication you acquire.
How not to breathe over an old master
drawing.
How Rembrandt drew a face.
Why Meder’s Handzeichnung is still the thing
to read if you want to get into drawings.
How to pronounce vichyssoise.
Why you should never assume you cannot
read an exhibition catalogue in Ukrainian.
Why taking trains gives you a better view of
the Netherlands than taking cars.
Why you should never ask a busy professor or
curator a question to which you can easily find
the answer.
And so on.
Egbert had an intuitive, usually plausible
understanding of what motivated the artists
he studied or just admired. Of all of them,
Rembrandt intrigued him most. While he was
not blind to the man’s personal and business
failings, he was beguiled by Rembrandt’s
ability to condense complex narratives into
deceptively simple human interactions. He
wrote and thought deeply about Rembrandt’s
pedagogy, and what he said about Rembrandt
as a teacher would apply equally to him: he
was a great teacher because he allowed his
students to develop after their own interests,
and after they left his entourage they all did
their own thing, and very successfully. Egbert’s
many students hold significant positions
all over the institutions he valued for what
they contributed to knowledge: universities,
colleges, research institutes, museums,
galleries, journals, and auction houses. Twice
they honored their teacher by gathering
the enormous range of their research in
publications—a festschrift in 1983, edited by
Anne-Marie Logan, and a special issue of the
Journal of Historians of Netherlandish Art
16
Remembering Marjorie Susan Venit (1941 – 2017)
Linda Roccos, PhD ’86
Marjorie Susan Venit
Marjorie Susan Venit received her PhD from
the Institute of Fine Arts in 1982 and went
on to teach at the University of Maryland
until she retired in 2014.
Here are memories from some of her
Institute Friends:
Robert Cohon: I remember first seeing
Marjorie—big hat and thus named
“Kapelou” at the local Greek diner. She was
passionate about art. Her hand tensed, she
would point to—no, jab at—the cloth of a
Greek sculpture: “You see the folds, you see
the way they hang, the curve here, the edge
there.” “I’ve got to get a date for this stele...I
mean within a decade. I HAVE to connect
this to Praxiteles. He was making these, YES!!
for sure he was.” Marjorie brought New York
energy and joy—yes, joy—to art. And her
passion for art was matched only by her keen
understanding of line and form, the songs the
sculptures sang to her. When she spoke, you
had to get on board, you wanted to get there
with her. Heaven knows, I miss her.
Laura Gadbery: Marjorie was among the
very first people I met at the IFA and what
an impression she made: sitting at the end
table in the Ancient Reading Room, wearing
one of her signature hats, surrounded by
books, intensively studying, and barely
acknowledging fresh-faced newbies like
me. Despite this quirky beginning, we
soon became friends. The times we traveled
together still make me laugh, and I remain
very grateful for her guidance at the Mendes
excavations in Egypt. Oh, how I miss her!
Minna M. Lee: I met Marjorie in Athens
at the American School of Classical Studies.
Together, after a harrowing taxi ride, we
attended the presentation of an honorary
degree to Professor Evelyn Harrison at the
University of Athens, and afterwards much of
our conversations centered around our shared
history of being “Miss Harrison students.”
After Marjorie retired, we spent more time
together in the City, and when I visited my
family in the Washington DC area, I would
visit Marjorie as well. I am so grateful for the
time we had these last few years. It has been
a special privilege to be a part of the Friends
of Marjorie group and to celebrate her love of
scholarship and her inimitable joie de vivre.
Andrew K. Y. Leung: Marjorie was not only
a good friend, but also an important mentor
and mother figure in my life. We met in
her art history survey course when I was an
undergraduate student at the University of
Maryland. I was so taken by her teaching
and the subject that I switched my major
from engineering to art history before that
semester was over. She insisted that I apply
to the Institute to continue my graduate
work. For more than three decades, she
had taken me under her wing and we were
like family. When possible, we would go
visiting Classical sites, museums, and carpet
shopping together, and it was always so much
fun. Knowing her has added a lot of joy and
color in my life. She was my Auntie Mame,
and I love her for it. Thank you, Marjorie! I
miss you a lot.
Mary B. Moore: These are the courses
Marjorie took with me: 1973: UG Greek Art;
1974: Grad. Roman Art and Grad. Archaic
Seminar. Then she went on to the Institute.
I kept in touch with her over the years. We
would have lunch or dinner when she visited
NYC, and the last time was the previous
May at the Met. We kept in touch via email,
though not regularly. She was one of the
best students I had at Hunter, though her
true interest was Archaeology and she took
a lot of courses with Claireve Grandjouan.
I supported Marjorie’s application to the
Institute, and she did very well there.
Linda Jones Roccos: I met Marjorie in 1974
when we both took Prof. Moore’s Hunter
College seminar on Archaic Greek Art. At
the same time we audited Prof. Grandjouan’s
archaeology courses. We were fortunate to
learn two sides of the coin as it were, art and
archaeology. When I came to the Institute
two years after her, we soon became fast
friends, taking courses with the “Two Hs,”
Prof. Harrison and Prof. Hansen. We often
traveled to museums and sites in Greece
and Italy for my research needs and her site
photography pursuits. What a great travel
companion she was, always upbeat and
imperturbable!
Katherine A. Schwab: Marjorie had a robust
sense of humor, finding the absurd as well as
the downright hilarious in many instances.
Her laughter was legend. Even when she
learned of her cancer, she exclaimed, “it is
not my fault.” A small group of us, including
Marjorie, organized a symposium in memory
of Evelyn Harrison. Exchanges via email
quickly led to choice words and good humor.
As she remarked, “well, you welcomed
feedback!” Of course, her discerning eye
made a big (and welcome) difference.
Alan Shapiro: Two moments come to mind
when I think of Marjorie. First is the day
in September, 1975, when we met in the
seminar of Dietrich von Bothmer at the Met.
I was the outsider in a group of Institute
students, coming up from Princeton, and
Marjorie welcomed us with curiosity and
warmth. She was not intimidated like the rest
17
Egbert Haverkamp-Begemann CONTINUED
in 2013, edited by Institute alumnae
Jacquelyn Coutré, Stephanie Dickey, and
Nadine Orenstein.
Among the many things Egbert and I
shared was our birthday, a fact he let drop
casually when he phoned me to say the
Institute would admit me. Over the years
we celebrated March 6th over lunch—sole
meunière with buttery new potatoes if we
could get it. He would usually give me a
book from his library on an art historical
topic he knew would interest me. In 2016, he
changed the routine, and gave me his well-
read copy of De Tocqueville’s Democracy in
America, inscribed with an elegant reference
to our shared Dutch and American histories.
The primary season was well under way, and
he wanted to talk about the future of our
democratic institutions and his enduring belief
that they could weather the divisiveness that
alarmed him. Of all the many lessons I heard
him convey with passion and precision, it may
be the one I will savor most.
of us, and even brought a touch of humor
to the seminar
. The second occasion was in
1977, when we tagged along to hear Eve
Harrison take the American School Summer
Session through the old Acropolis Museum.
After four hours, all the students were on the
floor, Eve was still going strong, and Marjorie
and I just looked at each other, knowing we
had just shared an experience we would never
forget.
Vicki Solia: She was “Miss Marga” to
the Egyptians at Mendes, the NYU
archaeological site where Marjorie worked in
1978, 1979 and 1980. I came to know her,
a meticulous field archaeologist, excellent
draftswoman, brilliant photographer. She
had a fun, lighter side too. Once she had
everyone laughing over a limestone flake
upon which she had painted a coat of arms
for “Spa Mendes 1979” with a swag of TP, fly
swatters, alarm clock set to 3:30 am, a prized
7-Up bottle, a heap of sherds and Marjorie’s
own motto: IN SHAQF VERITAS. When
I last visited Marjorie in May 2017 we
spent an afternoon looking through albums.
She was so pleased to see the photo of
her “Spa Mendes” plaque which she had
almost forgotten. It felt like our friendship
beginning and ending at Mendes had come
full circle.
More information about Marjorie’s
accomplishments is available at:
https://arthistory.umd.edu/marjorie-venit-
professor-emerita-1941-2017
Help Save the Institute’s History
In 2032, the Institute of Fine Arts will celebrate its centennial. In preparation for this anniversary, the Alumni
Association’s Committee on the History of the Institute of Fine Arts is working to locate materials on both the
teaching of art history and student life at the Institute. It is also conducting an oral history interview project.
Let us know if you would like to be interviewed about your years at the Institute and/or you have in your possession
or know the location of photos, syllabi, class notes, slide lists, audiotapes of lectures, and other materials.
Please send this information to Rebecca Rushfield ’80 at [email protected]
18
The Year in Pictures
NYU Alumni Lecture by Matthew Israel, October 12, 2017
Photo credits: Louisa Raitt
Enrique Foster Gittes, alumna Lois Severini, Institute Director Christine
Poggi, and Susana Montanes-Lieras
Matthew Israel delivering his lecture
Alison Tufano, Emily Shoyer, Hongzheng Han Matthew Israel at reception Lecture Hall
Alumni Careers Panel, April 26, 2018
Photo credits: Haley Pierce
Students listening to panel Moderator Sanya Mirpuri with Panelist
Louisa Wood Ruby, PhD ’97
Panelists Marc Hajjar, MA ’15 and Moderator Sanya Mirpuri
talking to Kathryn Falato and Sarah Higby, Institute
Development and Public Affairs Office
19
New Alumni Toast, May 14, 2018
Photo credits: Nita Lee Roberts
Institute Deputy Director Edward J. Sullivan speaking to New Alumni Alumni Association Board President Jennifer Eskin toasting New Alumni
Professor Thomas Crow speaking with Jeffrey
Fraiman and alumna Lindsay Ganter
Alumnae Megan DiNoia and Louisa Raitt with
Louisa’s mother, Michelle Raitt (center)
Alumna Naomi Miller and Professor Robert Maxwell
Moderator Sanya Mirpuri with Panelists Jessica Pace, MA/Conservation
Certificate ’12, Louisa Wood Ruby, PhD ’97, Adam Glick, MA ’09, and
Marc Hajjar, MA ’15
Panelists Jessica Pace, MA/Conservation Certificate ’12,
Adam Glick, MA ’09, and Marc Hajjar, MA ’15
20
Faculty Updates
Jonathan Brown
Carroll and Milton Petrie Professor of Fine Arts
Publications: “ e M
any Facets of El
Greco,” inEl Greco Comes to America (2017);
“Francisco de Zurbaran, Master Painter of Seville,”
inZurbaran. Jacob and His Twelve Sons (2018).
News: Retired August 31, 2017. Co-curator,
with Clara Bargellini and Ronda Kasl, “Cristobal
Villalpando, Mexican Painter of the Baroque,” New
York, 2017.
Jean-Louis Cohen
Sheldon H. Solow Professor in the History of
Architecture
Publications: L’Architecture entre pratique et
connaissance scientique, ed. (2018);
Zevi’s Architects: History and Counter-History of
Italian Architecture 1944-2000. ed. with Pippo
Ciorra (2018); Architecture de l’avant-garde russe:
Dessins de la collection Serguéï Tchoban (2017);
“Zevi sotto Zevi; Zevi under Zevi,” in Gli
architetti di Zevi (2018); “Berber Brutalism and
the Grammar of Reconstruction: Conversation
with Yto Barrada,” in Yto Barrada (2018); “Le
Corbusier’s Architectural Oeuvre, or Surprise as
a Strategy,” in
Le Corbusier, the Paths of Creation
(2017); “A Lost Vanguard Discovered,” inPapers
and Concrete: Modern Architecture in Korea 1987-
1997 (2017); “Verso una storia transurbana
delle città,” in Historia Rerum: Scritti in onore di
Benedetto Gravagnuolo (2017); Conversation with
Elisabeth Essaïan, in Lina Bo Bardi: Enseignements
partagés (2017); “L’encyclopédie et le palimpseste,”
in Laboratoire d’Europe: Strasbourg 1880-1930
(2017); “
‘Mise au Point’: e Political Aects of Le
Corbusier,” in
La Recherche patiente: Le Corbusier,
cinquenta años después - Fifty Years Later (2017);
“Ornement et vertu,” in Ravage, illustre inconnu
(2017); “L’habitat temporaire, une recherche
permanente,” in Habiter le temporaire: La nouvelle
maison des jours meilleurs (2017); “Lissitzky’s
‘Amerikanizm’,” in Imagine Moscow: Architecture,
Propaganda, Revolution (2017); “Le Corbusier après
Le Corbusier: De l’inachevé à l’inconstructible,” in
Le Corbusier: L’œuvre à l’épreuve de sa restauration
(2017); “Frank Gehry: Studio e residenza Danziger.
Los Angeles, 1964-1965,” Domus (2018); “Hubert
Damisch: Noah’s Ark: Essays on Architecture,”
Journal of the Society of Architectural Historians
(2017); “Micro e macrostoria di un recupero,”
L’Indice (2017); “Frank Gehry in Malibu: e
Ron Davis Studio and Residence,” Cahiers d’Art
(2016-17); Architecture, Modernité, Modernisation
(2017); Paris-Londres, ed. with Dana Arnold
(2016); “Lissitzky’s ‘Amerikanizm’,” in Imagine
Moscow: Architecture, Propaganda, Revolution
(2017); “Ordre et destin de la villa urbaine,” in
Atelier Kempe ill: Villa urbaine (2017);“Le ‘Grand
Paris’ et l’urbanisme des métropoles modernes,”
in Aux origines du Grand Paris: 130 ans d’histoire
(2016); “Amérique/Europe: Le transfert à l’œuvre,”
in Hubert Damisch:L’art au travail (2016); “W
comme Wunderkind,” in Kagan Architectures 1986-
2016 (2016); “Afterwords, or the Encyclopedic
Temptation,” in Lexicon n. 1. On the Role of
the Architect (2016); “Ginsburger, Roger” and
“Le Corbusier,” in Akteure des Neuen Frankfurt:
Biograen aus Architektur, Politik und Kultur
(2016);“Un internationalisme toujours critique,”
in Les Universalistes: 50 ans d’architecture portugaise
(2016); “Auschwitz, miejsce wielopzemysłowe,”
Autoportret (2017); “Retour d’Amérique: Pages
d’écriture russes,” Europe (2017); “Il progetto di
architettura e la scuola,” Architettura civile (2016);
“Anatomia del libro di architettura,” Domus (2016);
“La maison atelier de Jean Lurçat,” La Lettre de
l’Académie des Beaux-Arts (2016); “Architecture
without capital letters,” Álvaro Siza 1995-2016, AV
Monografías (2016); “Nouveaux réacs, vieux réacs et
ignorants de toujours,” d’Architectures (2016).
Special Lectures: “Cities’ Futures: Seven
Questions” and conclusive address,
Habiter
l’Afrique: Le futur des possibles,
Ben Guerir, 2018;
“La ‘révolution urbaine’ et le précédent soviétique,”
Paris, 2018; “Le futur des villes,” Moscow,
2017; “Paris to New York: A Tale of (Planning)
Two Cities,” New York, 2017; Introduction
and moderation, Secret Zones: Communicating
Knowledge through Invisible Terrain, Zurich, 2017;
“Wright on the European Scene: Observation
and Instrumentalization,” New York, 2017; “e
Cold War City: Functionality or Community?”
Berlin, 2017; “Figures of the Architext,” Canberra,
2017; Introductory statement, Architecture and
Wars: Forms of Destructions and Constructions in
War Zones, Zurich, 2017; “Subverting the Façade:
Paris Architecture between Haussmann and
Radical Modernism,” Princeton, 2018; “Modern
Architecture and Automobile Culture,” Moscow,
2018; “Becoming Frank Gehry,” Zurich, 2017;
“e Complete Works of Le Corbusier and Pierre
Jeanneret,” Cologne, 2017; “L’architecture des
avant-gardes russes, de Moscou à Paris,” Paris,
2017; “Les aventures de Le Corbusier en Union
Soviétique,” Saint Petersburg, 2017; “Building
a New New World: Americanizm in Russian
Architecture and Urban Design,” Chicago and
Austin, 2017; “Frank Gehry et la réinvention
de l’architecture depuis 1970,” Rouen, 2017;
“Planning and Designing Greater Paris in the
21
st
Century,” Melbourne and Sydney, 2017;
“Le Corbusier’s Politics, between Cynicism and
Naiveté,” Auckland, 2017, Conversation with
Frank Gehry, Paris, 2017; “Frank Gehry et la
France,” Fontainebleau, 2017; “La métropole
new-yorkaise, ou la région introuvable,” Geneva,
2017. “A Reactionary Modernization? Architecture
in Vichy France (1940-44),” Irvine, 2017; Paper,
Autorités de l’histoire de l’art, Paris, 2016; “Le
Front Populaire de Le Corbusier,” Paris, 2016;
“Les envois de Rome et l’invention de l’urbanisme
en France au début du XXe siècle,” Paris, 2016;
“Krise als Strategie – Ängste in der Architektur seit
1950,” keynote, Vienna, 2016; “Opus 2: Robert
Venturi’s Metamorphosis of Horace Trumbauer’s
Duke House,” New York, 2016; “1966: Trois
livres qui ébranlèrent la culture architecturale,”
Moscow, 2016; “L’École des Beaux-Arts, de Paris
à Marseille et à la Prusse orientale,” Paris, 2016;
“At the Crossroads: Perspectives and Impasses of
Architectural History,” keynote, Dublin, 2016;
Conclusive keynote address, Du potentiel des
grandes structures urbaines abandonnées, Montréal,
2016; “Pereira and UCI: e Global Perspective,”
Irvine, 2016; “Villes imaginaires entre le papier
et l’espace,” Paris, 2016; “Autour de la notion de
‘mémoire collective’ de Maurice Halbwachs, et son
appropriation par les urbanistes et architectes,”
Paris, 2016; “Architektur in Uniform. Planen und
Bauen für den Zweiten Weltkrieg,” Frankfurt/
Main, 2016; “La Seconde Guerre mondiale, ou
le grand recyclage,” Lille, 2017; “Frank Gehry,
dai schizzi all’oleograa,” Turin, 2017; “Memory
Erased/Regained: Marseille at War,” Rome, 2017;
“L’invenzione di Frank Gehry,” Rome, 2017; “Les
lectures de Frank Lloyd Wright, de l’Atlantique à
l’Oural,” Paris, 2017; “Le Grand Paris en projet,
2007-2016,” Astana, 2016; “La ville du futur:
un brève historique,” Astana and Almaty, 2016;
“Le Corbusier et le paysage,” Almaty, 2016; “Le
patrimoine moderne: aperçus Est-Ouest,” Almaty,
2016; “Le Corbusier: Aventures à Moscou,”
Chymkent, 2016; “Architetti e politici: alleanze
e malintesi,” Mantua, 2016; “Architecture in
Uniform: War as a Creative Force,” Daejeon, 2016;
“Architectural Imagination, from the Primitive Hut
to Modern Housing,” Seoul, 2016; “e Art of
Zigzag: Le Corbusier’s Politics,” Cambridge, MA,
2016; “Architecture entre France et Italie: Trente
ans après,” Nancy, 2016.
R
ecent Honors and Awards: Ocer in the Order
of the Arts & Letters, Paris, 2016.
Borromini Chair
,
Accademia di Architettura,
Università della Svizzera italiana, 2016-17.
N
ews: exhibition,
Architecture de l’avant-garde
russe, dessins de la collection Serguéi Tchoban, École
nationale supérieure des Beaux-Arts,
Paris, October
2017-February 2018; exhibition, Zevi’s Architects:
History and Counter-History of Italian Architecture
1944-2000, Rome, MAXXI, May-September 2018,
with Pippo Ciorra.
omas C
row
Rosalie Solow Professor of Modern Art
Publications: Restoration: e Fall of Napoleon in
the Course of European Art (2018); “e Picture
of Allen Ruppersberg as a Young Man,” in Allen
Ruppersberg: Intellectual Property 1968-2018
(2018); “Art by the Many: London Style Cults of
the1960s,” British Art Studies (2017); “e Roots
21
of Mike Kelley’s Realism: Subterranean Homesick
Blues,” in Art as Worldmaking: Essays in Honour of
Alexander Potts (2018).
Special Lectures: “Modern Time, Classical Time
and Cosmic Time in the Progr
ess of éodore
Géricault,” Houston and Claremont, 2017; “From
Iggy Pop to Sun Ra; e Musical Poles of Mike
Kelley’s Later Career,” Los Angeles, 2017.
Recent Honors and Awards: “omas Crow: No
Idols,” Hammer Museum UCLA, Los Angeles,
conversation with Steven Nelson about my 2017
book No Idols: e Missing eology of Art, 2017.
