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826 schermerhorn COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2021
FROM THE CHAIR
Graduate students, faculty, and staff of the department gathered in Schermerhorn Hall on September 8
for the first time in over a year and half. Reliving that combination of excitement and trepidation we
distantly remember perhaps from the first day of kindergarten, we welcomed two cohorts of graduate
students: those who enrolled in 2020, many of whom hadn’t set foot on campus last year, and the 2021
class, the most diverse in our history. It was very moving to see McKim, Mead & White’s campus—
conceived 125 years ago as an evocation of the ancient Athenian Agora and Acropolis—come to life
again with the spontaneous encounters and exchanges of ideas we so missed during the hiatus, when
“Zoom” became a synonym for sitting at home, not rushing between classes and meetings.
If for over a year everyone stayed apart, the academic life of the department continued. Graduate
students developed new forms of scholarly engagement, from an online exhibition on the artist Florine
Stettheimer to a podcast on ancient Near Eastern art. Our PhD students have continued to make
progress on their dissertations,
despite great impediments,
and have received numerous
prestigious awards, including
three CASVA and four Met
fellowships. The pandemic has
hardly slowed the astounding
scholarly output of the faculty,
who traveled the globe through
their computer screens to
lecture and join debates. Books
and articles appeared apace,
including volumes by Zeynep
Çelik Alexander, Vidya Dehejia,
and David Freedberg, excerpted
here. With record speed,
Holger A. Klein and several
Above: Faculty and students graduate students mounted an exhibition at the Wallach Art Gallery that evoked haunting memories of
return to Schermerhorn Hall with
the new graduate student orienta-
September 2001 with its focus on Fritz Koenig’s Sphere, which acquired a whole new set of meanings
tion. Photo: Gabriel Rodriguez. twenty years ago when the World Trade Center became “Ground Zero.” The Way We Remember offers
The Way We Remember: Fritz Koenig’s killed that day, among them forty-two monuments and memorials? What Cover: Nataraja, Shiva as the
equally new ways of thinking about the interactions between works of art, events, and memory on the
Sphere, the Trauma of 9/11, and the Columbians, by reading their names role do art and architecture play in Lord of Dance, c. 1100. Bronze, Morningside campus.
113 × 102 × 30 cm. The Cleveland
Politics of Memory aloud and placing flags along College the mediation of history for future Transitions abound: Michael Cole stepped down after six years at the helm as department chair,
Museum of Art.
Wallach Art Gallery Walk for each life lost. generations? Curated by Holger A. Klein guiding us with a steady hand even in the most tumultuous of times, and without us able to properly
September 10–November 14, 2021 in collaboration with graduate students Opposite: The recovery of the
thank him with a much-deserved celebration due to COVID restrictions. Vidya Dehejia, who single-
Great Caryatid Sphere following
On the occasion of the twentieth Alison Braybrooks, Kayla J. Smith,
the 9/11 terrorist attack. Photo: handedly made Columbia a leader in the study of the art of South Asia, retired. Her legacy will be long in
Each year on the anniversary of the anniversary of the 9/11 terrorist Qisen Song, and Emily L. Wehby, The Andrea Booher/FEMA.
the field. We have begun the daunting task of finding her successor just as we undertake a search for a
tragic events of September 11, 2001, attack, in the middle of a global public Way We Remember engages these
people around the world hold vigils and health crisis and after the previous complex questions by highlighting new holder of the Swergold Chair in Chinese Art, as Bob Harrist too retires in 2022. Kellie Jones now is
stand in silence to remember the lives summer of social unrest that saw the three distinct but interrelated themes: astride two departments as we share her with the Department of African American and African Diaspora
of those who were lost. Downtown at toppling of many public monuments, the memory of 9/11 through the lens of Studies, which is fortunate to have her as chair.