Colin Eisler
Robert Lehman Professor of Fine Arts
Publications: “Where’s Willibald? A Bittersweet
NYU Institute of Fine Arts interlude 1963-1965,”
Journal of Art Historiography (2017).
Current Research: Presently I am preparing
a memoir of Charles Seymour Jr. forthe Yale
University Art Bulletin and another on “Scully at
Yale” for the Yale Alumni Magazine, along with
essays on the joint role played by Henry Geldzahler
and David Hockney during the AIDS crisis and on
the early years of Aby Warburg.
Margaret Holben Ellis
Chair, Eugene aw
P
rofessor of Paper
Conservation
P
ublications: “Environment
and the Care of Prints
and Drawings” (2017);
“D
rawing for Printing:
An Expanded Fabrication
Narrative for Dürer’s Adam
and Eve of 1504,” Master
Drawings (2017); “e Application of Automated
Chain Line Pattern (CLiP) Matching to Identify
Paper Mouldmate Candidates in Rembrandt’s
Prints,” co-author, in New Directions in the Study of
Rembrandt and his Circle (2017); e Care of Prints
and Drawings (Revised Edition) (2017); “Myth and
Manipulation: Deconstructing and Reconstructing
Dubuet’s Imprints and their Assemblages,” with
Lindsey Tyne, in Drawings of Dubuet (2016);
“Perilous Message, Precarious Medium – e Pastel
Drawings of Lucas Samaras,” with Lindsey Tyne, in
Dreams in Dust: the Pastels of Lucas Samaras (2016);
“Searching for Paper Moldmates among Rembrandt
Prints,” co-author, in IEEE Signal Processing
Magazine: Art Investigation (2015).
Special Lectures: “e Computational Analysis of
Watermarks - Setting the Stage,” New York, 2018;
“Now You See It, Now You Don’t – Documenting
Day-Glo,” Los Angeles, 2018; “Studies in Technical
and Computational Connoisseurship: Dürer and
Rembrandt,” Wilmington, 2017; “Computational
Connoisseurship of Rembrandt’s Papers,” Ithaca,
2017; “Real Fake: e Rise and Fall of Art
Scammers,” New York, 2017; “Applying Measures
of Texture Similarity to Wove Paper,” San Francisco,
2016; “Dubuet Drawings Study Day,” New
York, 2016; “Paper Is Part of the Picture,” New
York, 2016; “e Bionic Drawings Connoisseur or
How Scientic Tools Can Enhance Looking,” Los
Angeles, 2015; “e Use of Automated Chain Line
Pattern Matching to Identify Moldmates among
Rembrandt’s Prints,” Amsterdam, 2015; “Paper Is
Part of the Picture,” Düren, 2015.
Recent Honors & Awards: Getty Conservation
Institute Guest Scholar Residency, Los Angeles,
2015.
C
urrent Research: Computational Analysis of
Paper Structure.
News: As the current President of the American
Institute for Conservation of Historic and Artistic
Works, I advocate for the conservation of cultural
heritage and the qualications of our 3300+
members.
Finbarr Barry Flood
William R. Kenan Jr. Professor of the Humanities,
Institute of Fine Arts and College of Arts and
Sciences
Publications: A Companion to Islamic Art
and Architecture, ed. (2017); “Frameworks of
Islamic Art and Architectural History: Concepts,
Approaches, and Historiographies,” with Gülru
Necipoğlu, in A Companion to Islamic Art and
Architecture (2017);“Picasso the Muslim or How
the Bilderverbot became Modern (Part 1),” Res:
Anthropology and Aesthetics (2017); “A Turk in
the Dukhang? Comparative Perspectives on Elite
Dress in Medieval Ladakh and the Caucasus,”
in Interaction in the Himalayas and Central Asia:
Processes of Transfer, Translation and Transformation
in Art, Archaeology, Religion and Polity (2017); “Idol
Breaking as Image Making in the ‘Islamic State’,”
Religion and Society: Advances in Research (2016);
“Eclecticism and Regionalism: e Gwalior Qur’an
and the Ghurid Legacy to Post-Mongol Art,” in
Le coran de Gwalior: Polysémie d’un manuscript
à peintur
es (2016); “‘God’s Wonder’: Marble as
Medium and the Natural Image in Mosques and
Modernism,” West 86th: A Journal of Decorative
Arts, Design History, and Material Culture (2016);
“e Flaw in the Carpet: Disjunctive Continuities
and Riegl’s Arabesque,” in Histories of Ornament:
From Global to Local (2016); foreword, India in Art
in Ireland (2016); “Animal, Vegetal and Mineral:
Ambiguity and Ecacy in the Nishapur Wall-
Paintings,” Representations (2016); “Staging Traces
of Histories Not Easily Disavowed,” in Walid Raad
(2015); foreword, Mosque Manifesto: Propositions
for Spaces of Coexistence (2015); “Idea and Idiom:
Knowledge as Praxis in South Asian and Islamic
Architecture,” Ars Orientalis (2015).
Special Lectur
es: Keynote, Medieval Academy of
America Annual Meeting, Atlanta, 2018;
keynote, E
mpires of Faith: Shaping Art in Religions
of Late Antiquity c. AD 200-800, Oxford,
2018; “Globalism Before Europe? Arabia, India
and the Architecture of Medieval Ethiopia,”
Cambridge, MA, 2017;“Turning Turk? Elite Dress
and Islamic Textiles in Medieval Georgia,” Bern,
2017, “Islamic Textiles from Medieval Svaneti,”
Svaneti, Republic of Georgia, 2017; “In Search of
Ephemera: Prophetic Sandals, Popular Prints, and
Transtemporal Flows,” keynote, Popular Cultures
of the Middle East and North Africa, Tbilisi, 2017;
“e Relic as Image: Prophet Aura in an Age of
Technological Reproducibility,” London, 2017;
“Islam’s ‘Image Problem’: A European History,”
Milan, 2017; “Not at Home? Object Lessons
from Anomaly,” keynote, San Francisco, 2017;
“Amplifying Aura? e Prophetic Sandal in
the Ages of Its Technological Reproducibility,”
Portland, OR, 2017; “From the Champs-Élysées to
Cairo:Jacquemart’s Lions and Iconoclasm as Anti-
Colonialism,” Paris, 2017; “Architecture as Archive:
Indian and Islamic Connections in Medieval
Ethiopian Architecture,” London, 2017; “Does
Islam Have an ‘Image Problem’?” Mumbai, 2017;
“Turning Turk? Islamic Textiles and Islamicate
Dress in Medieval Georgia and Ladakh,” with
Irina Koshoridze, Mumbai, 2017; “A Forgotten
Cosmopolis: Art and Identity in ‘Arab’ Sind (800-
1000),” Karachi, 2017; “European Moments in the
Making of Islam’s ‘Image Problem,’” New York,
2016; “Images Incomplete: Prescriptive Piety as
Material Practice in Islamic Art,” keynote, London,
2016; “European Moments in the Making of
Islam’s ‘Image Problem,” Berkeley and Berlin, 2016;
“Islam and Image: Beyond the Bilderverbot,” Basel,
2016; “Wrapping the Cross in Arabic: e Social
Function of Islamic Textiles in Medieval Georgia,”
with Irina Koshoridze, Tbilisi, 2016; “Islam, Images
and Iconoclasm,” Budapest, 2016; “Globalism
Before Europe? Arabia and India in the Architecture
of Medieval Ethiopia,” Cambridge, 2016;
“Circulating Baraka: Relics as Images across Eras
of Mechanical Reproduction,” Abu Dhabi, 2016;
“Staging Multiculturalism? Norman Sicily and the
Arts of the Medieval Mediterranean,” Mumbai,
2016; “Seeing Time: Alteration, Cumulation and
the Palimpsest Artwork,” keynote, Istanbul, 2015;
“‘God’s Own Wonder’: Marble and the Natural
Image in Mosques and Modernism,” Basel, 2015;
“Stories of Stone: Self-Made Images in Mosques
and Modernism,” Bergen, 2015; “Faces in Flower:
Redrawing the Figure in Early Modern Islamic
Art,” Dar al-Athar al-Islamiyyah, 2015; “Staging
the World? India and Arabia in the Architecture
of Twelfth Century Ethiopia,” Philadelphia, 2015;
“Sanctied Sandals: Polemics and Relics in an Era
of Technological Reproducibility,” Cambridge, MA,
2015; “Deccani Art Across the Ocean: Hoysalas,
Kadambas, and Medieval Ethiopia,” Mumbai and
Bangalore, 2015; “Horizons: A ematic History
22
Faculty Updates CONTINUED
of Islamic Art,” and “e Trouble with Images:
Aniconism and Iconoclasm in eory and Practice,”
Mumbai, 2015.
Recent Honors and Awards: Founder-director
of the research center Silsila: Center for Material
Histories, New York University, 2017; Slade
Professor of Fine Art, University of Oxford, 2018-
2019; Stephen E. Ostrow Distinguished Visitor in
the Visual Arts, Reed College, Portland, Oregon,
2017; Instructor for a one-week seminar in the
program, From the Miraculous to the Mundane,
Ashkal Alwan, Beirut, 2016; Co-taught the module
“Interrogating the Antique Visual Tradition and
its Legacy,” with Jaś Elsner of Oxford University in
the summer school Globalized Classics, Humboldt
University, Berlin, 2015.
Current Research: Islam and Image: Polemics,
eology and Modernity: A transhistorical
exploration of the ‘prohibition of images’
(Bilderverbot) as a perceived characteristic of Islamic
cultures. Based on both empirical and theoretical
approaches, the book analyses the interrelationships
between proscription, prescription, and artistic
praxis from the time of the Prophet Muhammad
to the present day. e book will be published by
Reaktion Books, London.
Staging the World? Arabia and India in the
Architecture of Twelfth-Century Ethiopia: A
monograph presenting new evidence for previously
unsuspected cultural, diplomatic, and trade
contacts between medieval Ethiopia, India and
Arabia. Based on extensive eldwork in Ethiopia
and south India, the book suggests the existence
of a far-reaching twelfth-century world system,
within which Ethiopia was a nexus between the
Indian Ocean and Mediterranean. It will endeavor
to recongure our notions of early or emergent
globalisms and their cultural impacts in regions that
are usually seen as marginal or peripheral.
Object Histories - Flotsam as Early Globalism: A
monograph co-authored with Professor Beate
Fricke of the University of Bern.
Guenter Kopcke
Avalon Foundation Professor Emeritus in the
Humanities
News: As of September 1, 2017 I am
ProfessorEmeritusand, for a period of two more
years, Adjunct Professor of Fine Arts. I continue
work mainly on Pre Classical or Bronze Age
problems, my main eld of expertise. As Chris
Poggi generously has secured use of my oce for
the next academic year, basics are in place for a
hopeful transition.
Robert Lubar
Associate Professor of Fine Arts; Director, NYU
Madrid
Publications: “Joan Miró: El Espacio de la
Pintura,” in Miró: Una Colección (2018); “Ethics
and Aesthetics: Miró/Artigas,” in Ethics and
Aesthetics: Miró/Artigas, exh. cat.(2018); “e
Materiality of the Sign, 1968 – 1974,” in Miró
Round Trip, exh. cat., Palma de Mallorca (2017);
Joan Miró and Twentieth Century Sculpture, ed. and
introduction (2016); “Joan Miró: Materiality and
Metamorphosis,” in Joan Miró: Materiality and
Metamorphosis, exh. cat. (2016).
Recent Honors and Awards: Patronato (Board
of Trustees), Fundació Joan Miró, Barcelona
(2013-present); Fundació Joan Miró/Universitat
Oberta de Catalunya, Director Cientíc (Research
Director), Càtedra Joan Miró; Director, Grup
d’Investigació International Joan Miró (2014-
2019).
Clemente Marconi
James R. McCredie Professor of Greek Art and
Archaeology and University Professor
Publications: “Contextualizing an Animal Sacrice
in the Foundations of Temple R: A Preliminary
Report of the Institute of Fine Arts NYU
Excavations on the Acropolis of Selinunte (2013–
2015 Campaigns)” co-author, in Mare Internum
(2017); “Un busto in terracotta dalla fronte del
Tempio R di Selinunte,” Sicilia Antiqua (2017);
“Sicile Ancienne:” Hittor and the Architecture of
Classical Sicily (2017); “Mycenaeans and Others
along Western Sicily: A View from Selinunte,”
with Massimo Cultraro, in Hesperos: the Aegean
Seen from the West (2017); “An Attic White-
Ground Lekythos from Temple R at Selinunte,”
Fragmenta Mediterranea: Contatti, tradizioni, e
innovazioni in Grecia, Magna Grecia, Etruria e
Roma: Studi in onore di Christoph Reusser (2017);
“Picasso and the Minotaur: A Chapter in Modern
Mythmaking,” in Picasso: Minotaurs and Matadors
(2017); “e Frames of Greek Painted Pottery,”
in e Frame in Classical Art (2017); “I vasi del
simposio tra rito e mito” and “Il gioco del kottabos
nella Sicilia greca,” Engramma (2017); “Anastilosi
a Selinunte: i primi 200 anni (1779-1977),” in
Selinunte: Restauri dell’Antico (2016); “e Goddess
from Morgantina,” Antike Plastik (2016); “e
Greek West: Temples and their Decoration,” in A
Companion to Greek Architecture (2016); Musicians
in Ancient Coroplastic Art: Iconography, Ritual
Contexts, and Functions (2016); Francesco Vezzoli’s
Teatro Romano (2016); L’alba della colonizzazione:
indagini sull’acropoli di Selinunte (Trapani),”
with Massimo Cultraro, in scavaredocumentare
conservare (2016); “e Archaic Pottery from the
Institute of Fine Arts Excavations in the Main
Urban Sanctuary on the Akropolis of Selinunte,”
with Valeria Tardo and Caterina Trombi, in
Sanctuaries and the Power of Consumption (2015);
“e ‘South Building’ in the Main Urban
Sanctuary of Selinunte: A eatral Structure?”
with David Scahill, in e Architecture of the
Ancient Greek eater (2015); articles, e Oxford
Handbook of Greek and Roman Art and Architecture
(2015); “Pausanias and the Figural Decoration of
Greek Sacred Architecture,” RES: Anthropology and
Aesthetics (2015).
Special Lectures: Discussant, “Colloquium Musical
Instruments as Votive Gifts in the Ancient Greek
World,” Boston, 2018; Organizer, “Workshop
Debating the Boston rone: Authenticity,
Dating, Function & Interpretation,” Boston, 2018;
“Continent or Island? Modern Ways of Looking
at Sicily,” New York, 2017; “e Decoration of
the rone of Apollo at Amyklai: A Comparative
Perspective,” Sparta, 2017; “Gli scavi dell’Institute
of Fine Arts NYU sull’Acropoli di Selinunte,”
Milan, Catania, and Rome, 2016; “Committenze
pubbliche e private in Magna Grecia: problemi di
metodo,” Taranto, 2015; “Gli scavi dell’Institute of
Fine Arts NYU sull’Acropoli di Selinunte,” Rome,
2015; “e Institute of Fine Arts NYU Excavations
on the Akropolis of Selinunte, 2010-2014,” New
Orleans, 2015.
Recent Honors & Awards: Appointment as
Full Professor of Classical Archaeology at the
Università degli Studi di Milano (one of the
prime chairs in Classical Archaeology in Italy),
2017; Corresponding Member, Deutsches
Archaeologisches Institut, 2015.
Current Research: Excavations on the Acropolis of
Selinunte; Volume on the imagery of Archaic Greek
Temples; Volume on the Art and Archaeology of
Greek Sicily.
Michelle Marincola
Sherman Fairchild Distinguished Professor of
Conservation
Special Lectures: “Riemenschneider’s Marienaltar
in Herrgottskirche, Creglingen: A Review of its
Restoration History and the Application of a
New Examination Method,” Rothenburg, 2017;
“Spanish Medieval Polychrome Sculpture in
American Collections: History and Conservation,”
Santiago da Compostela, 2016; “What Does
the Support Tell Us about a Work of Art? e
Construction Method of a Group of Reliquary
Busts,” New York, 2016.
Current Research: Two articles on medieval
sculpture and my book, co-authored with Institute
alumna Lucretia Kargère, are in the nal stages of
preparation.
Robert A. Maxwell
Sherman Fairchild Associate Professor of Fine Arts
Publications: “Le livre-objet entre oralité et
‘literacy’: la memoria du medium dans le monde
juridique à l’époque romane,” inLe livre à l’époque
romane: production, usages et représentations
(2017); “e Romanesque Style Capital of
23
the Holma Collection,” in Kauneus, Arvo ja
Kadonnut Menneisyys. Näkökulmia Klaus Holman
muistokokoelmaan (2017).
Awards and Honors: Visiting Professor, Université
de Montpellier (November, 2017)
News: Membercomité scientique, Musée national
du Moyen Age (Paris), exhibition La première
sculpture gothique en Ile-de-France, 2017-18.
Mia Mochizuki
Associate Professor of
Art History, Arts and
Humanities
Publications: Inspired: Essays
in Honor of Susan Donahue,
co-ed. Kuretsky, co-ed.
(2018); “Hercules Segers
and the Image to Come,”
in Inspired: Essays in Honor
of Susan Donahue Kuretsky
(2018); e Nomadic Object: e Challenge of World
for Early Modern Religious Art, Co-ed.(2018);
“Connected Worlds—e World, the Worldly,
and the Otherworldly: An Introduction,” in e
Nomadic Object: e Challenge of World for Early
Modern Religious Art(2018).
Dianne Dwyer Modestini
Conservator of the Kress Program in Paintings
Conservation
Publications: Masterpieces. Based on a manuscript
by Modestini (2018); Capolavori. Basato su
un manoscritto di Mario Modestini, (2018);
“eSalvator Mundiby Leonardo da Vinci in the
Context of Recent Research”, inLeonardo da Vinci:
Salvator Mundi (2017).
Special Lectures: “Conserving the Kress
Collection,” Allentown, 2015; “e Kress
Collection,” New York, 2015; “e Kress
Collection at Bucknell, the Cook Collection and
Leonardo’s Salvator Mundi,” Lewisburg, 2017; “e
History of the Conservation of the Kress Collection
and New Research on Leonardo da Vinci’s Salvator
Mundi,” Bualo, 2018.
Honors and Awards: Honorary Doctor of
Humanities, Faireld University, Faireld, CT,
2016.
Current Research: Early alterations to Leonardo’s
Salvator Mundi in France and England prior to
1762, and the relationship of the painting to its
copies; Materials, technique and dating of Virgin
and Child with Saint John by an associate of
Michelangelo.
Philippe de Montebello
Fiske Kimball Professor in the History and Culture
of Museums
Special Lectures: “Celebrating a Great Collector
and his Domaine: e Duke d’Aumale and the Art
Collections at Chantilly,” New York, 2018; “e
Zurbarans at Auckland Castle,” New York, 2018;
“e Frick and the History of Collecting,” New
York, 2018; “A Conversation with Philippe de
Montebello and Miguel Falomir,” Madrid, 2017;
“Museums, Whence and Whither,” New York,
2018.
Alexander Nagel
Professor of Fine Arts
Publications: “On Demand: On Reclaiming Art/
Reshaping Democracy,” Artforum (2017);
“Passages: Xavier Douroux,” Artforum.com
(2017);“Mum,” in exh. cat. Gary Hume: Mum
(2017); “Conversations on the Page,” Times Literary
Supplement (2018).
Special Lectures: “Where is our God? Orientation
in Renaissance Art,” Princeton, 2017;
“‘rough the Slant of Night:’ e Dark Side of the
Earth in the Sixteenth Century,” London, 2018;
“e Centering of Europe,” London and Florence,
2018; “Objects of Amerasian Anthropology in
Early Modern Europe,” Washington DC, 2018;
“e Amerasian Extension in the European
Imaginary, 1492-ca. 1700,” Florence, 2018;
“Where are the Anciennes Indes?” Rome, 2018.
Recent Honors and Awards: Membership:
Princeton Institute for Advanced Study, Fall, 2017;
Visiting Professorship, Villa I Tatti Harvard Center
for Renaissance Studies, Spring, 2018; National
Endowment for the Humanities Collaborative
Fellowship (with Elizabeth Horodowich) for
Amerasia: A Renaissance Discovery, 2016-19.
News: “Fugitive Mirror,” video, 36 min., with
Amelia Saul, commissioned by Dutch Art Institute,
Arnhem and Akademie der Künste der Welt, Co-
logne, in STEALING FROM THE WEST-Cultur-
al Appropriation As PostcolonialRetaliation (https://
dutchartinstitute.eu/page/10331/sunday-october-
22-roaming-assembly-16-mad-tea-party-gonzo-
curating-and-beyo)
Hannelore Roemich
Professor of Conservation Science
Special Lectures: “Outdoor Weathering and
Laboratory Experiments: Conclusions for
Preventive Conservation,” Paris, 2017; “TBM Art
Conservation as a New Specialization within e
MA/MS Degree at the Conservation Center,” New
York, 2018; “Time-based Media Art Conservation
Education Program at NYU: Concept and
Perspectives,” Houston, 2018.
Awards and Honors: Andrew W. Mellon
Foundation, $1.5 million grant for “Time-based
media art conservation education and training.”
News: Organizer, “It’s About Time! Building a New
Discipline: Time-Based Media Art Conservation,”
International Symposium, New York, 2018.
Patricia Rubin
Professor of Fine Arts
Publications: Seen from Behind: Perspective on the
Male Body and Renaissance Art (2018)
Special Lectures: “‘Knowing as Much about Art as
the Cat’: Nineteenth-century Women Writers on
Art,” London, 2017.
Recent Honors and Awards: Member of the
Scientic Advisory Board of the Kunsthistorisches
Institut/Max Planck Gesellschaft, Florence
Robert Slifkin
Associate Professor of Fine Arts
Publications: “Exquisite Corpse,” in Wyatt Kahn:
Object Paintings (2017); “e Wire: On Frank
Heath,” Artforum (2017); “Ladytron,” Art Journal
(2017); “e Empty Room and the End of Man,”
in Experience (2017); “Exceptional Failure,”
American Art (2017); “Christian Marclay’s Real
Time Fiction,” in Comparativism in Art History
(2016); “Methodological Position for a Second
Degree Art History,” in Photography and Doubt
(2016); “Joan Miró and Detrital Monumentalism
in Postwar Sculpture,” in Miro and Twentieth
Century Sculpture (2016); “James Welling at David
Zwirner,” Artforum (2016); “Alan Sonst: Natural
History,” in Alan Sonst: Natural History (2016);
“e Mobile Line,” in Calder and Picasso (2016);
“A Complex Social Life,” in Ari Marcopoulos Not
Yet (2016); “Reality Testing: Photography and/as
Mass Media,” in Photography at MoMA: 1960 until
Now (2015); “Philip Guston’s Modernist Follies,”
in New Perspectives on Philip Guston (2015); “Truly,
Skeptical,” Art Journal (2015).
Special Lectures: “On Dennis Oppenheim’s
Marionette eater,” London, 2018; “Equivalents:
On Aspirational and Paradigmatic Photography,”
New York, 2018; “On Dennis Oppenheim’s
Marionette eater,” Giverny, 2017; “e New
Sense of Fate: Detrital Monumentalism in Postwar
American Sculpture,” Williamstown, 2016;
“Methodological Position for a Second Degree Art
History,” Paris, 2015; “Peter Grippe’s Open Cities:
Detrital Classicism and the Inuence of Rome on
Postwar American Art,” Rome, 2015.
Recent Honors & Awards: Beinecke Fellow, Clark
Art Institute, 2016.
Current Research: My current book project, e
New Monuments and the End of Man: American
Sculpture Between War and Peace, 1945-1975, will
address the history of postwar sculpture in the
United States, and in particular the increasing
importance given to its spatial modes of address,
in terms of the historical context in which such
practices emerged, examining how these artistic
practices and their accompanying discourses
operated within broader cultural ideals and
anxieties, particularly those related to the threat
of nuclear war and the annihilation of the human
race. A third book project will consider the nexus
24
Faculty Updates CONTINUED
of Hollywood cinema, street photography, and
conceptual art through the prism of American
liberalism in the 1970s.
Lowery Stokes Sims
Kirk Varnedoe Visiting Professor, Spring Semester,
2018
Publications: “Something to Say: Black Artists in
Texas Collections” and “e Harmon and Harriet
Kelley Collection in Context,” in Something to
Say: e McNay Presents 100 Years of African
American Art (2018); “Figuring It Out: History
Art and Many Other ings in the Art of Robert
Colescott, Kerry James Marshall, and Mickalene
omas,” in Figuring History: Robert Colescott,
Kerry James Marshall, and Mickalene omas
(2018); Mildred ompson: Radiation Explorations
and Magnetic Fields, co-author (2018); “Synthesis
and Integration in the Work of Howardena
Pindell, 1972-1992: A (re)Consideration,” in
Howardena Pindell: What Remains to be Seen
(2018); “Chronicle of an Installation,” “Harriet’s
Closet” and “Interview with Joyce Jane Scott,” in
Joyce J. Scott: Harriet Tubman and Other Truths
(2018); “Jaune Quick to See Smith: Remapping
the American Narrative,” inJaune Quick to See
Smith: In the Footsteps of my Ancestors (2017);
“Introduction,” and edited interviews in e US/
Mexico Border: Place, Imagination and Possibility,
(2017); “Black, Woman, Abstract Artist,” in
Magnetic Fields: Expanding American Abstraction,
1965 to Today (2017); “Wendell Castle: Here
and ere, en and Now,” in Wendell Castle
Remastered (2015); “Epitaph For a Darling Lady:
A Meditation by Stacy Lynn Waddell” in Stacy
Lynn Waddell: Epitaph for a Darking Lady (2015);
“La modernism postmoderne de Wifredo Lam” in
Wifredo Lam (2015); Commonwealth: Art by African
Americans in the Museum of Fine Arts, Boston,
(2015); “Richard Pousette-Dart’s Drawings in the
1930s: Context and Content,” in the Drawing
Center’s Drawing Papers (2015);“Noah Purifoy: A
Place To Go,” in Noah Purifoy: Junk Dada (2015);
“In Conversation—Stanley Whitney and Lowery
Stokes Sims,” e Studio Museum in Harlem
Magazine (2015); McArthur: Re:Mine, co-author
(2015).
Special Lectures: “From the US Side: e US/
Mexico Border: Place, Imagination and Possibility,”
Albuquerque, 2018; “Restoring the Status of
Drawing in Painting: Drawings in the work of
Wifredo Lam,” Bethlehem, 2017; “Joyce J. Scott:
Chronicle of an Installation,” Hamilton, 2017;
“Modern Heroics in Context: Art by African
Americans in America’s Museums,” Newark,
2017; “Image-Banking: A Life with Art and
Artists,” Lewiston, 2016; “Place, Materials and
Process: Design, Craft and Art in Latin America,”
Albuquerque, 2016; “Commonwealth: Art by
African Americans in the Collection of the MFA,
Boston,” Boston, 2015; “Making It in America:
African Americans and Craft,” Boston, 2015;
“Lois Mailou Jones: From Designer to Artist,”
Washington DC, 2015.
Recent Honors & Awards: Honoree, “Trailblazers:
Women in the Arts,” Brooklyn Museum, 2016;
Distinguished Service to the Visual Arts Award,
ArtTable, 2017; Distinguished Feminist Award,
College Art Association, 2018.
Current Research: e career of the American
painter Robert Colescott.
Edward J. Sullivan
Deputy Director; Helen Gould Sheppard Professor
in the History of Art
Publications: Processing: Paintings and Prints
by Roberto Juarez, exh. cat. (2018); Making
the Americas Modern: Hemispheric Art 1910-
1960(2018);e Americas Revealed: Collecting
Colonial and Modern Latin American Art in the
United States, ed. and introductory essay(2018);
Tangible Ambiguities: Paintings by Julio Larraz, Yohe
Gallery (2018); “Close Encounters with Edouard
Duval-Carrié: A Quarter Century of Friendship
& Collaboration,” in De-Colonizing Renement:
Contemporary Pursuits in the Art of Edouard
Duval-Carrié(2018); “Esteban Lisa: from Margin
to Mainstream,” inEsteban Lisa: e Abstract
Cabinet(2017);“Portuguese Art History: A View
from North America and Observations on the
Portuguese Baroque,”Journal of Art Historiography
(2017); “Francisco Toledo: the 1970s – Creativity
and Consolidation” inFrancisco Toledo (2017).
Special Lectures:“Landscapes and Cityscapes of
the Americas,” Abu Dhabi, 2018; “An Inevitable
Partnership: Art Museums, Libraries and Archives,”
Phoenix, 2018; “Landscapes and Cityscapes
of the Americas, 1910-1960.” Houston, 2018;
“Francisco de Zurbarán: e Colonial Context,
New York, 2018; “Mariano Fortuny en América,”
Madrid, 2018; “Landscapes of Desire: e
Caribbean – Sugar, Enslavement and Colonialism,”
Ithaca, NY, 2018; “Francisco Oller and Maestro
Rafael Cordero: Revising Questions of Black
Identity and Transference in Late colonial Puerto
Rico,” Cambridge, MA, 2018; “Pasión por el
coleccionismo: Mecenazgo norteamericano del arte
laitno-americano, siglos XX, XXI,” Montevideo,
2017; “On Luis Buñuel’s ‘Exterminating Angel’
in a Mexican Context,”New York, 2017; “Samba
as Metaphor: Performativity in Brazilian Art,
1960s-1990s,” keynote, Talahassee, 2017;“Between
Toledo and Buenos Aires: Radical Modernity
and the Mystic Cosmovision of Esteban Lisa
(1895-1983),” New York, 2017; “Esteban Lisa:
El Gabinete Abstracto,” Cuenca, 2017; “Lygia
Pape: Past & Present,” New York, 2017; “Making
the Americas Modern: Images of Nationhood
in the Caribbean and Central America, 1920-
1950,” Boston, 2017; “Philippine Modern Art: A
Historical Perspective,” New York, 2017; “Frida
Kahlo as Subject and Object in Contemporary
Art,” Tucson, 2017.
25
Alumni Updates
1960s ..........................25
1970s ..........................25
1980s ..........................27
1990s ..........................29
2000s ..........................32
2010s ..........................35
1960s
Ruth Butler
PhD 1966
Primary Advisor: H.W. Janson
Mailing Address: 975 Memorial Dr.,
Cambridge, MA 02138
Email Address: [email protected]
Latest Position: Professor, University of
Massachusetts Boston
Publications: Boston’s Bronze Men: Politics and
Public Sculpture, forthcoming.
Victor Koshkin-Youritzin
MA 1967; Certicate in Museum Training 1969
Primary Advisors: José López-Rey and Robert
Rosenblum
Mailing Address: 1721 Oakwood Dr.,
Norman, OK 73069
Email Address: [email protected]
Latest Position: David Ross Boyd Professor,
History of Art, University of Oklahoma
Publications: CIA Calendar Art Oers A Glimpse
into the World of Spies, exh.(2018); “A Tribute to
America’s Combat Artists and Fighting Forces: Art
From the U.S. Navy, Marines and Coast Guard at
the Mabee-Gerrer Museum of Art,” NPR (2016).
Recent Honors & Awards: Endowed scholarship
established in my honor: “e Victor Koshkin-
Youritzin Scholarship in Art History,” School of
Visual Arts, University of Oklahoma, 2016-present.
Additional News: Vice-President, Koussevitzky
Recordings Society, Inc., 1990-present;
Member, Advisory Board of Trustees and Member,
Collections Committee, Mabee-Gerrer Museum of
Art, Shawnee, Oklahoma, 2002-present.
Barbara Michaels
MA 1962
Primary Advisor: Robert Goldwater
Email Address: [email protected]
Latest Position: Independent writer on history of
art and photography
Publications: “Bringing Fiction to Life: Clarence
H. White’s Photographic Illustrations,” in Clarence
H. White and His World: e Art and Craft of
Photography 1895-1925 (2017); “Introducing Sam
Kootz: From University of Virginia Law Student
to ‘New Young Art Critic from the South,’” in
e History and Legacy of Samuel M. Kootz and the
Kootz Gallery (2017).
Lectures: “An Ideal Job: My Five Years at the Kootz
Gallery, 1958-1963,” Charlottesville, 2017.
Upcoming Projects: Continuing to work on book
about the art dealer Samuel M. Kootz.
Merribell Parsons
MA 1967
Primary Advisor: Olga Raggio
Mailing Address: 486 E. Olmos Dr.,
San Antonio, TX 78212
Email Address: [email protected]
Latest Position: Curator of European Art, San
Antonio Museum of Art
Publications: Articles in San Antonio Museum of
Art Newsletter.
Upcoming Projects: Organization of traveling
exhibition e Evolution of Italian Bronze Sculptures.
Additional News: I ocially resigned from
Museum post in October 2017.
Lucy Freeman Sandler
PhD 1964
Primary Advisor: Harry Bober
Mailing Address: 60 East 8th St. #19E,
New York, NY 10003
Email Address: lucy[email protected]
Latest Position: Helen Gould Sheppard Professor
of Art History, Emerita, New York University
Publications: “e Howard Psalter in the British
Library and the Hours of the Passion in Fourteenth
Century English Manuscripts,” in Manuscripts,
Iconography, and the Late Medieval Viewer: Essays in
Honor of Adelaide Bennett Hagens (2017); “Seeing
Red: e Use of ‘Gules’ in the Pictorial Imagery
of Fourteenth-Century English Manuscripts,” in
Manuscripts in the Making: Art and Science (2017);
e Peterborough Psalter (2016); “e Peterborough
Psalter in Brussels,” Friends of Peterborough
Cathedral Journal (2016).
Lectures: “Medieval Pictorial Typology: e
Contribution of England,” New York and London,
2017; “Religious Instruction and Devotional Study:
e Pictorial and the Textual in Gothic Diagrams,”
Jerusalem, 2016; “Seeing Red: e Use of ‘Gules’
in the Pictorial Imagery of Fourteenth-Century
English Manuscripts,” Cambridge, 2016.
Donna Stein
MA 1965
Primary Advisor: Robert Goldwater
Email Address: [email protected]
Latest Position: Deputy Director of e Wende
Museum of the Cold War
Publications: “How a Former Museum of Modern
Art Curator Assembled an International History
of Photography Collection for Iran in the 1970s,”
in e Indigenous Lens: Early Photography in the
Near and Middle East (2018); “Looking Back,” in
Only Human: Judy Dater 1964 to 2016 Portraits
and Nudes (2018); “May Sun: Site Metaphor and
Excavated Histories,” Woman’s Art Journal (2016).
Recent Honors & Awards: Innovative Pioneer
Award, ArtTable, 2016.
Upcoming Projects: e Queen and I, An American
Curator in Tehran (Working title).
Jack Wasserman
MA 1953 and PhD 1961
Primary Advisor: Richard Krautheimer
Mailing Address: 409 Pine St.,
Philadelphia, PA 19106
Email Address: [email protected]
Latest Position: Professor Emeritus of Art History,
Temple University
Publications: “Jacopo Pontormo’s Virgin and
Child with Saint Anne in the Louvre,” Artibus et
Historiae (2017); “Mons sancti Laurentii: Problems
in the Construction of the Church of San Lorenzo
in Florence,” in San Lorenzo: A Florentine Church
(2017).
Upcoming Projects: e architecture of San
Lorenzo in Florence, with focus on the Old Sacristy
and the Chapel of Cosmas and Damiano.
1970s
William Barcham
PhD 1974
Primary Advisor: Donald Posner
Email Address: [email protected]
Latest Position: Professor, Fashion Institute of
Technology, SUNY, retired 2010
Publications: Art and Faith in the Venetian
World: Venerating Christ as the Man of Sorrows (in
contract); Jacopo da Montagnana’s Niche Fresco in S.
Antonio, Padua: A Man of Sorrows Hidden in Plain
Sight (forthcoming); Tiepolo’s Pictorial Imagination,
Drawings for Palazzo Clerici (2017).
Lectures: “Giambattista Tiepolo as Draftsman,”
Bloomington, 2016; “Tiepolo’s Chariot of the
Sun in the Palazzo Clerici, Milan: Drawings and
Pictorial Invention,” New York, 2016; “In volo nei
cieli di Giambattista Tiepolo con dei, putti e satiri,”
Venice, 2016.
Upcoming Projects: Study of drawings by
Giambattista Piazzetta and Alvise IV Mocenigo,
future Doge of Venice.
Robert Steven Bianchi
PhD 1976
Primary Advisor: Bernard von Bothmer
Mailing Address: 2032 Barracuda Ct.,
Holiday, FL 34691
Email Address: [email protected]
Latest Position: Current Chief Curator and
Curator of Antiquities, Fondation Gandur pour
l’Art, Geneva
Publications: “Portrait Sculpture in Ptolemaic
Egypt,” in Beyond the Nile: Egypt and the Classical
World (2018); “Divinités, sépultures et pratiques
26
Alumni Updates CONTINUED
1970s
funéraires de l’Égypte Ancienne,” in Voyages en
Égypte. Des Normands au pays des pharaons au xixe
siècle (2017); “Eine Büste Ramses II,” in Ramses.
Göttlicher Herrscher am Nil (2016); “Two Amulets
in the Shape of Grasshoppers,” Journal of the
Society for the Study of Egyptian Antiquities (2016-
2017); “Portret van een Egyptische dame,” Allard
Pierson Mededelingen (2017); “A Group of Bronze
Egyptianizing Ba-birds,” Chronique d’Égypte (2016).
Lectures: “Pharaonic-emed Sealings from the
“Edfu Hoard,” Amsterdam, 2018; “How to look
at Egyptian Art,” Los Angeles, 2018; “e Role
of Curators in Museums and Research,” Chicago,
2017; “e Egyptian Collection of the Fondation
Grandur pour Art, Genève, Suisse and its
Exhibition history,” Chicago, 2017; “Sculpture in
Native Egyptian Stones in Roman Contexts,” Pisa,
2017; “A Female Statuette in Bronze: A Hellenistic
Sculptor’s Clever Understanding of the Nature of
Pharaonic Art,” Mannheim, 2017.
William Hood
PhD 1976
Primary Advisor: Donald Posner
Mailing Address: 141 East 55th St. #6H,
New York, NY 10022
Email Address: [email protected]
Latest Position: Visiting Professor, Institute of Fine
Arts
Publications: “Fra Angelico’s Tears: Empathy and
the Rhetoric of Painting,” in Fra Angelico: Heaven
on Earth (2018).
Eugene J. Johnson
MA 1963, PhD 1970
Primary Advisors:
Richard Krautheimer and
Wolfgang Lotz
Mailing Address: Art
Dept., Williams College,
15 Lawrence Hall Dr.,
Williamstown, MA 01267
Email Address:
Latest Position: Amos
Lawrence Professor of Art, Williams College
Publications: Williams College: e Campus
Guide, with Michael Lewis (2018); Inventing the
Opera House: eater Architecture in Renaissance
and Baroque Italy (2018); “Mikveh Israel and
Louis Kahn: New Information,” e Pennsylvania
Magazine of History and Biography (2016).
Additional News: Retired June 30, 2017, after 52
years of teaching at Williams.
Patricia Karetzky
PhD 1979
Primary Advisor:
Alexander Soper
Mailing Address:
150 East 69th St.
#10N, New York,
NY 10021
Email Address:
Latest Position: O.
Munsterberg Chair of Asian Art, Bard College
Publications: “e Formation of a Daoist Pictorial
Iconography in the Tang,” Journal of Daoist Studies
(2017); “Amazing Grace: Contemporary Chinese
Christian Art,” Yishu (2017); “Contemporary Art
by Chinese Diaspora in a Global Age,” East Asian
Journal of Popular Culture (2016); “‘Cui Xiuwen,’”
Yishu (2016); “Material Culture and Asian
Religions: Text, Image, and Object” (2016).
Lectures: “Foreign Inuences in e Creation of
Hāritī, e Buddhist Protector of Children,” in
absentia, New Delhi, 2017; “Mara and the Faces of
Fear Along the Silk Road,” New Delhi, 2016; “e
Formation of a Daoist Pictorial Iconography in the
Tang,” Taiwan, 2016; “e Impact of the Curriculum
of Chinese Art Schools: Western Inuences in
Chinese Contemporary Art,” Beijing, 2016.
Dale Kinney
MA 1967, PhD 1975
Primary Advisor: Richard Krautheimer
Mailing Address: 427 Conshohocken State Rd.,
Bala Cynwyd, PA 19004
Email Address: dkinney@brynmawr.edu
Latest Position: Eugenia Chase Guild Professor in
the Humanities Emeritus, Bryn Mawr
Publications: “Images of a Building: Santa Maria in
Trastevere,” California Italian Studies Journal (2016);
“Managed Memory in Santa Maria in Trastevere,”
in Monuments & Memory: Christian Cult Buildings
and Constructions of the Past (2016); “Patronage of
Art and Architecture,” in Pope Innocent II (1130-
43): e World vs the City (2016); “Trophies and
Orphans: e Use of Spolia Columns in Ancient
Churches,” Sacred Architecture (2016); “e Type of
the Triconch Basilica” and “Architectural Sculpture,”
in e Red Monastery Church: Beauty and Asceticism
in Upper Egypt (2016); “Expanding the Christian
Footprint: Church Building in the City and the
Suburbium,” in e Fifth Century in Rome: Art,
Liturgy, Patronage (2017).