the National September 11 Memorial, this exhibition at the Wallach Art one of its earliest memorials, sculptor We hope to invite alumni and friends of the department back to campus in the near future. But
EDITOR: Michael J. Waters
the names of the victims are physically Gallery asks: what are appropriate Fritz Koenig’s Sphere for the World even as we slowly emerge from pandemic measures, with gatherings limited, we hope you will join us
COPY EDITOR: Emily Benjamin
inscribed on the parapet that surrounds ways to commemorate events and Trade Center; Columbia University’s PHOTO EDITOR: Gabriel online for the Bettman Lectures, various department fora, and other events, which will continue to feature
the footprints of the Twin Towers to places, the achievements of historical campus as a place of memory; and our Rodriguez
speakers from around the world. At least Zoom allows you to rush to Schermerhorn from wherever you
make permanent the memory of their and contemporary figures, and the present struggle to grasp, visualize, PRODUCTION: Faith Batidzirai,
Emily Ann Gabor, Sonia are with just a click of a link.
lives. On the Morningside Heights traumatic experiences that shape us and commemorate the impact of the
Sorrentini, and Satomi Tucker
campus, Columbia students, faculty, as a society and community? How COVID-19 pandemic.
DESIGN: Florio Design BARRY BERGDOLL
and staff gather to commemorate those do we respond to the legacy of past
3
RETIREMENT
THE MANY ART HISTORIES OF Her conceptualization of this topic continues to
provoke scholars. Over the years, she has curated
Vidya always encouraged her students to connect
with scholars in diverse fields and pursue unfamil-
VIDYA DEHEJIA
seven additional exhibitions on subjects ranging iar trajectories. When things went awry, she was
from Chola bronzes to British artists in India. there to support and help us. When things went
At Columbia, Vidya has taught an array of lectures well, she was thrilled by our achievements. Most
and seminars spanning over two thousand years of all, she has led the discipline by example,
of South Asian art, including her popular and encouraging creative collaborations and the
This year marks the retirement of Vidya Dehejia, has drastically shifted. Indeed, her work is central trailblazing Masterpieces of Indian Art and Architec- pursuit of new horizons.
the Barbara Stoler Miller Professor of Indian Art, to this transformation. From her early research ture. Her academic adventurousness even led
after over thirty years in the department. A on the caves of the Deccan and in Tamil Nadu, her to learn sculpting and filmmaking. This has
disciplined writer, teacher, and curator, who has she moved on to study ancient stone temples in emboldened others to stretch their imaginations
authored and edited an astonishing twenty-seven Orissa before arriving at Columbia in 1982 as and re-envision how scholars can impact the field. ANNAPURNA GARIMELLA, ’02 PhD
books and catalogues, she has engaged scores an associate professor. She soon published a
of students and scholars, as well as the general pioneering book on Yogini temples (1986),
public, through her work. Vidya began her followed by a path-breaking study on medieval
education in the Ancient Indian Studies course Tamil Nadu that integrated poetry, sculpture, and
at St. Xavier’s College, Bombay (now Mumbai). architecture (1988), and later an important set of In this book, we will indeed acknowledge of the constant warfare that the Chola monarchs
After receiving her BA in 1961, she went to works on Buddhist visual narratives. In the 1990s, and delight in the sheer physical beauty undertook to retain and expand their empire?
Cambridge University to pursue a second BA, Vidya moved her focus to new areas of art history, of Chola bronzes, created to evoke the . . . What was the source of the precious and
this time in archaeology and anthropology with becoming the first South Asianist to consider how verbal picture conjured up by child saint semiprecious materials used to create the lavish
a specialization in India and China. Six years the line of inquiry begun by Linda Nochlin, Sambandar, who called Shiva “the thief gold jewelry, embedded with pearls and coral,
later, she completed her doctorate there with a Griselda Pollock, and Gayatri Spivak, regarding who stole my heart” in the first verse of rubies and diamonds, that was gifted to adorn
dissertation on western Indian cave architecture the work of women artists, gendered conventions his first hymn that opens the entire Tamil every temple’s sacred bronzes? . . . To what extent
(c. 200 BCE–200 CE). From this focused yet of art, and the possibility of women’s agency in “canon.” We will move, however, beyond was female patronage a force to be reckoned with,
diverse academic training, Vidya quickly developed patriarchal social structures, could challenge and the sensuous to ask questions of this not just of the wealthy elite and of early Chola
the capacity to hone a topic, conduct intensive expand scholarship on Indian art. This opened the material that have not been asked before. I queens, but also of the anukki or “intimate” of
fieldwork, develop a hypothesis, and disseminate door for scholars to seek new ways of approaching propose to treat the bronzes not merely as more than one Chola king? . . . A fact that we have
her research through publications as well as the art of South Asia. Her landmark 1999 exhibi- exquisite masterpieces created by talented all ignored thus far is that there is no copper at all
wide-ranging classes and exhibitions, an approach tion, Devi: The Great Goddess, mounted during her wax modelers and accomplished metal that may be profitably mined in the granitic region
that would become emblematic of her career. time as the chief curator and deputy director of casters but also as material objects that of Chola territory, the state known today as Tamil
the Smithsonian’s Freer and Sackler Galleries, Excerpt from Vidya Dehejia’s The interacted in meaningful ways with human Nadu. . . Where did the bronze casters and their
Thief Who Stole My Heart: The
Vidya’s career spans more than five decades delighted audiences and brought her engagement Material Life of Sacred Bronzes from
activities, and with socioeconomic and religious patrons suddenly procure the large quantities of
during which the study of South Asian art history with feminist art history to the sacred feminine. Chola India, 855–1280 (Princeton practices . . . What were the circumstances that copper required to create their sacred images?