Lectures: “Liturgy and Community in Medieval
Trastevere,” Rome, 2017; “Twelfth-Century Apses
in Rome: Essays in Visual Communication,” Rome,
2017; “Site, Space and Audience in the Visual
Communication of Pope Innocent II (1130-43),”
Aalborg, 2016; “Santa Maria in Trastevere: Historic
and Anachronistic,” Washington DC, 2016;
“Interpretatio christiana? Gods in the Nave of
Santa Maria in Trastevere (1139-1143),” Bochum,
2016; “Art and Papal Politics in Twelfth-Century
Rome,” Los Angeles, 2016; “Beyond Renewal is the
Reform: Art in the Twelfth Century,” Knoxville,
2016; “Nineteenth-Century Revisionings of the
Roman Church Basilica,” Boston, 2016; “Rejection,
Distortion and Destruction at Santa Maria in
Trastevere,” Princeton, 2016;
Upcoming Projects: Entry on Santa Maria in
Trastevere for the Corpus Cosmatorum.
Additional News: In 2016-2017 I was the Samuel
H. Kress Professor at the Center for Advanced
Study in the Visual Arts, Washington.
Marilyn Aronberg Lavin
PhD 1973
Primary Advisor: H. W. Janson
Email Address: [email protected]
Latest Position: Retired.
Publications: “‘Avant-Garde’ in the Late Medieval
Apse of Santa Maria in Trastevere,” Artibus et
Historiae (2016) .
Lectures: “e Surprising Duality of Sigismondo
Malatesta: Word and Image,” Los Angeles, 2018;
“Piero della Francesca, Painter/Mathematician: a
Gift,” Princeton, 2018; “Bernini’s Bust of Prospero
Farinacci,” Princeton, 2018; “‘Avant-Garde’ in the
Late Medieval Apse of Santa Maria in Trastevere,”
New Orleans, 2016.
Upcoming Projects: In press: “A Faun in Love: the
Bernini Statue in the Metropolitan Museum of Art,
Artibus et Historiae.
Vivian B. Mann
PhD 1977
Primary Advisor: Harry Bober
Mailing Address: 144 East 84th St. #5B, New
York, NY 10028
Email Address: [email protected]
Latest Position: Director, MA Program in Jewish
Art & Visual Culture, the Jewish eological
Seminary
Publications: “e New in Medieval Jewish Art
& Architecture,” in e State of Jewish Studies:
Perspectives On Premodern Periods (forthcoming);
“A Set of Circumcision Implements,” in Objects
in the Form of a Book. From Reliquary to Laptop
Bag (forthcoming); “Textiles Travel: e Role of
Sephardim in the Transmission of Textile Forms
and Designs,” in From Catalonia to the Caribbean:
e Sephardic Orbit from Medieval to Modern
Times: Essays in Honor of Jane S. Gerber (2018);
“e First English Collectors of Judaica and
their Dealers,” Images: A Journal of Jewish Art &
Visual Culture (forthcoming); “Myer Myers and
the Spanish-Portuguese Synagogue Ledger,” in
Religious Materiality in the Early Modern World
(forthcoming); “De cultuur van de joden onder
het Huis van Oranje-Nassau. De zeventiende en
achttiende euw,” in Juden in het Huis van Oranje
(2018); “Decorating Synagogues in the Sephardi
Diaspora: e Role of Tradition,” in Synagogues
of the Islamic World (2017); “Medieval Jewish
Marriage Rings and their Symbolism” (2016);
Lectures: “e First English Collectors of Judaica
and their Dealers,” (forthcoming); “Myer Myers
27
and the Spanish-Portuguese Synagogue Ledger,”
Amsterdam, forthcoming; “Textiles Travel: e
Role of Sephardim in the Transmission of Textile
Forms and Designs,” Leiden, forthcoming; “A
Set of Circumcision Implements,” Munich,
forthcoming; “e New in Medieval Jewish Art &
Architecture,” Berlin, forthcoming; “De cultuur
van de joden onder het Huis van Oranje-Nassau.
De zeventiende en achttiende euw,” Amsterdam,
2018; “Decorating Synagogues in the Sephardi
Diaspora: e Role of Tradition,” Edinburgh,
2017; “Medieval Jewish Marriage Rings and their
Symbolism,” New York and New Haven, 2016.
Upcoming Projects: Lecture: “Myer Myers and
the Ledger of the Spanish-Portuguese Synagogue of
New York,” AJS Annual Conference, Boston, 2018;
Article: “A Suite of 17th-Century Venetian Textiles
for a Synagogue.”
Doralynn Pines
MA 1972, Certicate in Museum Training 1973
Email Address: [email protected]
Latest Position: Associate Director for
Administration, e Metropolitan Museum of Art
Publications: Entries in Gothic Sculpture in
America (2016).
Additional News: Doralynn Pines has joined e
Development Consulting Group in its executive
search division: https://thedevconsultgroup.com/
doralynn-pines.
Ellen C. Schwartz
MA 1973, PhD 1978
Primary Advisor: Hugo Buchthal
Mailing Address: 1805 Ivywood Dr., Ann Arbor,
MI 48103
Email Address: [email protected]
Latest Position: Professor of Art History, School of
Art & Design, Eastern Michigan University
Lectures: “Art of Constantinople,” New York, 2016.
Upcoming Projects: Oxford Handbook of Byzantine
Art and Architecture, ed.
Additional News: I am involved with a whole-
whole project entitled, “Dear Womanhouse, what
now?” is was inspired by my seminar on feminist
art of the 70s and 80s. is was my last term; I
have just retired after 41 years of teaching.
Eric Silver
MA 1972
Primary Advisor: Colin Eisler
Mailing Address: 124 East 85th St. #1A,
New York, NY 10028
Email Address: [email protected]
Latest Position: Director, Lillian Nassau LLC
Additional News: I have been an appraiser on the
PBS program Antiques Roadshow for the past 22
years as a specialist in sculpture.
Joyce Hill Stoner
MA 1970, Certicate in Conservation 1973
Primary Advisor: Larry Majewski
Mailing Address: c/o Winterthur Museum,
Winterthur, DE 19735
Email Address: jstone@winterthur.org
Latest Position: Rosenberg Professor of Material
Culture, University of Delaware
Publications: “Powerful Personalities and Pioneers
of Painting Conservation: from the FAIC Oral
History Project,” in e Picture So Far (2017);
“Art History, Science and Practice: the Training of
Painting Conservators in the Twentieth Century,”
e Burlington Magazine (2017); “Embedded
Meanings: e Last Tempera,” in Andrew Wyeth: In
Retropsect (2017).
Additional News: I have been asked to present the
keynote address on the History of the Conservation
of Rembrandt Paintings in November 2018 at the
Rijksmuseum. e Editors of Routledge books have
asked me and co-editor Rebecca Rusheld to look
into revising and updating Conservation of Easel
Paintings, our 79-author, 889-page book originally
published in 2012; it has apparently sold well.
Phyllis Tuchman
MA 1973
Primary Advisors: Robert Goldwater, William S.
Rubin, and Gert Schi
Mailing Address: 340 East 80th St. #14K, New
York, NY 10075
Email Address: [email protected]
Publications: Articles and reviews in the New
York Times, Artforum, and artnews.com; exhibition
catalogue essays, among others, on Mary
Weatherford (David Kordansky Gallery, LA); John
McLaughlin (Van Doren Waxter Gallery, NYC).
Lectures: “Herbert Ferber,” Hartford, 2018; “John
McLaughlin,” New York, 2018.
Carolyn C. Wilson
MA 1970, PhD 1977
Primary Advisor: Colin Eisler
Mailing Address: 2222 Goldsmith St., Houston,
TX 77030
Email Address: [email protected]
Latest Position: University of Houston, faculty
aliate, 2010
Publications: “Giovanni Bellini’s Lamentation
Altarpiece for Santa Maria dei Servi in Venice:
Observations and Two Proposals,” in Padua and
Venice: Transcultural Exchange in the Early Modern
Age (2017); “e Image of Saint Joseph in a Selection
of Colonial Paintings in Bolivian Collections,” in
e Art of Painting in Colonial Bolivia/El arte de la
pintura en Bolivia colonial (2017).
Lectures: “Moving Forward: Bellini’s Pesaro
Altarpiece in View of New Advances,” Venice, 2016.
1980s
Lynne Ambrosini
PhD 1989
Primary Advisor: Robert Rosenblum
Mailing Address: Taft Museum of Art, 316 Pike
St., Cincinnati, OH 45202
Email Address: [email protected]
Latest Position: Deputy Director and the Sallie
Robinson Wadsworth Chief Curator at the Taft
Museum, Cincinnati
Publications: “Foreword,” in Old Paris and
Changing New York: Photographs by Eugène Atget
and Berenice Abbott (2018); “Preface: Daubigny
at 200 Years,” in Charles François Daubigny: Aux
Sources de l’Impressionnisme (2017); Daubigny,
Monet, Van Gogh: Impressions of Landscape (2016).
Lectures: “Beholding the American Nude: Painting
versus Sculpture,” Bentonville, 2018.
Recent Honors & Awards: Getty Leadership
Institute (GLI), Executive Education for Museum
Leaders, Getty Foundation and Peter Drucker and
Masatoshi Ito Graduate School of Management,
Claremont Graduate University, Claremont, CA,
June, 2017; Museum Professional of the Year, Ohio
Museums Association, 2016; Distinguished Career
Award, Association of Midwest Museums, 2016;
Best Exhibition Catalogue, Daubigny, Monet, Van
Gogh, Ohio Museums Assoc., 2016.
Additional News: Exhibitions: Paris to New York:
Photographs by Eugène Atget and Berenice Abbott,
Taft Museum of Art, with guest curator Kevin
Moore, opening this fall, October 6, 2018–January
20, 2019; Daubigny, Monet, Van Gogh: Impressions
of Landscape, Taft Museum of Art, with National
Galleries of Scotland, Edinburgh, and Van Gogh
Museum, Amsterdam; February 19–May 29, 2016.
Total attendance: 348,000.
Andrea Chevalier
MA Art History, Certicate
in Conservation 1988
Primary Advisor:
Lawrence Majewski
Mailing Address: 10301
Lake Ave. #717, Cleveland,
OH 44102
Email Address:
achevalier@ica-
artconservation.org
Latest Position: Director
of Conservation, ICA-Art Conservation, Cleveland
Additional News: A colleague and I have worked
at the State Capitol of Missouri in Jeerson City
to assess and treat murals from the 1920’s and
1930’s. In the fall, I worked on the omas Hart
Benton mural cycle, e Social History of Missouri.
e tempera paintings are in excellent condition
and needed only minor work. We will continue
conservation work on additional murals in the
coming years.
28
Alumni Updates CONTINUED
1980s
Alan Darr
MA 1975, Certicate in Museum Training 1976,
Ph.D. 1980
Primary Advisors: Kathleen Weil-Garris Brandt,
John Pope-Hennessy, and Colin Eisler
Mailing Address: Detroit Institute of Arts, 5200
Woodward Ave., Detroit, MI 48202
Email Address: [email protected]
Latest Position: Senior Curator of European
Art and Walter B. Ford II Curator of European
Sculpture and Decorative Arts at the Detroit
Institute of Arts
Publications: “Reconsidering Pietro Torrigiani’s
ree Polychromed Terracotta Portrait Busts,”
in Encountering the Renaissance: Celebrating Gary
M. Radke and 50 Years of the Syracuse University
Graduate Program in Renaissance Art (2016);
“Recent Acquisitions (2007-15) of European
Sculpture and Decorative Arts at the Detroit
Institute of Arts,” e Burlington Magazine (2016).
Lectures: “e Legacy of William Valentiner in
Shaping the Display of European Sculpture in
American Museums, 1900-Present: Case Studies,”
New York, 2017; “e Role of Sculpture in
French Decorative Arts: Case Studies of Notable
Acquisitions at the Detroit Institute of Arts,”
Paris, 2016; “A Decade of Notable Acquisitions
of European Sculpture and Decorative Arts at the
Detroit Institute of Arts,” Detroit, 2016.
Recent Honors & Awards: Recent exhibitions and
installations curated at the DIA: Lead Curator of
the Detroit venue for e Edible Monument: e
Art of Food for Festivals, with the Getty Research
Institute, Los Angeles; Lead Curator of the Detroit
venue for Make a Joyful Noise: Renaissance Art and
Music from Florence Cathedral.
Upcoming Projects: Various publications on
the Legacy of William Valentiner in America,
and publications on recent DIA acquisitions of
European Sculptures and Decorative Arts.
Carol Eliel
MA 1979,
PhD 1985
Primary
Advisor:
Robert
Rosenblum
Email
Address:
Latest Position: Curator of Modern Art, Los
Angeles County Museum of Art
Publications: “e Spirit of Experimentation:
Barbara Kasten and László Moholy-Nagy,” Leonardo
(2017); “Artists on Art” www.lacma.org/artistsonart
(2016-17); Moholy-Nagy: Future Present, ed., with
Matthew S. Witkovsky (2016); “John Altoon,
Untitled (Sunset series),” in 75 in 25: Important
Acquisitions at the Santa Barbara Museum of Art,
1990-2015 (2016).
Lectures: “László Moholy-Nagy,” Los Angeles, 2017;
“Moholy-Nagy: Present Future,” New York, 2016.
Recent Honors & Awards: Honorable Mention,
Association of Art Museum Curators (AAMC)
Publication Award for Excellence, for “Moholy-
Nagy: Future Present,” 2017.
Upcoming Projects: Betye Saar: Call and Response,
forthcoming exhibition and publication, Los
Angeles County Museum of Art (2019); Light,
Space, Surface: Southern California Art from
LACMA’s Collection, forthcoming exhibition and
publication, traveling to three venues in the U.S.
(2021-22).
Additional News: In addition to co-organizing
(with the Guggenheim and the Art Institute of
Chicago) the retrospective Moholy-Nagy: Future
Present (2016-17), I organized An Irruption of
the Rainbow: Color in Twentieth-Century Art for
LACMA (2016-17).
Wayne Franits
PhD 1987
Primary Advisor: Egbert
Haverkamp-Begemann
Mailing Address:
Dept. of Art & Music
Histories, Syracuse
University, Suite 308 Bowne
Hall, Syracuse, NY 13244
Email Address:
wefranit@syr.edu
Latest Position:
Distinguished Professor of Art History (since
February 2017), Syracuse University
Publications: Godefridus Schalcken; A Dutch
Painter in Late Seventeenth-Century London (2018);
e Ashgate Research Companion to Dutch Art of the
Seventeenth-Century, ed. (2016).
Lectures: “Schalcken in Eighteen-Century Britain:
His Reputation and its Vicissitudes,” Glasgow,
2017; “Dutch Genre Painting, 1976 - 2016 and
Beyond,” e Hague, 2016;
“Hendrick ter Brugghen’s Paintings of the
Crucixion in New York and Turin and the
Problem of his Early Chronology,” London, 2016;
“Schalcken in London: Self-Portraiture as Self
Promotion,” Cologne, 2016.
Recent Honors & Awards: Book publication
subvention, Paul Mellon Centre for Studies
in British Art, London, 2017; appointed
Distinguished Professor of Art History at Syracuse
University, 2017.
Alison de Lima Greene
MA 1981
Primary Advisors: Kirk Varnedoe and Gert Schi
Mailing Address: Museum of Fine Arts, Houston,
P.O. Box 6826, Houston, TX 77265
Email Address: [email protected]
Latest Position: Isabel Brown Wilson Curator of
Modern and Contemporary Art, Museum of Fine
Arts, Houston
Publications: Robyn O’Neil: 20 Years of Drawing
(2017); “Asia through Contemporary Eyes:
Highlights from the Collections of the Museum of
Fine Arts, Houston,” Arts of Asia (2016);
Lectures: “Pipilotti Rist: Pixel Forest and Worry
Will Vanish,” Houston, 2017; “Ron Mueck,”
Houston, 2017; “Statements: African American
Art from the Museum’s Collection,” Houston,
2016; “Yayoi Kusama: At the End of the Universe,”
Houston, 2016.
Upcoming Projects: Over the next two years I
will be working with director Gary Tinterow, the
MFAH Senior management team, and fellow
curators to oversee the planning and installation of
our modern and contemporary collections in our
new 164,000 sq. foot gallery building, designed by
Steven Holl Architects, and opening in 2020.
Julia P. Herzberg
PhD 1987
Primary Advisors: Gert Schi and
Jonathan Brown
Mailing Address: 1150 Park Ave. #5A, New York,
NY 10128
Email Address: [email protected]
Latest Position: Adjunct curator at the Patricia and
Philip Frost Art Museum
Publications: “Past – Present: Conversations with
María Lau and Katarina Wong,” in Circles and
Circuits: Chinese Caribbean Art (2017).
Additional News: Contributing and consulting
editor for Arte al Día International, Miami, Florida
(2005 to present); editor of Special Section on
“Pacic Standard Time: LA/LA” for www.artealdia.
com (2017-2018).
Lynn Jacobs
PhD 1986
Primary Advisor:
Colin Eisler
Mailing Address:
School of Art 116 FNAR,
University of Arkansas,
Fayetteville, AR 72701
Email Address:
lynn[email protected]
Latest Position: Distinguished Professor,
University of Arkansas
Publications: resholds and Boundaries: Liminality
in Netherlandish Art (1385-1530) (2017);
“Strategies of Intimacy: Memling’s Triptych of
Adriaan Reins,” in e Primacy of the Image in
Northern European Art, 1400-1700: Essays in Honor
of Larry Silver (2017); “Inside/Outside: Bosch’s
Triptych of the Crucied Martyr (Wilgefortis
Triptych),” in Jheronimus Bosch: His Life and Work
(2016); “e resholds of the Winged Altarpiece:
Altarpiece Exteriors as Liminal Spaces,” in
Klappeekte: Faltbare Bildträger in der Vormoderne
(2016).
Upcoming Projects: Currently writing a book on
German Painted Triptychs of the Fifteenth Century.
Barbara Matilsky
MA 1977, PhD 1983
Primary Advisor: Robert
Rosenblum
Email Address:
Latest Position: Curator
of Art, Whatcom Museum
Upcoming Projects:
Exhibition and
accompanying catalog,
Endangered Species: Artists on the Front Line of
Biodiversity, September 8, 2018- January 6, 2019.
Additional News: Received a major grant from the
National Endowment for the Arts for “Endangered
Species: Artists on the Front Line of Biodiversity.”
Harriet F. Senie
PhD 1981
Primary Advisor: Kathleen
Weil-Garris Brandt
Mailing Address: 64 East
94th St. #3E, New York
NY 10128
Email Address: hfsenie@
gmail.com
Latest Position: Director,
MA, Art History/Museum
Studies, City College
Publications: Museums and Public Art?, ed., with
Cher Krause Knight (2018); A Companion to Public
Art, ed., with Cher Krause Knight (2016).
Lectures: “Teachable Monuments: Using Public
Art to Spark Dialogue and Address Controversies,”
Los Angeles, 2018.
Upcoming Projects: rough Teachable
Monuments, an initiative I started after the last
election, developing educational programs and
materials for the Memorial to Elizabeth Cady
Stanton and Susan B. Anthony. My current book
project, Memorials in a Post-Heroic Age, will
have chapters tentatively titled: “Eradicating the
Past: A Presentist Approach” that will consider
current controversies centering on Confederate
memorials, Christopher Columbus, eodore
Roosevelt, and Dr. Sims; “e Drive to Re-
enactment: Commemorating Terrorist Attacks”
that will explore the strategy and signicance of
re-enactment seen in memorials and museums
dedicated to the Oklahoma City bombings
and the 9/11 attack on New York, as well as
others; “Expanding the Canon” that considers
representations of women and individuals of
ethnicities other than those that have been valorized
thus far; and “Artist Overlays” that analyzes
various projects in which artists reanimate existing
memorials, such as Krzysztof Wodiczko’s Bunker
Hill and Abraham Lincoln projections.
Additional News: Recently I served on the Mayor’s
Advisory Commission on City Art, Monuments,
and Markers, as well as the selection panel for the
Memorial to Elizabeth Cady Stanton and Susan B.
Anthony, to be located in Central Park in 2020 to
mark the 100th anniversary of the passing of the
19th Amendment.
Suzanne Stratton-Pruitt
PhD 1983
Mailing Address: 451 West Broadway,
New York, NY 10012
Email Address: [email protected]
Publications: e Art of Painting in Colonial Bolivia/
El arte de la pintura en la Bolivia colonial (2017).