University Press, 2021). permitted the creation of so many temples and
such large numbers of exquisite bronzes in spite
On field trip to India in
Kanchipuram, Tamil Nadu (top
to bottom, left to right): Vidya
Dehejia, Laura Weinstein, Dipti
Khera, Yuthika Sharma, Neeraja
Poddar, Anna Seastrand, Peter
Rockwell (Vidya’s collaborator for
The Unfinished, 2015), Katherine
Kasdorf, and Risha Lee.
4 826 schermerhorn 5
INITIATIVES EXHIBITS
ISHTAR DIARIES FROM LIFE: EARLY WORKS BY
Conceived by Zainab Bahrani
and Ipek Cem Taha, director of
Columbia’s Global Center in
Istanbul, the podcast Ishtar
FLORINE STETTHEIMER
Diaries offered graduate stu- In January 2020, the department’s MA students began
dents and friends Majdolene research for an exhibition focusing on the formative years
Dajani, Jeiran Jahani, Laleh and academic training of American avant-garde artist
Javaheri-Saatchi, and Kutay Sen Florine Stettheimer (1871–1944). Renewed interest in
an invaluable opportunity to Stettheimer’s contribution to modern art has led to several
stay connected and engaged recent exhibitions. None of these shows, however, closely
during the isolation of lock- interrogated the artistic development of Stettheimer prior to
down this past year. Exploring Watercolor of Capitol Square in Richmond with Thomas Jefferson’s Virginia State 1914, when she settled permanently in New York. Columbia
Capitol (1785–88), Elijah Myers’s Old City Hall (1886–94), and the new General
the intersections between Assembly Building by Robert A.M. Stern Architects (2017–2022).
University, thanks to a bequest from the estate of the
scholarship on the ancient world and contemporary art, and be- artist’s sister Henrietta (Ettie), holds the largest collection
tween sociopolitical conditions and personal experiences, episodes Thanks to the generosity of the Robert A.M. Stern Family of Stettheimer’s oeuvre in the world. Divided between Art
revolve around Ishtar, a major ancient West Asian goddess, and Foundation, the department has begun offering an annual Properties, Avery Architectural & Fine Arts Library, and the
consider, as if it was a diary, how she has been inscribed into the undergraduate course related to the history of American architecture Rare Book and Manuscript Library, this collection provided
historical and archaeological record. Never static, these diaries to be taught by a distinguished visiting professor. Daniel M. a rich resource for MA students to showcase the breadth
are in a state of continuous becoming. Each time we engage with Abramson (Boston University) was the inaugural Stern professor last of styles, genres, and media that Stettheimer engaged with
them, we redefine ourselves through them and add new memories year. He will be followed by Sandy Isenstadt (University of Delaware) and how the artist’s early work laid the foundation for her
to them. By exploring these accumulating narratives, biographies, this spring. In addition to leading his own prominent architectural better known modernist aesthetic. Initially planned as a
or diaries, the podcast—set against original music produced by practice, Robert A.M. Stern (BA ʼ60) is a noted architectural physical exhibition in Avery Library, From Life: Early Works by
contemporary female musicians from the region—aims to help historian who has authored and edited a number of key works and Florine Stettheimer opened as an online exhibition in March
preserve this heritage and challenge colonial and patriarchal created the PBS series Pride of Place (1984–85). At Columbia, 2021 . This
interpretations forced onto it. he founded the undergraduate architecture major and served as format allowed the students to include more works, many
professor at GSAPP as well as the inaugural director of the Buell previously unpublished.
Center. An event will be held this year to honor this gift.
ARTS AND RACE CRITICAL In fall 2020, I had the pleasure of teaching the seminar American
COLLECTIVE Government Architecture. This discussion-based course, which
met online with over a dozen students, explored themes and
contradictions of American governance and architecture,
Co-founded in 2020 by doctoral students Jordan Mason Mayfield interrogating national, state, and municipal buildings from the
and Eric Mazariegos Jr., the Arts and Race Critical Collective eighteenth century onward as well as civic and government
(ARCC) is a new initiative that seeks to bring together arts-focused center complexes, both domestic and overseas, in relation to
graduate students of color in the department and across related concepts such as democracy, federalism, citizenship, race,
programs at Columbia. Over the past academic year, ARCC met and capitalism. Students, based in diverse locales, presented
monthly, fostering lively conversations around topics such as on government buildings local to them and produced final
“Identity,” “Knowledge Outside of Academia,” “Intersectionality,” research projects on topics that ranged from federal housing
and “Critical Methodologies.” The organizers also brought and American rural town meeting spaces to colonial installations
in prominent curators and scholars working on intersections in the Philippines and the Palace of the Republic in former East
between race and the arts. In the fall, ARCC hosted Denise Murrell, Berlin. The course was further enriched by visits from Robert
associate curator of nineteenth- and twentieth-century art at the A.M. Stern, who shared his historical knowledge and design
Metropolitan Museum of Art, for a lecture on curatorial practices experience, and Bryony Roberts (GSAPP), who discussed her
and her landmark exhibition, Posing Modernity. At the end of spring, recent community-partnered projects staged amidst government
Charlene Villaseñor-Black, professor of art history and Chicana/o buildings. The relevance of the topic hit especially close to home
ABOVE: MA students (from left) TOP RIGHT: Florine Stettheimer,
studies at UCLA, presented “Thinking About Migration Through during the waning months of the Trump administration with Laleh Javaheri-Saatchi, Sarah Faulkner, Self-Portrait with Paradise Birds, c. 1900.
Latinx Art.” Both talks gathered large crowds and prompted spirited the promulgation of the executive order “Promoting Beautiful Nínive Vargas de la Peña, Zhirui Guan, Art Properties, Avery Architectural &
Federal Civic Architecture” and the storming of the U.S. Capitol. Clara Zevi, Luming Guan, Katie Pratt- Fine Arts Library, Columbia University.
discussion. ARCC will continue this year to organize seminars, Thompson, and Shuni Zhu examine BOTTOM RIGHT: Watercolor study
guest lectures, and other community-building gatherings, works by Florine Stettheimer from the for Landscape in an Italian Park
providing a vital space for like-minded peers to explore critical DANIEL M. ABRAMSON Art Properties collection on January (The Poplars), 1909, Rare Book
30, 2020. and Manuscript Library, Columbia
contemporary issues and diverse avenues of art historical inquiry. Stern Visiting Professor University.