1990s
Michaël Amy
MA 1989, PhD 1997
Primary Advisor: Kathleen Weil-Garris Brandt
Mailing Address: College of Art and Design,
Rochester Institute of Technology, 73 Lomb
Memorial Dr., Rochester, NY 14623
Email Address: [email protected]
Latest Position: Professor of Art History, RIT
Publications: “Double-Takes: A Conversation with
Alisa Baremboym,” Sculpture (2018); “e Missing
Are Presumed Dead,” in Olivier Masmonteil (2018);
“Gravity’s Pull: A Conversation with Mathilde
Roussel,” Sculpture (2017); “e Dance of Beauty
and Failure: A Conversation with Michelle Segre,”
Sculpture (2017); “e Ones Who Are Left Behind:
A Short History of Lamentation in Western Art,”
in Icons in Ash (2016); “An Empire of Signs,” in
Pintomeira: Painting, Photography (2016); “Robert
Gober: Ordinary Ambiguity,” Sculpture (2016);
“From Brussels to New York: e Journey of an
International Art Historian” in VUB Today (2016);
“Esther Naor: e Raft of Memory” in Esther Naor:
Aftermath (2016).
Lectures: “Paintings About Power,” Gettysburg,
2018; “e Introduction of Modern Design into
20th and 21st Century European and American
Art,” Ferrara, 2017; “Alberto Burri: Reinventing
Painting,” Rochester, 2017; “Paintings Within
Italian Baroque Paintings,” Rochester, 2016;
“Cubism: Making History,” Rochester, 2016.
Recent Honors & Awards: Contributing Editor,
“Sculpture” since August 2017.
Upcoming Projects: Essays on Lee Bul, Michael
Taylor, Johan Tahon, Pavel Romaniko, Cathy
Wilkes, Florentine paintings in Munich, Sarah
Lucas, and Bruce Nauman.
Jane R. Becker
MA 1992, PhD 1998
Primary Advisor: Linda Nochlin
Mailing Address: 21 Round Hill Rd., Scarsdale,
NY 10583
Email Address: [email protected]
Latest Position: Collections Management
Associate, European Paintings, e Metropolitan
Museum of Art
Publications: “Marie Bracquemond, Impressionist
Innovator: Escaping the Fury,” in Women Artists in
Paris (2017); twelve entries on modern sculpture in
Unnished: oughts Left Visible (2016).
Lectures: “Rodin, Steichen, and the Pursuit of
Creative Genius,” New York, 2017; “Auguste
Rodin, Camille Claudel, and Inuence Undone,”
Brooklyn, 2018; “Rivalry and Resolve: Marie
Bashkirtse and Louise Breslau in Late Nineteenth-
Century Paris,” Williamstown, 2018.
Jennifer Blessing
MA 1990
Primary Advisors: Kirk Varnedoe and Linda
Nochlin
Email Address: [email protected]
Latest Position: Senior Curator, Photography,
Guggenheim Museum; Visiting Critic, Yale
University
Publications: “Mother, Muse, Mirror,” e New
Yorker (2016); “Empathic Mirroring: Tra0nsition
and Transformation in Rineke Dijkstra’s Portraits
of Girls and Young Women,” in Rineke Dijkstra:
Women (2017); “Rrose is a Rrose Revisited,”
Aperture (2017).
Lectures: “Rrose Reconsidered,” New York,
2016; “‘Io mescolo tutto’: Gina Pane’s Feminist
performances in Italy, 1973-78,” New York, 2017;
“Photo-Poetics,” Chicago, 2018.
Upcoming Projects: Gillian Wearing survey
exhibition and catalogue (2020).
Andrew Clark
MA 1973, PhD 1992
Primary Advisor: Dietrich von Bothmer
Email Address: andrew.jay[email protected]
Publications: Translator, e François Vase: Rex
Vasorum, e King of Vases by M. Iozzo (2018).
Aruna D’Souza
MA 1994, PhD 1999
Primary Advisor: Linda Nochlin
Email Address: [email protected]
Latest Position: Writer
Additional News: My new book, Whitewalling:
Art, Race, and Protest in 3 Acts will be published by
Badlands Unlimited/Artbook DAP in May 2018.
Loretta Howard
MA 1997
Primary Advisor: Jean-Louis Cohen
Mailing Address: Loretta Howard Gallery
29
ENDANGERED SPECIES
ARTISTS ON THE FRONT LINE OF BIODIVERSITY
30
Alumni Updates CONTINUED
1990s
521 West 26th St., New York, NY 10001
Email Address: loretta@lorettahoward.com
Latest Position: Loretta Howard Gallery
Additional News: Curated multiple exhibits,
including: Roberto Caracciolo: Something Quiet,
2018; Kikuo Saito: Resonant Tension, 2018; Friedel
Dzubas: Gestural Abstraction, 2018; Richard
Anuszkiewicz: Translumina Series, 2018; Expanding
Space: Ronald Bladen, Al Hed, Yvonne Rainer,
George Sugarman, 2017; Nicolas Carone: Imaginary
Portraits, 2017; Shirley Goldfarb: Painting Paris,
2017; Cleve Gray: Abstracted Calligraphie, 2017;
Edward Dugmore: e 1960s, 2017; Jean Dubuet
& Larry Poons: Material Topographies, 2017; Where
Sculpture & Dance Meet: Minimalism 1961-1979,
2016; Washington Color Painters Reconsidered, 2016.
Recent Honors & Awards: Board Member, Mead
Art Museum at Amherst College.
Bernice Jones
MA 1979, PhD 1998
Primary Advisors: Guenter Kopcke and Evelyn
Harrison
Mailing Address: 6730 West Country Club Lane,
Sarasota, FL 34243
Email Address: [email protected]
Latest Position: Ringling College of Art and
Design, Department of Liberal Arts, Adjunct
Faculty in Art History, Fall 2008 – Spring 2010.
Publications: “Costumes of Beauty,” in e
Countless Aspects of Beauty in Ancient Art (2018);
“e Costume of Ayia Irini Statue 1-1” and
“Terracotta Statues from Ayia Irini, Kea: An
Experimental Replication,” in Cycladic Archaeology
and Research: New Approaches and Discoveries
(2018); “e ree Minoan ‘Snake Goddesses’,”
in Studies in Aegean Art and Culture: A New York
Aegean Bronze Age Colloquium in Memory of Ellen
N. Davis (2016); “A New Reading of the Fresco
Program and the Ritual in Xeste 3, era,” in
METAPHYSIS: Ritual, Myth and Symbolism in the
Aegean Bronze Age (2016).
Lectures: “Minoan Haute Couture: e Herakleion
Archaeological Museum,” Herakleion, 2018;
“Haute Couture in Ancient Greece: e Costumes
of Ariadne and Helen of Troy,” Melbourne, 2018;
“e Dress on the New Tiryns Fresco, Linear B
Reections, and the Hagia Triada Sarcophagus,”
Boston, 2018; “Terracotta Statues from Ayia Irini,
Kea: an Experimental Replication, with E. Hasaki,”
Boston, 2018; “Texts and Material Culture in
Bronze Age Greece,” Tampa, 2017; “Minoan Haute
Couture: Replicas of Minoan Textiles and Clothes
and their Impact on Material Culture,” Berlin,
2017.
Recent Honors & Awards: e Institute for
Aegean Prehistory Grant for participation in
conference and exhibition, e Inuence of Minoan
Culture on Modern Garment and Ornament, at
the Herakleion Museum, 2018; e Institute
for Aegean Prehistory Grant for participation in
exhibition Countless Aspects of Beauty in Ancient
Art at the Athens National Archaeological Museum,
2018-2019.
Upcoming Projects: Book: Crowns of Distinction:
Headdresses of the Aegean Bronze Age.
Ethan Matt Kavaler
PhD 1992
Primary Advisor:
Egbert
Haverkamp-Begemann
Mailing Address:
Dept. of Art History,
100 St. George St.,
Toronto, ON
M5S 3G3
Email Address: matt.
kavaler@utoronto.ca
Latest Position: Director of the Centre for
Reformation and Renaissance Studies and Professor
of Art History, University of Toronto
Publications: Netherlandish Culture of the Sixteenth
Century, ed. with A.-Van Bruaene (2017);
“Mapping Time: e Carved Netherlandish
Altarpiece in the Sixteenth Century,” “Power and
Performance: e Bruges Mantelpiece to Charles
V,” and“Netherlandish Sculpture of the Sixteenth
Century: A Recovery,” in Netherlandish Sculpture
of the Sixteenth Century (2017) “Pieter Bruegel,
Bernard van Orley, Realism and Class,” Simiolus
(2017); “Prayer Nuts and Early Modern Sculpture
in the Netherlands,” in Prayer Nuts, Private
Devotion and Early Modern Art Collecting (2017).
Lectures: “Sacred eatre: Netherlandish
Sculpture in Time and Space,” Louvain-le-Neuve,
2017; “Rulers on Display: Netherlandish Tombs
for Central European Rulers.” Ghent, 2017;
“Performance and Political Agency: the Bruges
Mantelpiece to Charles V,” Munich, 2017.
Recent Honors & Awards: Doctor Honoris Causa,
University of Liège, 2018.
Upcoming Projects: Plastic, Present: Netherlandish
Sculpture of the Sixteenth Century; e Spencer
Album: Drafting Netherlandish Sculpture.
Roxana Marcoci
PhD 1998
Primary Advisor: Kirk Varnedoe
Mailing Address: 11 West 53 St.,
New York, NY 10019
Email Address: [email protected]
Latest Position: Senior Curator, Department of
Photography, MoMA
Publications: “Photography from the Studio
to the Moon,” in Bruce Nauman: Disappearing
Acts (2018); “Dominique Gonzalez-Foerster and
Roxana Marcoci in Conversation,” Mousse (2018);
“Gillian Wearing Performs the Doppelgänger,” in
Document Journal (2018); Louise Lawler: WHY
PICTURES NOW (2017); “Burton on Brancusi,”
Mousse (2017); Interview with Stan Douglas, in
Stan Douglas (2017); “Artist Francesco Vezzoli
Uncovers the Radical Images of Lisetta Carmi with
MoMA’s Roxana Marcoci,” in Document Journal
(2017); Photography at MoMA: 1840-1920 (2017);
“Modern Women: Talking with Curators Marta
Gili, Julie Jones & Roxana Marcoci,” in Aperture
(2016); “Sara VanDerBeek in Conversation with
Roxana Marcoci,” in Sara VanDerBeek (2016);
Photography at MoMA: 1920 to 1960 (2016).
Lectures: “e Re-Presentation of Louise Lawler’s
Work,” Cincinnati, 2017; “A Revolutionary
Impulse: e Rise of the Russian Avant-Garde,”
New York, 2017; “August Sander: the Painters,”
New York, 2016.
Recent Honors & Awards: Photography at MoMA:
1920 to 1960 (2016) received an award from the
American Association of University Presses.
Upcoming Projects: Art and eory of Post-1989
Central and Eastern Europe: A Critical Anthology
(forthcoming June 2018); co-curating the new
contemporary galleries at MoMA (2019).
Additional News: Directing the Central and
Eastern Europe section of C-MAP (Contemporary
and Modern Art Perspectives) in a Global Age at
MoMA; directing the Forums on Contemporary
Photography at MoMA, which I co-founded in
2010 as an experimental platform for discussions
about still and moving images in the 21st century.
Tom McDonough
MA 1993, PhD 1998
Primary Advisor: Linda Nochlin
Email Address: [email protected]
Latest Position: Associate Professor,
Binghamton University
31
Publications: “Foreword,” in Julien Besançon,
e Walls Have the Floor: Mural Journal, May
‘68 (2018); “Haegue Yang’s Amphibological
Sculpture,” in Haegue Yang: Lingering Nous (2017);
Boredom (2017); “BLACK DADA MIME,” in
Adam Pendleton: Black Dada Reader (2017);
“Extraterritorial,” in Silke Otto-Knapp Florian
Pumhösl: Ratio of Distance (2017); “e Cacodylic
Mind: Francis Picabia and the Neo-Avant-Garde,
1953-1963,” in Breathless Days, 1959-1960 (2017);
“Dispersal-Dissemination-Monumentality,” in
Danh Vo: Wād al-ḥaŷara (2016); “Nouvelles formes
de communauté et conférences situationnistes,” in
Lire Debord (2016); “T. J. Clark et le renouveau
de l’histoire sociale de l’art,” in Histoires sociales de
l’art—Une anthologie critique (2016);“Common
Places Ready Made,” in Matt Keegan (2016); “Sans
spectacle, sans drame: de la représentation de la
violence dans l’oeuvre d’Adel Abdessemed,” in Adel
Abdessemed par... (2016).
Lectures: “Comments on the Political Dialectics
of the Opacity of the Sign,” Geneva, 2018; “On
Boredom in Architecture: A Dialogue with Henry
Sussman,” New Haven, 2018; “Crowds without
Company,” Philadelphia, 2017; “Decivilizing
Rituals,” New York, 2017; “. . . speaking to absent
things: Amie Siegel’s Films” London, 2017.
Recent Honors & Awards: Scholar in residence,
Académie de France à Rome/Villa Medici.
Upcoming Projects: Essays on Iñaki Bonillas,
easter Gates, Philippe Parreno, Mario Garcia
Torres, Christopher Williams.
Laura Morowitz
PhD 1996
Primary Advisor: Robert Lubar
Mailing Address: 38 Morningside Rd.,
Verona, NJ 07044
Email Address: [email protected]
Latest Position: Professor of Art History,
Wagner College
Publications: “e Arcades Project, Copia, and the
American Consumer,” Cultural Critique (2018);
“From l’Expositon des primitifs français to Les
primitifs allemands: French Discourse on the
primitifs 1904-1910,” in Primitive Renaissances:
Northern European and Germanic Art at the Fin de
Siècle to the 1930s (2018); “Regarder vers le haut.
Le Conquête de l’air et le future de l’homme,” in
Par-delà le cubisme: Études sur Roger de La Fresnaye,
suivies de correspondances de l’artiste (2017); “Heil
the Hero Klimt: Nazi Aesthetics in Vienna and
the 1943 Gustav Klimt Retrospective,” Oxford Art
Journal (2016).
Lectures: “Expropriated Art and Erased Memory:
e 1943 Gustav Klimt Retrospective in Anschluss
Vienna,” Pittsburgh, forthcoming 2018; “Ostmark
as Bulwerk: Austrian Mountains and the East in
the Nazi Imaginary” Burlington, forthcoming
2018; “Alt-Deutsch and Avant-Garde: e Prints
of Josef Sattler,” Amsterdam, 2017; “Erasures and
Eradications in Viennese Modernism,” New York,
2017; “Art of Deception: Jews, Aryans and Art,”
New York, 2016.
Recent Honors & Awards: National Endowment
for the Humanities, Summer Research Stipend,
2017.
Upcoming Projects: MS. in progress on
propaganda/art exhibits held at the Künstlerhaus in
Nazi Vienna.
Additional News: Curator: e Enslaved Children
of Lake Volta: Evan Robbins and Breaking the Chain
rough Education, Nancy Dryfoos Gallery, Human
Rights Institute, Kean University, 2016.
Jennifer Perry
MA in Art History and Diploma in Conservation,
1993.
Primary Advisor: Margaret Holbein Ellis
Mailing Address: Dept. of Asian Art, Metropolitan
Museum of Art, 1000 Fifth Ave., New York, NY
10028
Email Address: [email protected]
Latest Position: Mary and James Wallach Family
Conservator of Japanese Art, e Metropolitan
Museum of Art
Publications: Marco Leona and Jennifer Perry,
“Beneath the Blue: A Scientic Analysis of Korin’s
Irises at Yatsuhashi,” Impressions: e Journal of the
Japanese Art Society of America (2016).
Bridget Quinn
MA 1991
Primary Advisor:
Robert Rosenblum
Mailing Address:
655 Spruce St.,
San Francisco, CA 94118
Email Address:
Latest Position: Author/
Independent Scholar
Publications: “Looking for Women’s Voices—and
Stories—at ‘Her Paris,’” msmagazine.com (2018);
Broad Strokes: 15 Women Who Made Art and Made
History (in at Order) (2017); “Rest in Power:
Remembering Linda Nochlin’s Revolutionary
Retelling of Art History,” msmagazine.com (2017);
“Why Edvard Munch Began Painting Portraits of
the Soul,” Hyperallergic (2017); “Broad Strokes:
An Essay,” Narrative Magazine (2017); “Alice
Neel: How to Persevere and Live the Artist’s Life,”
Lithub.com (2017).
Lectures: “She Persisted: Bold Women Artists,”
Nevada City, 2018; “Women Writing in the Age
of #MeToo,” Honolulu, 2018; “Stanford Authors
Breakfast with Broad Strokes,” Palo Alto, 2018;
“Sahba Salon: One Woman Artist,” San Francisco,
2018; “Matrons of Art,” Raleigh, 2018; “Broad
Strokes Book Talk,” Toledo, 2017; “Book Talk with
Bridget Quinn,” San Francisco, 2017; “Graphically
Inclined: Books to Look At,” San Francisco,
2017; “Creative Writing and Writing About Art,”
Belmont, 2017; “Broad Strokes: Women Who
Made Art and Made History,” Chautauqua, 2017;
“Women, Art and History,” Honolulu, 2017;
“Authors on Art and Otherness,” Pleasanton, 2017;
“Women Artists of the Past/e Future is Female,”
Berkeley, 2017; “Female Trouble,” Los Angeles and
San Diego, 2017; “Women, Art & Power,” Palo
Alto, 2017; “Name One Great Woman Artist: A
Case History,” San Francisco, 2017; “You Say You
Want a Revolution: Female Painters, the French
Revolution & the Fallacy of Connoisseurship,”
Arlington, 2017; “e Margins,” San Francisco,
2016; “Mistakes Were Made,” San Francisco, 2016.
Recent Honors & Awards: 2018 Amelia Bloomer
List, a project of the Feminist Task Force, American
Library Association; Amazon Top Pick: Best Art &
Photography Books 2017; Publishers Weekly Top
10 for Memoir & Biography, Spring 2017; 35 Over
35, 2017 notable debut authors over age 35.
Upcoming Projects: I’m currently working on
a book titled Suragist City, an account of the
extraordinary women (and some men) who
secured the vote for women in America, and what
happened next. As a hat tip to the one hundredth
anniversary of the 19th Amendment in 2020, it
includes work by one hundred women artists.
Kathleen Ryor
MA 1988, PhD 1998
Primary Advisor: Jonathan Hay
Email Address: [email protected]
Latest Position: Tanaka Memorial Professor of
International Understanding and Art History,
Carleton College
Publications: “Style as Substance: Literati Ink
Painting and Buddhist Practices in Late Ming
Dynasty China,” in Domestic Devotions in the Early
Modern World (2018).
Lectures: “e 100 Flowers and Myriad ings:
Flower Cultivation as Cosmo in the Mid-Late
Ming,” Vancouver, 2018.
Upcoming Projects: Annotated translation of
He Liangjun’s “On Painting” and interpretative
essay (submitted for publication); co-director of
the Carleton Humanities Center Faculty Research
Seminar for 2018-19: “What is a Text? What is
an Author?”; for fall 2018 designing and teaching
experimental course combining art history and studio
practice on the arts of the Japanese tea ceremony.
Additional News: I was the co-director of the
Carleton Global Engagement Initiative, an
$800,000 grant from the Mellon Foundation from
Jan. 2014 to December 2017. I will be leading a
workshop on Chinese ink painting at the Freer
Gallery of Art in 2018.
Paul Stanwick
PhD 1999
Primary Advisor: David O’Connor
Email Address: [email protected]
Additional News: Appointed to Board of
Governors for the American Research Center in
Egypt in April 2018.
1990s
Alumni Updates CONTINUED
32
Gail Stavitsky
PhD 1990
Primary Advisor: Gert Schi
Mailing Address: Montclair Art Museum,
3 South Mountain Ave., Montclair, NJ 07042
Email Address:
Latest Position: Chief Curator, Montclair Art
Museum
Publications: Matisse and American Art (2017);
Philemona Williamson: Metaphorical Narratives
(2017).
Lectures: “Matisse and American Art,” New York,
2016.
Upcoming Projects: Morton Livingston
Schamberg: Pioneer of the Machine Age.
James Steward
MA 1990
Primary Advisor: Robert Rosenblum
Mailing Address: Princeton University Art
Museum, McCormick Hall, Princeton University,
Princeton, NJ 08544
Email Address: [email protected]
Latest Position: Nancy A. Nasher--David J.
Haemisegger, Class of 1976, Director, Princeton
University Art Museum, 2009-present.
Publications: Michael Kenna: Rouge (2016).
Lectures: “Sally Mann: e Family,”
Washington DC, 2018.
Upcoming Projects: Currently leading the
fundraising and planning for a new museum facility
for Princeton University.
Alexander (Alejandro) Vergara
MA 1988, PhD 1994
Primary Advisor: Jonathan Brown
Mailing Address: Museo del Prado,
Ruiz de Alarcón 23, 28014 Madrid
Email Address:
alejandro.v[email protected]
Latest Position: Senior Curator of Flemish and
Northern European Paintings, Museo del Prado
Publications: Rubens Painter of Sketches, with
Friso Lammertse (2018); “Cai Guo-Quiang and
the Energy of Painting,” in e Spirit of Painting.
Cai Guo-Quiang at the Prado (2017); “Rubens:
Wille und Vorstellung,” in Peter Paul Rubens.
Metamorphosen (2017); “L´idealismo di Rubens:
visioni dell´assoluto,” in Rubens e la nascita del
Barocco (2016).
Additional News: Curator, Rubens: Painter of
Sketches, with Friso Lammertse, Madrid, Prado and
Museum Boijmans Van Beuningen, Rotterdam,
2018-2019; Curator, e Spirit of Painting. Cai
Guo-Quiang at the Prado, Madrid, Prado, 2017;
Curator, e Art of Clara Peeters, Antwerp, Museum
Rockoxhuis, and Madrid, Prado, 2016; Professor
of the online course (MOOC) for the online
platform edX: European Paintings: From Leonardo
to Rembrandt to Goya. Uncovering the meaning
behind the art of the great painters from 1400 to
1800, rst posted in 2015; Member of the Junta de
Calicación, Valoración y Exportación de Bienes del
Patrimonio Histórico Español (Organo Consultivo
de la Administración del Estado); from 2001 to the
present (this is the commission within the Ministry
of Education and Culture of Spain that decides on
all purchases of art made by the state and on export
permits for the sale of works of art abroad); Member
of the Board, Center for Spain in America from 2017.
2000s
Andaleeb Banta
MA 1997, PhD 2007
Primary Advisors: Donald Posner,
Jonathan Brown, and Louise Rice
Email Address: [email protected]
Latest Position: Senior Curator and Head of
Department of Prints, Drawings, and Photographs,
Baltimore Museum of Art (as of August 2018)
Publications: Lines of Inquiry: Learning from
Rembrandt’s Etchings (2017); e Enduring Legacy of
Venetian Renaissance Art (2016).
Lectures: “Angels, Muses, Sibyls, and Gods:
Rendering the Graphic Illusion,” Austin, 2018;
“Travels and Tours: Artistic Maneuvers in the Early
Modern Period,” Oberlin, 2017.
Recent Honors & Awards: Samuel H. Kress
Foundation/Association of Art Museum Curators
Aliated Fellow, American Academy in Rome, 2016.
Jeanne Brako
MA and Certicate in Conservation 2002
Primary Advisor: Norbert S. Baer
Email Address: [email protected]
Latest Position: Curator of Collections and
Public Programs, Fort Lewis College
Lectures: Multiple talks on Conservation and
Collections Care.
Recent Honors & Awards: Board Member,
ATALM.
Additional News: I will be retiring from my
position of 16 years as Curator/Conservator at e
Center of Southwest Studies, Durango, Colorado
and looking forward to a variety of upcoming
projects. Recently enjoyed my rst visit to NYU’s
Villa La Pietra, Florence, Italy, and meeting up with
NYU Textile Conservation Instructor and classmate
Deborah Trupin and her conservation students and
colleagues for their tapestry washing project.
Maura Coughlin
PhD 2001
Primary Advisor: Linda Nochlin
Mailing Address: 1150 Douglas Pike, Smitheld,
RI 02917
Email Address: [email protected]
Latest Position: Professor, Visual Studies, Bryant
University
Publications: “Biotopes and Ecotones: Slippery
Images on the Edge of the French Atlantic,”
Landscapes (2015/16).
Lectures: “Tide Line Gleaners,” Victoria, 2018;
“Fish Tales: Shoreline encounters with Symbolist
Mer-creatures,” Toronto, 2018; “Labor on the
Land: John Berger and the Peasant-Artist,”
Philadelphia, 2018; “‘ings are partial, yet
organic’: an ecomaterialist reading of Paul Géniaux’s
Salt Harvester,” Rochester, 2018; “Littoral readings:
Visualizing coastal vitality and change in Atlantic
France,” Detroit, 2017; “Material Ecology on the
French Atlantic Shore,” New York, 2017; “Grief,
Longing and Maritime ings,” Charleston,
2017; “Immersion: Nineteenth‐Century Coastline
Paintings,” Montreal, 2016; “Kicking a Pig: Living
Closely with Animals,” Providence, 2016.
Recent Honors & Awards: 2017 Nineteenth
Century Studies Association President’s Award:
“For sustained service to the association and
signicant contributions to nineteenth-century
studies.”
Upcoming Projects: Co-editor of forthcoming
collection: Nineteenth-Century Ecocritical Visual
Culture: A Critical Anthology.
Kristi Dahm
MA and Certicate in Conservation 2002
Primary Advisor: Margaret Holben Ellis
Mailing Address: Paper Conservation,
e Art Institute of Chicago,
111 South Michigan Ave., Chicago, IL 60603
Email Address: [email protected]
Latest Position: Associate Paper Conservator, Art
Institute of Chicago
Publications: “Mounting Evidence: Original
Mounts on Early Matisse Drawings,” in Matisse
Paintings, Drawings and Sculpture at the Art Institute
of Chicago (2016)
Lectures: “Casting Far and Wide: Winslow
Homer’s Engagement with the Materiality of
Paper,” Montreal, 2016; “Henry Fuseli’s Drawing
Media, Papers, and Processes: New Observations
from the Art Institute of Chicago Collection,”
Chicago, 2017.
Mailan Doquang
MA 2003, PhD 2009
Primary Advisor: Marvin Trachtenberg
Email Address: [email protected]
Publications: e Lithic Garden: Nature and the
Transformation of the Medieval Church (2018).
Yvonne Elet
PhD 2007
Mailing Address:
Vassar College,
Department of Art,
124 Raymond Ave.,
Box 702;
Poughkeepsie, NY 12604
Email Address:
yvelet@vassar.edu
Latest Position:
Associate Professor,
33
History of Art and Architecture, Vassar College
Publications: Architectural Invention in Renaissance
Rome: Artists, Humanists, and the Planning of
Raphael’s Villa Madama (2017); “Writing the
Renaissance Villa,” in Writing Place: Investigations
in Architecture and Literature (2016); “Raphael
and the Roads to Rome: Designing for Diplomatic
Encounters at Villa Madama,” I Tatti Studies in the
Renaissance (2016).
Recent Honors & Awards: Visiting Professor,
Università degli Studi di Urbino Carlo Bo, Italy;
Dipartimento degli Studi Umanistici, Spring, 2017.
Deborah Goldberg
MA 1990, PhD 2000
Primary Advisor: Robert Lubar
Email Address: [email protected]
Latest Position: Independent Art Historian
Publications: “David Baskin’s Contemporary
Vanitas,” in David Baskin: e Speculative Gaze
(2018); “Sculpture from the Collection of
Morton and Barbara Mandel,” in Raising the Bar:
Masterworks from the Collection of Morton and
Barbara Mandel, Sotheby’s, New York, Evening Sale
(2018); “Poetry in Stone: Furniture as Sculpture,”
Wright Auctions (2018); “e Human Figure in
Bronze: From the Finn Family Collection,” in
Shaping a Legacy: Sculpture from the Finn Family
Collection, Sotheby’s, New York, Impressionist &
Modern Art Evening Sale (2017); “O’Keee’s ‘Great
American Painting,’” in Jonathan Boos, Winter
Antiques Show, New York (2017); “Pablo Picasso: Le
Peintre et son Modéle,” in Pablo Picasso: Le Peintre
et son Modéle, from the Collection of Joan Oestreich
Kend (2016).
Lectures: “Isamu Noguchi’s Important and
Unique Dining Table for Mr. and Mrs. Milton
Greene,” New York, 2018; with Cynthia Altman,
“Collections in Focus: Nelson Rockefeller as
Curator: e Siting of Sculpture,” Tarrytown,
2018; “Isamu Noguchi: Designer,” New York,
2018; “Collections in Focus: Sculpture of the 1960s
--1970s,” Tarrytown, NY, 2017; “Talking with
Stone,” New York, 2016; “Collections in Focus:
Sculpture of the 1950s-60s,” New York, 2016;
“Isamu Noguchi and Edward A. Rumely: e Artist
and His Patron,” Washington DC, 2016.
Michele Greet
PhD 2004
Primary Advisor:
Edward J. Sullivan
Mailing Address:
3825 Jancie Rd,
Fairfax, VA 22030
Email Address:
Latest Position:
Director, Art History
Program, George Mason University
Publications: Transatlantic Encounters: Latin
American Artists in Paris between the Wars (2018);
Art Museums of Latin America: Structuring
Representation (2018); “An International Proving
Ground: Latin American Artists at the Paris
Salons,” in e Americas in the Dynamics of
Global Visual Culture from 17th to 20thCentury:
Circulation / Exchange / Materiality (2017); “Rivera
and the Language of Classicism,” in Picasso and
Rivera: Conversations Across Time (2016).
Lectures: “Latin American Artists at the Académie
Lhote,” Istanbul, 2017; “Vicente do Rego Monteiro’s
Quelques visages de Paris: A Cultural Parody,”
Chicago, 2017; “Structuring Representation:
Art Museums of Latin America,” Los Angeles,
2017; “Transatlantic Encounters: Latin American
Artists in Paris between the Wars,” Mexico City,
2017; “Artistas Latinoamericanos en París,” Quito,
2017; “Visita interpertada y conferencia sobre
Arte Moderno,” Quito, 2017; “Modernism and
Classicism, Picasso and Rivera,” Los Angeles,
2017; “Transatlantic Encounters: Latin American
Artists in Early 20th century Paris,” Washington
DC, 2017; “Andean Abstraction as Displayed at
the OAS,” Madrid and Washington DC, 2016;
“Dening ‘Latin American Art’: Raymond Cogniat,
Parisian Critic,” New York, 2016.
Recent Honors & Awards: Global Discovery
Grant (George Mason University), 2018; College
of Humanities and Social Sciences Faculty
Research and Development Award (George Mason
University), 2017; Millard Meiss Publication
Grant, 2016.
Upcoming Projects: Research project on Abstract
Art in the Andes 1950-1970.
Tami Hausman
MA 1996, PhD 2002
Primary Advisor: Jean-Louis Cohen
Mailing Address: 70 East 10th St. #17,
New York, NY 10003
Email Address: [email protected]
Latest Position: President, Hausman, LLC
Lectures: “Putting Your Message Where the Media
Is,” Pittsburgh, 2017; “Above the Noise,” New
York, 2017; “PR Take Five,” New York, 2016;
“Mixed Media: Combining Traditional and Digital
Marketing,” Philadelphia, 2016.
Additional News: I just celebrated 10 years of my
company, Hausman LLC by throwing a party for
clients, consultants, and colleagues on May 1 in
New York City. Our company provides integrated
communications services to architecture and design-
related rms throughout the US, and to global rms
with a presence in North America.
Tara Homung
MA History of Art and Archaeology and
Advanced Certicate in Art Conservation 2009
Primary Advisor: Michelle Marincola
Email Address: [email protected]
Latest Position: Conservator, Judd Foundation
Lectures: “Archaeological Conservation,”
Boulder, 2017.
Upcoming Projects: Research project on Abstract
Art in the Andes 1950-1970.
Lyle Humphrey
MA 1998, PhD 2007
Primary Advisor: Jonathan J. G. Alexander
Mailing Address: 1535 Carr St.,
Raleigh, NC 27608
Email Address: [email protected]
Latest Position: Assistant Curator of European Art,
North Carolina Museum of Art
Publications: “Saul Among the Prophets: W. R.
Valentiner, Robert Lee Humber, Carl Hamilton,
and the Italian Art Collection at the NCMA,”
in Collecting Early Modern Art in the US South
(1400–1800) (2018); “Collecting Christianity on
the Nile circa 1900: J. Pierpont Morgan and e
Metropolitan Museum of Art,” in Byzantium and
Islam: Age of Transition (7th –9th Century) Collected
Papers (2016).
Lectures: “Morgan in Egypt,” Hartford, 2017; “Glory
of Venice: Renaissance Paintings 1470–1520,” Raleigh,
2017; “Books and Fragments from the Venetian
Renaissance,” Research Triangle Park, 2017.
Upcoming Projects: (with David Steel) Italian
Art, Systematic Catalogue of the Collection, North
Carolina Museum of Art.
Veronica Kalas
MA 1993, PhD 2000
Primary Advisor: omas Mathews
Email Address: [email protected]
Latest Position: Adjunct Assistant Professor in
Art History, Albion College; Instructor for Study
Abroad Programs, Hellenic American University,
Athens, Greece; Guest Curator for “Take Me ere
Greece” at e Children’s Museum of Indianapolis;
Expert Study Leader for Cultural Heritage Study
Tours with Smithsonian Journeys, National
Geographic Expeditions, Archaeological Tours,
Andante Travel, and Spiekerman Travel (to Greece,
Turkey, Jordan, Lebanon, Italy, and the Caucasus).
Ilona Katzew
MA 1992, PhD 2000
Primary Advisors:
Edward J. Sullivan and
Robert S. Lubar
Email Address:
Latest Position:
Curator and
Department Head of
Latin American Art,
Los Angeles County
Museum of Art
Publications:
Painted in Mexico, 1700-1790: Pinxit Mexici
(2017); “White or Black: Albinism and Spotted
Blacks in the Eighteenth-Century Atlantic World,”
in Envisioning Others: Race, Color, and the Visual in
Iberia and the Atlantic World (2016).
34
Alumni Updates CONTINUED
2000s
Recent Honors & Awards: e exhibition
catalogue for Painted in Mexico, 1700–1790:
Pinxit Mexici received an Association of Art
Museum Curators 2018 Award for Excellence;
honorable mentions from the Association for Latin
American Art (ALAA)’s 2018 Margaret Arvey Book
Award and the American Society of Hispanic Art
Historical Studies 2018 Eleanor Tufts’ Book Award;
and was also selected by e New York Times as
one of the best art books of 2017.
Upcoming Projects: Exhibition: Latin American
Art in the 1960s (working title);
Book Project: Collecting Spanish Colonial Art in
the US (working title).
Joan Kee
PhD 2008
Primary Advisor:
Jonathan Hay
Mailing Address:
110 Tappan Hall,
History of Art,
University of Michigan,
855 S. University Ave,
Ann Arbor, MI 48109
Email Address:
Latest Position:
Associate Professor, History of Art, University of
Michigan
Recent Honors & Awards: Global Discovery
Grant (George Mason University), 2018; College
of Humanities and Social Sciences Faculty
Research and Development Award (George Mason
University), 2017; Millard Meiss Publication
Grant, 2016.
Upcoming Projects: Models of Integrity: Art and
Law in Post-Sixties America (forthcoming in Spring
2019 from the University of California Press).
Additional News: My new book on contemporary
art and law is forthcoming from the University of
California Press. Amidst the intensied campaigns
for social and legal reform happening between the
1960s and 1990s, the political ecacy of a work
was often gauged by how quickly it could provoke
legislatures, courts, and police into action. Yet for
artists like Tehching Hsieh, Gordon Matta-Clark,
Felix Gonzalez-Torres, Sally Mann and Christo and
Jeanne-Claude, critique was not enough to justify
the claims of social relevance they made on behalf
of their works. It was also necessary to model for
their audiences what forms trustworthiness could
take, in short, to demonstrate integrity in the face
of a world that seemed emptied of it. is they did
by engaging with ideas, rituals or documents of the
law -- an institution subject to intense moral and
political scrutiny, yet whose primacy in the social
infrastructure made it a widely recognized source
of authority to audiences both in and out of the
artworld.
Jongwoo Jeremy Kim
PhD 2007
Primary Advisor: Linda Nochlin
Mailing Address: Carnegie Mellon University,
e School of Art, 5000 Forbes Ave., CFA 300,
Pittsburgh, PA 15213-3890
Email Address: [email protected]
Latest Position: Associate Professor of Critical
Studies, Carnegie Mellon University
Publications: Queer Diculty in Art and Poetry:
Rethinking the Sexed Body in Verse and Visual
Culture (2017); Painted Men in Britain, 1868–
1918: Royal Academicians and Masculinities (2016).
Lectures: “Spa Night (2016) and Queer Korea
in Los Angeles,” London, 2018; “Binding and
Unbinding Bodies: Simeon Solomon,” Ghent,
2018; “Bathers and Lotus Eaters,” Los Angeles,
2018; “Simeon Solomon and Homosocial
Networks,” Washington, DC, 2017; “Spa Night
(2016) by Andrew Ahn: Queer Korean-American
Corporeality,” Louisville, 2017; “Francis Bacon’s
Bedroom and the Wormy Sight,” Washington, DC,
2016; “Housewives and High School Boys in Love:
Korean Mothers in Lee Song Hee-Il’s Night Flight
(2014),” Washington DC, 2016; “A Red Shoe:
Linda Nochlin and Robert Gober,” Washington,
DC, 2016.
Upcoming Projects: Book in Progress -
Transplanted: Wandering Body Parts and the Queer
Uncanny. is book treats Aubrey Beardsley, Jean
Cocteau, Francis Bacon, David Hockney, Robert
Gober, and Andrew Ahn.
Additional News: Appointed as Associate Professor
of Critical Studies in the School of Art at Carnegie
Mellon University.
Lynda Klich
PhD 2008
Primary Advisors:
Edward J. Sullivan
and Robert S.
Lubar
Mailing Address:
351 West 24th St.
#14C, New York,
NY 10011
Email Address:
lklich@hunter.cuny.edu
Latest Position:
Assistant Professor, Hunter College
Publications: “Estridentismo, Mexican Modernity,
and the Popular,” in Latin American Modernisms
and Technology (2018); e Noisemakers:
Estridentismo, Vanguardism, and Social Action in
Postrevolutionary Mexico (1921-1927) (2018);
Visual Typologies from the Early Modern to the
Contemporary: Local Contexts and Global Practices
(2018); e Propaganda Front: Postcards from the
Era of World Wars (2017); “Caricature as Strategy:
An Estridentista Group Portrait,” in International
Yearbook of Futurism Studies (2017); “Mexico
estridentista,” in Paint the Revolution: Mexican
Modernism, 1910–1950” (2016).
Lectures: “e Colonial in the Modern: Early
Mexican Muralism,” San Francisco, 2016.
Recent Honors & Awards: Millard Meiss
Publication Fund grant, College Art Association,
2017; University of Maryland Phillips Collection
Book Prize, 2016.
Anne Leader
MA 1995, PhD 2000
Primary Advisors:
Colin Eisler and Marvin
Trachtenberg
Mailing Address: 230
Brookwood Dr.,
Auburn, AL 36830
Email Address:
Latest Position: Visiting
Fellow, Institute for
Advanced Technology in
the Humanities, University of Virginia
Publications: “Corsini Triptych; Angel and
Christ in Judgment; e Penitent St. Jerome” in
Fra Angelico: Heaven on Earth (2018); Giuliano
de’Medici: Machiavelli’s Prince in Life and Art
by Josephine Jungić, ed. and rev. (2018); “‘In the
Tomb of Ser Piero’: Death and Burial in the Family
of Leonardo da Vinci,” in Renaissance Studies
(2017); “Tracing the Da Vinci Tomb in the Badia
Fiorentina,” in Human Evolution (2016); “e
Leaders of Krystynopol, Galicia,” in e Galitzianer
(2016).
Lectures: “e Badia of Florence,” Auburn, 2016.
Recent Honors & Awards: Samuel H. Kress
Foundation Digital Resources Grant, 2017;
American Philosophical Society Franklin Research
Grant, 2016.
Additional News: My visiting fellowship at
IATH is virtual, so I am based in Alabama, not
Charlottesville.
Justine Moeckli
MA 2005
Primary Advisor: Linda Nochlin
Email Address: [email protected]
Latest Position: Assistant Curator, Musée d’Art et
d’Histoire, Geneva
Publications: Expositions temporaires et
interdisciplinarité. Une étude de cas: Misia, reine de
Paris (2018); Madame Hodler, une oeuvre d’Alice
Bailly (2017); We Belong Dead: Modern Gothic
Visions (2016).
Elizabeth Pergam
PhD 2001
Primary Advisors: Robert Rosenblum and
Linda Nochlin
Mailing Address: 105 East 63rd St. #5A,
New York, NY 10065
Email Address: [email protected]
Latest Position: Faculty, Sotheby’s Institute of Art
35
Publications: “John Charles Robinson in 1868:
A Victorian Curator’s Collection on the Block,” in
Journal of Art Historiography (2018).