6 826 schermerhorn 7
FACULTY FACULTY
B O O K E XC E R P T
FACULTY HIGHLIGHTS talks at Birkbeck, University of London; manuscript, The Sheriff ’s Picture Frame: ELIZABETH HUTCHINSON organized
Princeton University; Washington Art and Execution in Eighteenth-Century the fall 2020 lecture series Monumental
Writing Architectural History: University; Courtauld Institute of Art; Britain. She participated in the College Art Action: Public Art and Public History to
ALEXANDER ALBERRO published Evidence and Narrative in the Twenty- Royal Institute of Technology, Stockholm; Association annual meeting; contributed explore the centrality of public sculpture
articles in Journal of Visual Culture and First Century gathers together Hochschule für bildende Künste, an essay to the exhibition catalogue to the George Floyd protests. The
Texte zur Kunst as well as in the anthology recent scholarship to explore the Frankfurt am Main; and the Wadsworth Hogarth and Europe (Tate Britain, 2021); year also marked the appearance of
Seth Siegelaub: Better Read Than Dead. opportunities presented by rethinking Atheneum. and filmed two lectures on Hogarth’s her article “ʻPhotographic Weather’:
He delivered papers (virtually) at Brown issues of evidence and narrative graphic works for a virtual public lecture a posthumanist approach to Western
University, University of Washington, the in architectural history. Unifying MICHAEL COLE published a short series hosted by the Paul Mellon Centre. survey photography” in Panorama: Journal
Whitney Museum of American Art, the essay in the catalogue accompanying Currently, she is completing an article on of the Association of Historians of American
the volume is a set of intertwined
Neue Berliner Kunstverein, the Institute the exhibition Die Silberne Stadt: Rom the visual culture of hanging in Britain Art, as well as other short publications.
questions: What kinds of evidence
for Studies in Latin American Art, and the im Spiegel seiner Medaillen, held in and the British empire. She began a teaching partnership with
does architectural history use? How the Arts of the Americas collection at
College Art Association annual meeting. Munich, and joined the editorial board of
is this evidence organized in different ANNE HIGONNET spoke at the the Brooklyn Museum that will continue
He continues in his role as editor for the Zeitschrift für Kunstgeschichte. He spoke
narratives and toward what ends? international conference Collecting through 2022.
book series “Studies on Latin American at Duke University on his recent book
What might these concerns tell Sofonisba’s Lesson: A Renaissance Artist and Impressionism and at Harvard University,
Art,” distributed and published by the
University of California Press. us about architectural historians’ Her Work, which was also the feature of and published a review of Frick Madison In July 2021, KELLIE JONES became
disciplinary and institutional positions a Modern Art Notes podcast. In July, Cole for ArtForum. She is currently writing chair of African American and African
in the past and present? And finally, completed his second three-year term as a book on fashion and the French Diaspora Studies, the newest department at
ZAINAB BAHRANI’s article “Aby
how can consideration of evidence chair of the department, as well as his Revolution, under contract with Norton. Columbia, inaugurated in 2018. In this role,
Warburg’s Babylonian Paradigm: towards
and narrative help us all reimagine third and final year on the A&S Policy and During the pandemic semesters, she she is excited to shepherd a multi-year grant
an epistemology of the irrational in the
the limits and the potentials of the Planning Committee. He looks forward to taught a record number of students. from the Andrew W. Mellon Foundation that
Bilderatlas,” based on her Walter W. S.
field? These matters have not generally a reimmersion in teaching and research. centers the arts in curricular and intellectual
Cook Distinguished Alumni Lecture at
been addressed in architectural history. The twenty numbered chapters in discussions of African American and African
the Institute of Fine Arts, NYU, recently
Writing Architectural History represent a broad range of subjects, from medieval JONATHAN CRARY published the Diaspora studies.
appeared in RES: Anthropology and
Aesthetics. Last spring, she presented European coin trials and eighteenth-century Haitian revolutionary buildings, to essay “Powering Down” in the Spring
“The Methexis Image” at eikones, Weimar German construction firms and present-day refugee camps in Kenya. 2021 issue of October. At Zone Books,
University of Basel, and participated in This breadth, along with the volume’s general thematic questions about history he was the sponsoring editor of Romy B O O K E XC E R P T
conversations with contemporary artists writing, opens it to readers beyond architectural history. Golan’s new book Flashback, Eclipse:
Baris Dogrusöz and Hera Büyüktascıyan The Political Imaginary of Italian Art in
When I began investigating iconoclasm
in Istanbul and Dubai. The talks (available the 1960s.
Excerpt from Zeynep Çelik Alexander’s Writing Architectural History: Evidence in 1970 (concentrating on iconoclasm
online) focused on colonial discourse, and Narrative in the Twenty-First Century, co-edited with Daniel M. Abramson during the Protestant Reformation in the
archaeological technologies, and the and Michael Osman (University of Pittsburgh Press, 2021). NOAM M. ELCOTT was the 2021
Netherlands), my colleagues, my friends,
poetics of ruins. Bahrani also continued recipient of The Great Teacher Award
practically everyone asked me what
her fieldwork at Amadiya/Amedi. conferred by the Society of Columbia
Graduates. iconoclasm had to do with art history. Art,
they said, was about the higher reaches
FRÉDÉRIQUE BAUMGARTNER’s of the human spirit, not about its baser
architectural history by the Académie Conversion,” at Humboldt Universität DAVID FREEDBERG’s volume
essay on vandalism during the French qualities. It was about creativity, not
d’Architecture in Paris, and he took over Berlin. He led a seminar alongside Lord Iconoclasm has just appeared with
Revolution appeared in the volume destruction. The task of the historian of
chairing the department in July. Rowan Williams, former Archbishop of University of Chicago Press. It contains
The Art of Revolutions, published by the
Canterbury, on the Isenheim Altarpiece a selection of six previously published art was to record or describe what has
American Philosophical Society Press.
DIANE BODART is co-curating the for Westminster Abbey’s Passion and essays as well as four new ones on survived, not what was lost. How could an
Due to the pandemic, the exhibition From Pandemic Holy Week seminar series.
exhibition Gribouillage: Aux limites du recent episodes of image destruction art historian be conducting research into
Life: Early Works by Florine Stettheimer, He co-organized the conference Art and
dessin, which will open at the French and removal across the globe. Freedberg the history of the destruction of images?
curated by the department’s MA students Environment in the Third Reich and gave
Academy in Rome – Villa Medici in contributed to books on William Art historians were supposed to deal
under the direction of Baumgartner and invited lectures on “The Trees of the
February 2022. The exhibition is one of Kentridge and on Rembrandt and with form in history and with what art
Roberto Ferrari, was reconceived as an Cross,” at Princeton University and the
the outcomes of her long-term research contemporary portraiture, and he also means to people. I restrained myself from
online exhibition (see p. 7). Medieval Congress at Kalamazoo, and on
project on the practice of scribbling lectured for audiences in Copenhagen, suggesting that the will to destroy works of
and doodling within the process of “Mary as Rod and River,” at Middlebury Hamburg, and Milan, as well as at
BARRY BERGDOLL taught, lectured, art often provides precise testimony to what art actually means to people, from
artistic creation. She wrote an essay on College and Yale University. INHA’s Festival of History and Art at
served on juries, and contributed to edited love and desire to hate, anger, and resentment. For the most part, art historians
Renaissance portraits of sitters affected Fontainebleau. In his role as director
volumes around the world from his dining preferred to talk about images that exist rather than images that no longer
by visual impairment for Parerga: Etudes ZEYNEP ÇELIK ALEXANDER of the Italian Academy, he hosted three
room table. He served as an advisor to the en hommage à Victor I. Stoichita and gave completed, along with Daniel Abramson exist, to show images being made rather than unmade. The notion that anyone
exceptionally well-attended lectures by
2021 architectural bienales in Seoul and lectures at the Kunsthistorisches Institut and Michael Osman, the edited volume Carlo Ginzburg and a conference on the should do research on the history of image destruction—or the history of
in Venice, published essays in volumes in Florence and the École des Hautes Writing Architectural History: Evidence restitution of the Benin Bronzes. images that no longer exist, that are so gone that you can no longer study them
honoring Columbia GSAPP colleagues Etudes en Sciences Sociales in Paris. and Narrative in the Twenty-First Century. visually—was regarded as anathema, testimony to what was wild and barbaric
Kenneth Frampton and Mary McLeod, She published essays in Grey Room as This year, MEREDITH GAMER had the in the human spirit, outside civilization and culture, and had nothing to do with
and contributed catalogue essays to the GREGORY BRYDA was awarded a well as in the edited volumes Iteration: pleasure of being a fellow at Columbia’s the realm of academic inquiry or art. This seems absurd now.