Lectures: “An Ephemeral Display within an
Ephemeral Museum: e East India Company
Contribution to the Manchester Art Treasures
Exhibition of 1857,” Geneva, 2018.
Kyunghee Pyun
MA 1999, PhD 2004
Primary Advisor: Jonathan J. G. Alexander
Mailing Address: Fashion Institute of Technology,
227 West 27th St., B634 History of Art,
New York NY 10001
Email Address: [email protected]
Latest Position: Assistant Professor, History of Art,
Fashion Institute of Technology
Publications: “Jean Pucelle,” in Allgemeines
Künstlerlexikon (Encyclopedia of Artists of the World)
(2017); “Portraying Monks in Illuminated Service
Books in the Fourteenth Century,” in Journal of the
Association of Western Art History (2016).
Lectures: “Addressing Identity Politics in Modern
Asia: Hybrid Fashion and Cultural Cross-dressing,”
San Francisco, 2018; “Fashion, Identity, and Power
in Modern Asia: e Modernization and Dresses
of Cultural Cross-dressing,” New York, 2017;
“Predicament of Contemporary Artists: Represent
or Subdue Ethnicity?” New York, 2016.
Recent Honors & Awards: NEH Grant
Humanities Connections 2018-2021: Teaching
Business and Labor History to Art and Design
Students ($100,000); SUNY Conversations in the
Disciplines Grant 2018-2019; Fashion Institute
of Technology, President’s Award for Faculty
Excellence, 2018; SUNY FACT2 Award for
Excellence in Instruction, 2018; SUNY Innovative
Instructional Technology Grant (IITG), Tier 1,
2016-2017 (up to $10,000); SUNY Innovative
Instructional Technology Grant (IITG), Tier 3,
2017-2018 (up to $60,000); Leon Levy Fellow for
the Center for History of Collecting at the Frick
Collection in 2017.
Upcoming Projects: Co-editor and contributing
author, Fashion, Identity, and Power in Modern
Asia (under contract with Palgrave Macmillan,
forthcoming in 2018); “e Master of the Remède
de Fortune and Parisian Manuscript Production
circa 1350,” in An Illuminated Manuscript of the
‘Collected Works’ of Guillaume de Machaut (BnF, ms.
fr. 1586): A Vocabulary for Exegesis.
Additional News: I am a founder and executive
director of the Bamboo Canvas: Diverse Techniques
in Asian Arts and Crafts. http://bamboocanvas.org.
Lisa Rafanelli
PhD 2004
Primary Advisor: Kathleen
Weil-Garris Brandt
Mailing Address:
60 East End Ave. #5B,
New York, NY 10028
Email Address: Lisa.
Latest Position: Professor,
Manhattanville College
Lectures: “e Afterlife of Michelangelo’s Vatican
Pietà,” New York, 2018; “e Preservation of
Memory: Joseph Sibbel’s Jesus of the Sacred
Heart for Manhattanville College (1897),” New
York, 2018; “e Representation of Saint Mary
Magdalene in the Western Tradition: Davis
Discoveries Series,” Wellesley, 2017; “From
Imitazione to Musealization: Michelangelo’s Pietà
and its Afterlife (16-18th centuries),” Lisbon, 2017.
Upcoming Projects: e Afterlife of Michelangelo’s
Vatican Pietà.
Mark Trowbridge
MA 1998, PhD 2000
Primary Advisor: Colin Eisler
Email Address: [email protected]
Latest Position: Professor of Art History and
Chair of Department of Fine Arts. Marymount
University, Arlington VA
2010s
Kaylee Alexander
MA 2015
Primary Advisor: Meredith Martin
Email Address: [email protected]
Latest Position: PhD Candidate, Duke University
Publications: “Descent from the Cross: James
Ensor’s Portrait of the Symbolist Artist,” Shift
(2017).
Lectures: “Père Lachaise in 1815: A New Method
in the Study of Ephemeral Funerary Monuments,”
Indianapolis, 2018; “Cut, Copy, Paste: A Truthful
Picture of the Paris Catacombs,” Edinburgh, 2018.
Upcoming Projects: Dissertation: “Sépultures (non)
remarquables: e Production of Parisian Funerary
Monuments, 1804–1870” [tentative title].
Additional News: Member of the 2018 cohort
of Summer Teaching Fellows at the National
Humanities Center.
Marta Ameri
PhD 2010
Primary Advisor:
Donald Hansen
Email Address:
Latest Position:
Assistant Professor of
Art, Colby College
Publications: Seals and
Sealing in the Ancient
World: Case Studies from
the Ancient Near East, Egypt, the Aegean, and South
Asia, co-ed. (2018); “Introduction: Small Windows,
Wide Views” and “Letting the Pictures Speak: An
Image-based Approach to the Mythological and
Narrative Imagery of the Harappan World,” in Seals
and Sealing in the Ancient World (2018); “Changing
Patterns of Indo-Iranian Interaction in the ird and
Second Millennia BCE as Seen from the Ahar-Banas
Culture,” in Contextualizing Material Culture in
South and Central Asia in Pre-Modern Times (2016).
Lectures: “Revisiting Harappan Iconography: Seals,
Sealing and Tablets as Small Windows onto the
Indus Valley Civilization,” New York, 2018; “‘Ships
from Dilmun, Magan and Meluhha’: Ancient
South Asia and its Contacts with the West in the
3rd millennium BCE,” New York, 2017.
Upcoming Projects: Book Project: Miniature
Arts of the Harappan World: Seals, Sealing and
Tablets as Small Windows onto the Indus Valley
Civilization.
Tiany Apostolou
MA 2017
Primary Advisor: elma K. omas
Email Address: [email protected]
Latest Position: Research Assistant,
Gagosian Gallery
Lectures: “Bodies and Columns: A Case of Stylite
Portraiture,” Minneapolis, 2017; “Signatures in
Byzantine Art,” Minneapolis, 2016.
Upcoming Projects: Interview with artist Georgia
Kotretsos, Athens, Greece.
Birgitta Augustin
PhD 2015
Primary Advisor: Jonathan Hay
Email Address: [email protected]
Latest Position: Curator of Chinese Art, Asian Art
Museum, Berlin
Joshua Bell
MA 2016
Primary Advisor: Colin Eisler
Email Address: [email protected]
Latest Position: Major Gifts Ocer, e Studio
Museum in Harlem
36
Alumni Updates CONTINUED
2010s
William Worth Bracken
MA 2002, PhD 2015
Primary Advisor: Donald Hansen
Mailing Address:
4141 46th St. #5K, Sunnyside, NY 11104
Email Address: [email protected]
Latest Position: Adjunct Associate Professor,
St. John’s University
Publications: “Rembrandt’s Lamentation over
the Dead Christ at the British Museum: A
Reconsideration,” Master Drawings (2018).
Upcoming Projects: A book on the principles that
underlay Rembrandt’s use of motifs from other
artists.
Liam Considine
MA 2007, PhD 2012
Primary Advisor: omas Crow
Mailing Address:
551 Myrtle Ave. #4R, Brooklyn, NY 11205
Email Address: [email protected]
Latest Position: Lecturer, School of Visual Arts
Publications: “Claire Fontaine: Redemptions,” in
France and the Visual Arts since 1945: Remapping
European Postwar and Contemporary Art (2018);
“Triumph of the Banal,” in XTRA (2017).
Lectures: “Made in USA: Godard’s Pop Tableaux,”
New York, 2017.
Recent Honors & Awards:
Mellon Research Grant, Pratt Institute, 2017.
Upcoming Projects: Pop Art Against America:
Politics of the Transatlantic Image in France,
1962–1968.
Evan W. Gray
MA 2012
Primary Advisor: Marvin Trachtenberg
Email Address: [email protected]
Latest Position: Independent Scholar
Lectures: “Italian Octagonal Piers and Late
Medieval Anti-Classical Modernism,” Kalamazoo,
MI, 2017.
Marc Hajjar
MA 2015
Primary Advisor: Jonathan Brown
Email Address: [email protected]
Latest Position: Associate Director, Business
Development and Advisory at Winston Art Group
Maile Hutterer
MA 2011
Primary Advisor: Marvin Trachtenberg
Mailing Address: 5229 University of Oregon,
Eugene, OR 97403
Email Address: [email protected]
Latest Position: Assistant Professor,
University of Oregon
Publications: “Architectural Design as an
Expression of Religious Tolerance: e Case of
Sainte-Madeleine in Montargis,” Journal of the
Society of Architectural Historians (2017).
Lorraine Karafel
PhD 2010
Primary Advisor: Colin Eisler
Mailing Address: 103 East 84th St. PHE,
New York, NY 10028
Email Address: [email protected]
Latest Position: Assistant Professor of Art and
Design History, Parsons School of Design
Publications: Tapestries from the Burrell Collection
(2017).
Lectures: “Raphael: Designs for Tapestries,”
New York, 2018.
Recent Honors & Awards: Tapestries from the
Burrell Collection named by the London Evening
Standard as one of the best art books of 2017.
Abigail Lapin Dardashti
MA 2013
Primary Advisor: Edward J. Sullivan
Email Address: alapin@gradcenter.cuny.edu
Latest Position: PhD Candidate, e Graduate
Center, CUNY
Recent Honors & Awards: Fulbright Fellowship
in Brazil and International Dissertation Research
Fellowship, Social Science Research Council in
Senegal, France, and Brazil, both 2017-2018.
Jiete Li
MA 2017
Primary Advisor: Jonathan Hay
Email Address: [email protected]
Latest Position: Carpenter Foundation Fellow at
the National Gallery of Art in Washington DC
Recent Honors & Awards: Received a grant from
the Getty Foundation.
Kunhua Liu
MA 2017
Primary Advisor: Jonathan Hay
Email Address: [email protected]
Latest Position: Object Intelligence Researcher in
the Asian Art Department of Christie’s New York
Recent Honors & Awards: White Levy Travel
Grant 2016.
Raul Martinez
Museum Studies 2011
Primary Advisor: Philippe de Montebello
Email Address: [email protected]
Latest Position: Curator at the Royal Palace of
Madrid, Royal Collections
Publications: Dos pinturas inéditas de José del
Castillo para la decoración del Palacio de los secretarios
de Estado en las colecciones del Instituto Valencia de
don Juan (2017).
Ashley McNelis
MA 2015
Email Address: [email protected]
Latest Position: Curatorial Assistant,
Carnegie International, 57th Edition, 2018
Jessica Mingoia
MA 2016
Primary Advisor: Katherine Welch
Email Address: [email protected]
Latest Position: Art Lecturer and Tour Guide, Art
Smart New York
Recent Honors & Awards: Excellence Fellowship
2017-2021, Rutgers University.
Additional News: Admitted into Rutgers Art
History PhD program, started Fall 2017.
Adele Nelson
MA 2012
Primary Advisor: Edward J. Sullivan
Email Address: [email protected]
Latest Position: Assistant Professor, Art History
& Associate Director, Center for Latin American
Visual Studies, Dept of Art & Art History, e
University of Texas at Austin
Publications: “Mário Pedrosa, el museo del arte
moderno y sus márgenes,” Issuu (2017); “e
Bauhaus in Brazil: Pedagogy and Practice,” Art
Margins (2016).
Lectures: “Formas, Fotoformas, Forma objetos:
Intermediality in Postwar Brazilian Abstraction,”
Austin, 2018; “Geraldo de Barros’ Intermediality,”
New York, 2018; “Art as Real, Direct Construction:
Waldemar Cordeiro and Grupo Ruptura,” Los
Angeles, 2017; “Lygia Pape, Fields, and Language,”
New York, 2017; “Hemispheric Ambitions and
Ambivalences at the São Paulo Bienal,” Washington
DC, 2016; “Mário Pedrosa’s Modernism and the
Question of the Global,” New York, 2016;“Pedagogy
of Experimentation: Bauhaus Ideas and the Brazilian
Postwar Avant-Garde,” New York, 2016.
Recent Honors & Awards: Summer Research
Assignment, e University of Texas at Austin,
Department of Art and Art History, 2018.
Distinguished Teaching Award, e University of
Texas at Austin, 2018; Faculty Creative Research
Stipend, College of Fine Arts, e University of
Texas at Austin, 2017.
Upcoming Projects: Book in progress: “Forming
Abstraction: Art and Institutions in Postwar Brazil.”
Maggie Popkin
MA 2007, PhD 2012
Primary Advisor: Katherine Welch
Mailing Address: 3010 Huntington Rd., Shaker
Heights, OH 44120
Email Address: [email protected]
Latest Position: Robson Junior Professor and
Assistant Professor of Art History, Case Western
Publications: “Urban Images in Glass from the
Late Roman Empire: e Souvenir Flasks of Puteoli
and Baiae,” American Journal of Archaeology (2018);
“e Parthian Arch of Augustus and its Legacy:
Memory Manipulation in Imperial Rome and
Modern Scholarship” in Afterlives of Augustus: AD
14-2014 (2018); “Stone Objects,” in Samothrace:
Excavations Conducted by the Institute of Fine Arts
37
of New York University (2017); “Souvenirs and
Memory Manipulation in the Roman Empire: e
Glass Flasks of Ancient Pozzuoli,” in Materializing
Memories in Art and Popular Culture (2017).
Recent Honors & Awards: National Endowment
for the Humanities Fellowship, 2017-2018
(project title: “Souvenirs, Memorabilia, and
the Construction of Knowledge in the Roman
Empire”); Case Western Reserve University
Baker-Nord Center for the Humanities Faculty
Fellowship, 2017.
H. Alexander Rich
MA 2005, PhD 2013
Primary Advisor: Linda Nochlin
Email Address: [email protected]
Latest Position: Curator and Director of Galleries
& Exhibitions, Polk Museum of Art; Assistant
Professor of Art History, Florida Southern College;
Director of Galleries & Exhibitions, Florida
Southern College
Publications: “A Nightmare Experience: Henry
Fuseli’s e Nightmare, Bram Stoker’s Dracula &
the Experiential Role of the Viewer/Reader in Two
Gothic Masterworks,” Journal of Florida Studies
(2018); “Interpreters of Nature: Marjorie Kinnan
Rawlings, Frank Lloyd Wright, and the ‘Sense of
Place,’” Journal of Florida Literature (2016).
Lectures: “Goya, Picasso, and the Symbolism
of the Bull,” Lakeland, FL, 2018; “Childhood
Visual Literacy: Seeing the World rough
Art and Museums,” Naples, FL, 2018; “New
Perspectives: Reconsidering Renoir and ‘American’
Art,” Lakeland, FL, 2017; “A Brief-ish History of
Photography,” Lakeland, FL, 2017; “Faces in the
Crowd: e Individual and Communal Experience
of Seeing & Being Seen in the Museum,” Lakeland,
FL, 2017; “e Museum as Academy: Or What
We Learn When We Look at Art,” Lakeland, FL,
2017; “From Paris to Cos Cob: An American
Impressionism,” Lakeland, FL, 2017; “e Art of
Subversion,” Lakeland, FL, 2016; “A Nightmare
Experience: Henry Fuseli’s e Nightmare, Bram
Stoker’s Dracula & the Experiential Role of the
Viewer/Reader in Two Gothic Masterworks,” St.
Petersburg, FL, 2016.
Upcoming Projects: Exhibitions: Chagall: Stories
into Dreams; Degas: e Private Impressionist;
Toulouse-Lautrec & the Belle Epoque; Music and
Dance in Painting of the Dutch Golden Age; Lorrie
Goulet: Seventy Years Carving.
Anooradha Siddiqi
PhD 2014
Primary Advisor: Jean-Louis Cohen
Mailing Address: 536 West 11
th
St. #5,
New York, NY 10025
Email Address: [email protected]
Latest Position: Harvard University,
Postdoctoral Fellow
Publications: Spatial Violence (2016); “Architecture
Culture, Humanitarian Expertise: From the Tropics
to Shelter, 1953-1993,” JSAH (2017); “Crafting
the Archive: Minnette De Silva, Architecture, and
History,” Journal of Architecture (2017); “Traversals:
In and Out of the Dadaab Refugee Camps,”
Perspecta (2017); “On Humanitarian Architecture:
A Story of a Border,” Humanity (2017); “Seventeen
Years a Refugee,” Harvard Design Magazine (2017).
Lectures: “Minnette De Silva, Architecture,
and History,” Colombo, 2018; “Architectures of
Migration, a Feminist Approach,” Delhi, 2018;
“Feminist Architectural Histories of Migration,”
Cambridge, MA, 2018; “Domesticating the Margin
in East Africa,” Cambridge, MA, 2018; “Learning
from Dadaab: Architectural History in a Refugee
Camp,” Cambridge, MA, 2018; “From Sri Lanka
to the World: Minnette De Silva, Architecture,
and History,” New York, 2018; “Field Notes for
an Architectural History of Forced Migration,”
New York, 2017; “Chasing Minnette De Silva:
An Architect in the World,” Mumbai, 2017;
“Humanitarian Heritage and Anxious Architectures
in East Africa: A Long History of the Dadaab
Refugee Camps,” Annandale-on-Hudson, 2016;
“Crafting the Asian Modern Archive: Historical
Latencies in the Work of Minnette De Silva,”
Calcutta, 2016; “Crafting Regionalism: Minnette
De Silva and an Asian Modern Architecture,”
London/Bangalore, 2016; “Dadaab: Visual
Histories of an Emergence,” Nairobi, 2016.
Recent Honors & Awards: Postdoctoral Fellowship,
Harvard University, Mahindra Humanities
Center, 2017-2018; New York University Provost’s
Postdoctoral Fellowship for Academic Diversity,
2015-2017; Fulbright Scholars Program Fulbright-
Nehru Fellowship, 2016-2018; American Institute
of Indian Studies Senior Fellowship, 2016-2017;
Graham Foundation Grants to Individuals, 2016;
SAH Beverly Willis Annual Conference Fellowship,
2016; University of Basel Urban and Landscape
Studies Research Fellowship, 2015-2016; NYU
Faculty of Arts and Sciences Writing Collaborative
grant, 2015-2016; Global Architectural History
Teaching Collaborative grant, 2015-2016.
Upcoming Projects: Book Projects (tentative
titles): Dadaab Is A Place On Earth: Modern
Colonial Borderlands and Architectures of
Humanitarianism; Minnette de Silva and an Asian
Modern Architecture. Guest Editorships: “Feminist
Architectural Histories of Migration,” special issue
in preparation for Architecture Beyond Europe, co-
edited with Rachel Lee.; “Architecture as a Form
of Knowledge,” themed section in preparation for
Comparative Studies of South Asia, Africa, and the
Middle East. Articles and Book Chapters: “Colonial
Ground, Modern Land: Archiving Architecture
and Territory in East Africa, in preparation for
Architecture on the Borderline: Boundary Politics
and Built Space, Routledge Architext series, edited
by Anoma Pieris; “Humanitarian Homemaker,
Emergency Subject.,” in preparation for Architecture
and the Housing Question, edited by Juliana Maxim
and Can Bilsel.
Additional News: In July 2018, I will be joining
the faculty of Barnard College.
Blanca Serrano Ortiz de Solórzano
MA 2012, PhD 2017
Primary Advisor: Edward J. Sullivan
Email Address: [email protected]
Latest Position: Project Director at the Institute
for Studies on Latin American Art (ISLAA.org).
Louis Soulard
MA 2016
Primary Advisor: Michele Matteini
Email Address: [email protected]
Latest Position: Gallery Manager at Jason Jacques
Gallery
Publications: “Tales of our Time,” ArtAsiaPacic
(2016).
Jason Vrooman
PhD 2017
Primary Advisor: Linda Nochlin
Email Address: [email protected]
Latest Position: Curator of Education & Academic
Programs, Middlebury College Museum of Art
Lectures: “Gentlemen and Journeymen: Working
Class Masculinity in Henri-Gabriel Ibels’s Programs
for the éâtre Libre,” Pittsburgh, 2018.
Evan D. Williams
MA 2012
Mailing Address: Box 856, Ithaca, NY 14851
Email Address: [email protected]
Latest Position: Lecturer, Cinema and
Photography, Ithaca College, 2018
Lectures: “Brought Into e Light: e Museum
and the Photograph 1850-1900,” Rochester,
2018; “e Sea Vast and Empty: Erasing Van
Anthonissen’s Whale,” Richmond, KY, 2017.
Recent Honors & Awards: Certied Member,
Appraisers Association of America.
Additional News: Mixed media art pieces included
in three juried exhibitions at ARC Gallery,
Chicago, 2015, 2016, 2017; Published “Deliver
Me,” chapter book featuring eighteen artists and
poets to benet the ACLU’s freedom of expression
work, 2016; Served as Director of Fine Art &
Special Collections for a regional auction house,
2016-2018.