forthcoming Hector Guimard exhibition Fulbright grant to conduct research and Episodes in the Mediation of Art and Heyman Center for the Humanities,
at Cooper Hewitt. In September, he was teach material related to his next research Architecture and Bauhaus 100: Wendepunkt which allowed her to work on her book Excerpt from David Freedberg’s Iconoclasm (University of Chicago Press, 2021).
honored with the annual medal for project, “The Roots and Foundations of der Moderne. Çelik Alexander also gave
8 826 schermerhorn 9
FACULTY UNDERGRADUATE STUDENTS
STUDENT PERSPECTIVES
BRANDEN W. JOSEPH delivered the IOANNIS MYLONOPOULOS worked programs at UC Berkeley, University of
lecture “Art and Dirt: Kim Gordon’s on several articles, published four Albany, and Oberlin College, and she gave Alex Foo ’21 BA
Aesthetics of Impurity” in the Harn book reviews, and began preparing the the talk “N’y a-t-il deux sexes?” at the
Eminent Scholar Chair in Art History publication of the first results of the international conference Central Africa’s ONE OF THE HIGHLIGHTS of my time at Columbia was spending three semesters
(virtual) lecture series at the University excavation at Onchestos (Greece). He Renaissance. as an undergraduate curatorial intern in the Department of European Sculpture and
of Florida; contributed “UFO I/O: Tony gave a talk at the University of Crete Decorative Arts at the Metropolitan Museum of Art, where I worked with curator
Oursler in Conversation with Branden entitled “Divine Images in Ancient LISA TREVER co-edited the volume El Denise Allen and research associate Jeffrey Fraiman on the museum’s forthcoming
W. Joseph” to Oursler’s retrospective Greece” and was elected into a group arte antes de la historia: Para una historia catalogue of Italian bronzes. Exciting, yet challenging, was my introduction to
exhibition Black Box at the Kaohsiung of reviewers of European Research del arte andino antiguo, a collection of
Renaissance and Baroque bronzetti, whose dates are often uncertain and whose
Museum of Fine Arts in Taiwan; and Council (ERC) proposals. In June, twenty chapters on ancient Andean
he completed his five-year tenure as attribution still relies heavily on connoisseurship. Handling and scrutinizing these
published interviews with underground art history. In 2021, she received the
hip-hop artists ZelooperZ and Pink Siifu director of the Program in Hellenic Association for Latin American Art article intricate objects up-close affirmed how bronzetti were, as the Roman poet Statius
in BOMB Magazine online. Studies. He is currently serving as the prize for “A Moche Riddle in Clay: Object wrote, “small in size, in impact, huge.” I started out by investigating the history of
Columbia University representative in Knowledge and Art Work in Ancient collecting Italian bronzes in the United States and quickly grew acquainted with the
HOLGER A. KLEIN finished his four- the International Academic Partnership Peru” and began as field editor for Pre- titanic figures of Joseph Duveen, John Pierpont Morgan, and Wilhelm von Bode.
year term as director of the Sakıp Sabancı Program (IAPP) for Greece. Columbian art for caa.reviews. A special I later had the opportunity to research and write catalogue entries on Severo da
Center for Turkish Studies. His energies highlight of the year was presenting her Ravenna’s Sea-Monster (c. 1500) as well as chunky Venetian door knockers, drawing
are now focused on the renovation of the Last spring, ELEONORA PISTIS work (virtually) in the Looking Together on my new understanding of bronze technical analysis as well as knowledge gained
library and classrooms at Casa Muraro presented the papers “Piranesi without series with the “Global Horizons in in the classroom and onsite in Venice with Professors Diane Bodart, Johanna Fassl,
in Venice, for which he serves as faculty Images: the Thinkability of Architecture,” Premodern Art” group at Universität and Caroline Wamsler. These insights into the materiality of bronze, and sculpture
director. This fall, his exhibition The Way at the conference Piranesi@300 organized Bern. more broadly, came to shape my Columbia senior thesis project on sixteenth-
We Remember: Fritz Koenig’s Sphere, the by the British School in Rome, and century sculptor Alessandro Vittoria.