38
Degrees Conferred in 2017-2018
Doctor of Philosophy
Andrea Mari Myers Achi
“Illuminating the Scriptorium: The St.
Michael Collection and Monastic Book
Production in the Fayyum Oasis, Egypt,
during the Ninth and Tenth Centuries”
Advisor: Thelma Thomas
Elizabeth Buhe
“Sam Francis: Functional Abstraction”
Advisor: Thomas Crow
Laura Dickey Corey
“Mary Cassatt (1844-1926), American
Tastemaker: Portrait of the Artist as Advisor”
Advisor: Jonathan Brown
Allison Kidd
“Imaginibus vel Simulacris: Depicting Urban
Landscapes and Architecture in Roman
Antiquity”
Advisor: Katherine Welch
Heather Kopleff
“A Community in Stone: The ‘Cenotaph’
Stelae of Abydos”
Advisor: David O’Connor
Juanita Solano Roa
“Theater of the Self. Photography, Race, and
Progress: Fotografía Rodríguez and Benjamín
de la Calle, Medellín (Colombia), 1891-1938”
Advisor: Edward J. Sullivan
Joanna Sheers Seidenstein
“Rembrandt’s Treatments of Themes from
Classical Antiquity”
Advisor: Mariët Westermann
Andrew Larkin Farinholt Ward
“Beyond Hellenization: Terracotta Ritual
Furniture in Ancient Sicily”
Advisor: Clemente Marconi
Master of Arts and Master of Science Dual-Degree
Joy Michelle Bloser
“Found in Translation: Art Conservation
Between Chinese and English”
Advisor: Norbert S. Baer
Emily Frank
“Preserving Trauma and Memory in the Work
of Jef Campion (1961-2014)”
Advisor: Norbert S. Baer
Christine Haynes
“Altering Perspectives: Technical Analysis of
the Met Cloisters 13
th
-Century Catalan Altar
Frontal”
Advisor: Robert Maxwell
Sarah Mastrangelo
“From Print to Painting to Print Again: The
Sentimentalist Milieu of Thomas Stothard’s
Nina and Zorayde”
Advisor: Margaret Holben Ellis
Hae Min Park
“From Polyptych to Easel Painting: The Case
of Terzago Polyptych by Giusto de’ Menabuoi”
Advisor: Patricia Rubin
Master of Arts
Indira Abiskaroon*
“Reframing Paul Cézanne’s Classicism”
Advisors: Clemente Marconi and Kent
Minturn
Abigail Abric
“The Deviant and the Disease: An
Interdisciplinary Analysis of Prostitution and
Syphilis in the Work of Félícian Rops”
Advisor: Kent Minturn
Taylor Lauren Alessio
“Sebald Beham’s Siege of Vienna: Perspective,
Politics, and Religion at the Dawn of Military
Cartography”
Advisor: Christine Poggi
Emily Behzadi
“Maruja Mallo: The Framing of a Feminista”
Advisor: Edward J. Sullivan
Quinn R. Bolte
“The Ornament of Personal Adornment:
Silver Stained Bracelets in the Byzantine
World”
Advisor: Thelma Thomas
Phoebe Boosalis
“From Page to Paint: Love Letters in
Eighteenth-Century France”
Advisor: Thomas Crow
Melanie Bühler
“Portraiture’s Bleeding Edges: Frans Hals’s
Unruly Paintings and Their Afterlife in
Contemporary Art”
Advisor: Thomas Crow
Pei-si ‘Peggy’ Chao*
“Memory and Destruction: The History of
Taichung Shrine”
Advisor: Jonathan Hay
Scott Ryan Davis*
“The SAMO Avant-Garde: Henry Flynt’s
The SAMO© Graffiti and the Problem with
Cultural Production 1963-1987”
Advisor: Kent Minturn
Megan Ashley DiNoia
“Joan Miró’s 1970s Landscapes: Unearthing a
Post-Franco Nationalism”
Advisor: Kent Minturn
Alana Dull
“Picturing the Garden: Jean Honoré-
Fragonard and the French Picturesque”
Advisor: Thomas Crow
Caroline Benson Evans*
“Regression, Authority, and Identity in
the Works of Federico Antonio Carasso
(1899-1969)”
Advisor: Kent Minturn
39
Kendall Elizabeth Follert
“‘Les Quelles qui se semblent, se
rassemblent…!’: George Adéagbo’s Site-
Specific Archive”
Advisor: Christine Poggi
Ji Hye ‘Alice’ Han
“‘New Vision’ of Tomatsu Shomei: Occupation
Series and the U.S.-Japan Relationship of
1960s, Early 1970s”
Advisor: Thomas Crow
Brontë Hebdon*
“Cockades, Cravates, and Hot Pants:
Aesthetic Politics and the Visual Language of
Citizenship During the French Directory”
Advisor: Thomas Crow
Yuxi Hou
“From Big-Tailed Elephant to Yangjiang
Group: Two Decades of Experimental Art in
Pearl River Delta”
Advisor: Jonathan Hay
Yunli Huang
“Visual Versatility and Cultural Specificity: A
Transverse Study of Ink Paintings by Liu Kuo-
sung”
Advisor: Jonathan Hay
Alyssa Marie Hughes
“Golden Years in the Golden Age: Examining
the Space and Place of Elderly Women
through the Painted Works of Nicolaes Maes”
Advisor: Edward J. Sullivan
Eva Grace Jensen
“Eschewing the Footnote: Interrogating
History and Memory at the 57th Swiss
Pavilion”
Advisor: Kent Minturn
Eana Kim
“Embodiments of Autonomous Entities: Lynn
Hershman Leeson’s Artificially Intelligent
Robots, Agent Ruby and DiNA”
Advisor: Thomas Crow
Heyeon ‘Erin’ Kim
“Elmgreen and Dragset’s Immersive
Installations: The Art World, Public
Institutions, and Our Society”
Advisor: Kent Minturn
Damia Koksalan
“Mythologies of Chris Burden: Mediating
Theology in Post-War Body Art”
Advisor: Robert Slifkin
Fosca Maddaloni
“Cushioned Bliss: The Enclosed World of the
Children at Play on 12th and 13th Century
Cizhou Pillows”
Advisor: Jonathan Hay
Sanya Mirpuri
“Shifting Views of Women: A View of the
Emblematic Shifts in Johannes Vermeer’s
Works”
Advisor: Edward J. Sullivan
Susana Montanes Lleras*
“The Sorceress and the Dragon: Virginia
Frances Sterrett’s Illustration for Hawthorne’s
Tanglewood Tales”
Advisor: Kent Minturn
Stacy Renee Newport
“The Material of Counterculture:
Reconsidering Fiber Art”
Advisor: Robert Slifkin
Lisa Angela Orcutt*
“Li Huasheng’s ‘Grids’: Form and Context”
Advisor: Jonathan Hay
Leah Jeanette Orescan
“Painting in Bloom: Contextualizing Still Life
with a Bouquet in the Making and the Career
of Dirck de Bray”
Advisor: Thomas Crow
Ilhan Ozan*
“Unfolding Abstraction: Regionalism and
Diplomacy in the Fifth Tehran Biennial
(1966)”
Advisor: Kent Minturn
Mattos Paschal
“They Still Live: Barbara Kruger and the
Patriarchal Control of Women”
Advisor: Robert Slifkin
Haley Sierra Pierce*
“I
llustrative Painting: The Influence of
Printmaking in
Fin-de-Siècle France”
A
dvisor: Kent Minturn
Louisa Michelle Raitt*
“The Affect of Ambiguity: Spatial
Construction in the Early Bodegones of Diego
Velázquez”
Advisor: Edward J. Sullivan
Julian Sanchez Gonzalez*
“The Issue of the ‘Double-Outlier’:
Contemporary Art from the Caribbean and
Archipelago of San Andrés, Providencia, and
Santa Catalina”
Advisor: Edward J. Sullivan
Hannah Kate Simon
“Imperial Cult Imagery in Asia Minor:
Purpose, Precedence, and Peculiarity”
Advisor: Clemente Marconi
Maria Slautina
“Recontextualization of Imported Chinese
Rocks in Early Modern Japan: A Study in
Transcultural Interactions”
Advisor: Jonathan Hay
Arielle Suskin
“Cista with Cover in the Morgan Library: A
Reassessment”
Advisor: Clemente Marconi
Mi Tian*
“Visualizing the Dual Identity: A Study of
‘Elegant Gathering’ Paintings Commissioned
by Zeng Yu’s Mufu System”
Advisor: Jonathan Hay
Alison Emilia Tufano*
“Finding Intimacy in the Union Square
Subway Station: The Public Art of Mary Miss”
Advisor: Robert Slifkin
Mengyao Wang
“Portraying the Mother Portraying the Child:
Doubling in the Photographic Portraits by
Diane Arbus”
Advisor Robert Slifkin
Yifel Wu
“A Game of Forms: An Analysis of Landscape
Prints from Green Mustard Seed Manual of
Painting”
Advisor: Kent Minturn
Yang Yang
“Drawing a Fine Line: Artifice and Artistry in
Henri Michaux’s Mescaline Series”
Advisor: Kent Minturn
Melissa Noelle Young*
“Brush, Dab, Zoo: Animals That Paint”
Advisor: Kent Minturn
*Indicates an M.A. thesis marked with distinction
40
Donors to the Institute
Philanthropy plays an essential role in fulfilling the Institute’s mission to educate future generations of art historians, conservators, and
archaeologists. We gratefully acknowledge the generosity of our supporters.
This list includes commitments received from July 1, 2017 to July 1, 2018.
$1,000,000-$6,000,000
Anne* and Joel Ehrenkranz
The Andrew W. Mellon Foundation
Judy and Michael H. Steinhardt
Harriet K. Stratis*
Jan T. and Marica Vilcek
* Institute alumnus/a
$100,000-$999,999
Shelley Fletcher*
Larry Gagosian
Samuel H. Kress Foundation
Nancy Chang Lee*
Leon Levy Foundation
Valeria and Gregorio Napoleone
The National Endowment for the
Humanities
Ann Wood Norton*
Maddalena Paggi-Mincione* and
Raffaele Mincione
Stephanie Stokes*
Rachel* and Jonathan Wilf
Anonymous (3)
$50,000-$99,999
American Council of Learned Societies
Rachel Davidson and Mark Fisch
Roberta and Richard Huber
Richard Lounsbery Foundation
Sheldon H. Solow
Malcolm Hewitt Wiener Foundation
Charles K. Williams, II
Anonymous (2)
$25,000-$49,999
Suzanne Deal Booth*
Dedalus Foundation
Institute for Studies on Latin American Art
(ISLAA)
Stephen S. Lash
The Pierre and Tana Matisse Foundation
Alexandra Munroe*
Lauren Berkley Saunders*
Lise Scott and D. Ronald Daniel
Deanie and Jay Stein
Anonymous (2)
$10,000-$24,999
Patricia and Stephen Beckwith
Bloomberg Philanthropies
Catherine Coleman Brawer*and
Robert Brawer
Nancy B. Fessenden*
Georgia Riley de Havenon and
Michael de Havenon
The Hagop Kevorkian Fund
Arthur Loeb Foundation
Rosa Lowinger* and Todd Kessler
Lorena and Javier Lumbreras
Victoria and Samuel I. Newhouse, Jr.
Cynthia Hazen Polsky and Leon Polsky
Jonathan D. Rabinowitz
Elizabeth and Reuben Richards
Ida and William Rosenthal Foundation
Patricia A. Ross
Lois Severini* and Enrique Foster Gittes
Alice M. and Thomas J. Tisch
Julie and David Tobey
Paula Volent*
Alicia and Norman Volk
Anonymous (1)
$5,000-$9,999
Mary Lee Baranger*
Gini and Randy Barbato
William L. Bernhard
Lois Earl Blumka
Ildiko and Gilbert Butler
Furthermore: a program of the
J. M. Kaplan Fund
Eileen Guggenheim Wilkinson
Debora A. Guthrie
Elisabeth Hackspiel-Mikosch*
Christine and Sanford Heller
Julie E. Herzig* and Robert J. Desnick
Loretta Howard*
Dorothy Ko and Marvin L. Trachtenberg*
Meeker Rom Family Foundation
Lucio A. Noto
Mary Ellen and Richard E. Oldenburg
Eijk and Rose-Marie van Otterloo
Alice Pacthod
Anne N. Rorimer*
Bonnie Sacerdote
Fredric T. Schneider
Virginia St. George Smith
Eliot B. Stewart
Mariët Westermann* and
Charles H. Pardoe, II
Anonymous (5)
$1,000-$4,999
Maryan Ainsworth
Dita G. Amory*
Clarice Begemann
Marianne Begemann
Mary Braman Buchan* and
Dennis S. Buchan
Laura Isabel Uppercu Collier*
Wanda Marie Corn*
Joseph C. Cuttone
Philippe de Montebello*
Frances B. Goodwin and
Donn M. Mosenfelder
Emilie E.S. Gordenker*
Kathryn Moore Heleniak*
Anne Hrychuk Kontokosta* and
Constantine Kontokosta
Kaufmann Repetto
Jan Lynn Leja*
Jay A. Levenson* and Mary Schuette
Dorothy Robinson Mahon* and
Terrence S. Mahon*
Claire Svetlik Mann*
Michele D. Marincola*
Beatrix Medinger* and Gregor Medinger
Mary Oey*
41
Paul N. Perrot*
Christine Poggi
Anne Litle Poulet*
Deborah* and David Rothschild
Katherine A. Schwab*
Robert Simon
George E. Wheeler*
Reva June Wolf*
Dale* and Rafael Zaklad
Anonymous (3)
$500-$999
William Nash Ambler*
Susan Anderson*
Alan D. Chong*
Andria Derstine*
Tami Dawn Hausman*
Ariel* and John* Herrmann, Jr.
Paula Rand Hornbostel*
Michael Jacoff*
Suzannah Kellner*
Michael Bundy Kohn*
Guenter H. Kopcke
Charles T. Little*
Caroline and Anthony Lukaszewski
Beth Merfish*
Cynthia Wolk Nachmani*
Francesco Pellizzi
Janko Rasic Architects PLLC
Jennifer Russell*
Diane H. Schafer
Marjorie N. Shelley*
Catherine Sweeney Singer*
Terence E. Smith*
Paul Stanwick*
Mary Stofflet*
Marlene Barasch Strauss* and
H
arold L. Strauss
Joan* and Robert C. Troccoli
Ian
B. Wardropper*
$200-$499
Ms. Susan Staples Arms* and
Richard G. Arms*
Carla Caccamise Ash*
Konstanze Bachmann*
Norbert and Janet Baer
Linda Freeman Bauer*
Benevity Community Impact Fund
Thomas A. Buser*
Karen F. Christian*
J
ean-Louis Cohen
Judith Colton*
Rachel L. Danzing*
Alan Darr*
Carmen Dubroc and Lewis I. Haber
Martha L. Dunkelman*
Martha E. Easton* and Patrick R. Sullivan
Carol S. Eliel* and F. Thomas Muller
Jennifer Eskin*
Stuart Evans
Leslie* and Tom* Freudenheim
Laura M. Gadbery*
Kathryn Calley Galitz*
Evan Whitney Gray*
Alison de Lima Greene*
Ashley Etter Hagwell
Sharon* and Daniel Herson
Gail Hessol
Penelope Hunter-Stiebel*
Lorraine M. Karafel*
Anna D. Kartsonis*
Rober
ta and Charles* Katz
Norman L. Kleeblatt*
Lynda Klich*
Evelyn Monroe Koehnline*
Dorothy Kosinski*
Carol Herselle Krinsky* and
R
obert D. Krinsky
A. Flo
yd Lattin*
Yulin Lee*
Susana* and Pierre Leval
Roger W. Lipsey*
Elizabeth J. Lytton*
Vivian B. Mann*
Lys McLaughlin Pike
Margaret M. Miles
Marc H. Miller*
Robert S. Nelson*
Guy Nordenson
Jo Anne C. Olian*
Stephen E. Ostrow*
Ronald Y. Otsuka*
Joan H. Pachner*
Jennifer Perry*
Debra Pincus*
Beatrice C. Rehl*
Nancy R. Reinish*
S
am Salloum
Polly J. Sar
tori*
Stephen K. Scher*
Patricia Schulze Hills*
Javad Shabani
Larry V. Silver
Priscilla Parsons Soucek*
Barbara E. Pollard Stein* and
Mitchell Stein
Cecil Leopold Striker*
Edwar
d J. Sullivan*
Marie C. Tanner*
Marcia R. Toledano*
Deborah Lee Trupin*
Anne W. Umland*
Stefanie Walker*
Jane H. Weber* and Lawrence G. Becker*
Michele Wijegoonaratna*
Deborah N. Wilde*
Steven R Willis
Roberta May-Hwa Wue*
Bonnie E. Yochelson* and Paul Schechtman
Eric M. Zafran*
Lynn H. Zelevansky*
Orestes H. Zervos*
Arlene Kurlander Zimny
Alice M. Zrebiec*
Shelley E. Zuraw*
$100-$199
Mark B. Abbe*
John Brooks Adams*
Morgan Simms Adams*
Lynne D. Ambrosini*
Patrick Amsellem*
Michael J. Amy*
Rhonda M. Baer*
Cathleen A. Baker
Daniel M. Belasco*
Jo Anne G. Bernstein*
Kathleen Brenner
Leslie Davidson Bruning*
Marian Burleigh-Motley*
Ruth A. Butler*
Richard J. Channin
Andrea Y. Chevalier*
Sue Ann Chui*
Lucy A. Commoner
Dario A. Covi*
42
Donors to the Institute CONTINUED
Emily Salas Crowley*
Kristi Anne Dahm*
Hope Davis Braddick
Suzanne L. Davis*
Margaret Fields Denton*
Layla S. Diba*
Isabelle Duvernois*
Arlene Hirsch Elkind
Priscilla Farah
Sharon H. Ferguson*
Shalimar Abigail Fojas White*
Wayne* and Linnea Franits
Eric M. Frank*
Suzanne P. Fredericks*
Susan G. Galassi*
Heather Galloway*
Jorge A. Garcia-Tuduri*
Lisa A. Goldberg*
Lois R. Granato*
Michele M. Greet*
Steven R. Haas*
Marc John Hajjar*
Pamela B. Hatchfield*
Andrée M. Hayum
Julia P. Herzberg*
Shepherd M. Holcombe, Jr.*
Matthew Winer Israel*
Carolyn French Judson
Nora Kennedy
Dale B. Kinney*
Donna Michele Stein Korn*
Victor Koshkin-Youritzin*
Desiree G. Koslin*
Linda Konheim Kramer*
Marsa Laird*
Richard S. Lanier*
Ruthann R. Lehrer*
Dene A. Leopold*
Douglas Lewis
William A. Lieber*
Deborah D. Lipton*
Gail P. Lloyd*
Susan D. Marcus*
Olga S. Marder
Ira S. Mark*
Melissa S. Meighan*
Jerry D. Meyer*
Eugenie Milroy
Denyse L. Montegut*
Frances Land Moore*
Anita* and Martin Moskowitz*
Norman E. Muller*
Hilary St. Clair Ney*
Won Y. Ng*
Christopher A. Noey*
Andrea Spaulding Norris*
Elizabeth A. Oustinoff*
Jessica Lian Pace*
Elizabeth C. Parker*
Merribell M. Parsons*
Philip M. Pearlstein*
Suzanne Meek Pelzel*
Ruth R. Perlin*
William L. Pressly*
Stuart W. Pyhrr*
Allen Rosenbaum*
Gr
egory R
ubinstein
Rebecca A. Rushfield-Wittert*
Amy Incornata Russo*
Joseph T. Ruzicka*
Edmund Campion Ryder*
Christa C. Mayer Thurman Sala*
Sheila Schwartz*
Ann Seibert*
Deborah S. Shinn*
Christine M. Singer*
Roland R. R. Smith
Webster Smith*
David M. Sokol*
Jack Soultanian, Jr.*
Eliza Robinson Spaulding*
Aron Y. Stavisky
Rachel Arlene Stekson*
Elizabeth Rosen Stone*
Joyce Hill Stoner*
Julia Marella Sybalsky*
James W. Sykes, Jr.*
Carol F. Tabler*
William S. Talbot*
Isabelle N. Tokumaru*
Cybele Tom*
Lindsey Tyne*
Emily Trevor Van Vleck*
Patricia A. Waddy*
Marina D. Whitman*
Walter F. Wientge, Jr.
Peter M. Wolf*
Christine Elaine Wraga*
Jeffrey M. Zalusky*
* Institute alumnus/a
NAME: PREF. DONOR PUBLICATION NAME:
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