Trauma of 9/11, and the Politics of Memory “Ephemeral Theaters of Knowledge,” MICHAEL J. WATERS co-organized
opened at the Wallach Art Gallery. at the American Society for Eighteenth- the two-day online conference Early
Klein will spend the academic year on Century Studies. She also gave a talk Modern Cultures of Copying, which took
sabbatical to finish a book on the Guelph at the Barnard College conference The place in June and had over two hundred
Treasure and advance a second project, Total Library: Aspirations of Complete attendees. The event, originally scheduled
entitled Cities, Saints, and Sacred Matter. Knowledge. While working on her current for May 2019, was sponsored by a Lenfest UNDERGRADUATE AWARDS BRYN EVANS: “Grounded In Our Own KENNEDY ROESE: “Brendan Fernandes
He was named a Distinguished Research book manuscript, she wrote an article Junior Faculty Development Grant and AND PRIZES Image: Beverly Buchanan’s Marsh Ruins and the Question of Contemporary
on John Talman’s colored drawings of (1981) as material bodies in motion” Performance” (John Rajchman)
Fellow of Sabancı University in 2020. Lila Wallace-Reader’s Digest Lecture
pavements. She will be in residence later Program Grant. He also co-chaired Departmental Honors (Mabel O. Wilson)
ROSALIND KRAUSS is writing this year at the Getty, working on her the two-part session “Transmedial BRYN EVANS THOMAS SAENZ: “Spatializing a New
Roland Barthes: Charms and Demons for project Antiquarian Fragments, Making of Techniques” at the Renaissance Society MARY KATHRYN FELLIOS MARY KATHRYN FELLIOS: “In the Chicanismo: Judy Baca and Urban Los
University of Chicago Press. Knowledge, and Missing Architecture. of America annual meeting and offered ALEX FOO Beginning is Dreaming: Interpreting Carolee Angeles, 1970–2019” (Lisa Trever)
an introductory prolegomenon on the OCTAVIA YOUNG Schneemann’s Methods, Aesthetics, and
JANET KRAYNAK presented the paper AVINOAM SHALEM organized the subject. In March, he presented the talk Ethics” (Rosalyn Deutsche) CLAIRE WILSON: “Miroir de la Reine:
“The Guston Retrospective, the Museum, international conference The City: Traces “Print, Architecture, and Renaissance Judith Lee Stronach Memorial Prize Feminine Spaces, Authority, and the
and Self-Censorship: a New Iconoclasm of Urban Memories and the event Rome Cultures of Copying” at the Columbia CLAIRE WILSON ALEX FOO: “The Syntheses of Instruction of the Virtuous Queen in
for the Digital Age” at the international for Soldiers at the American Academy University Seminar in the Renaissance. Alessandro Vittoria: Sculptural Ambition Christine de Pizan’s Harley manuscript”
conference Art Museums and Digital in Rome. He published several articles, Senior Thesis Prize in Renaissance Venice” (Diane Bodart) (Gregory Bryda)
Cultures in Lisbon. This research comes including “On Original and ʻOriginalsʼ: Emeritus Professors ALEX FOO
from her upcoming book project on the The ʻCopyʼ of the Tashkent Qurʼān Codex EMMA GOULD: “The Right to Privacy: OCTAVIA YOUNG: “Re-Assembling the
museum, democracy, and crisis in the in the Rare Collection Books at the Butler ESTHER PASZTORY circulated to Senior Thesis Writers Spatial and Socially Constructed Collective in The Adoration of the Magi
time of decolonization and surveillance Library” in Philological Encounters; “‘What international institutions and colleagues ALEXANDRA COOPER: “Damien Hirst: Hierarchies on Three American (1890) and The Last Judgement (1897)”
capitalism. Kraynak also published a a Small World’: Interpreting Works of Art written information about an amusement Collecting and Display in the Age of Social Plantations” (Zeynep Çelik Alexander) (Meredith Gamer)
review of the ArtClub 2000 retrospective in the Age of Global Art History,” in Getty park being built by private funds on Media” (Anne Higonnet)
exhibition in 4Columns. Research Journal; and “Carved Souvenirs the great Ancient American site of
of Mother-of-Pearl from Bethlehem,” Teotihuacan in Mexico.
MATTHEW McKELWAY published in the edited volume The Seas and the
Judy Baca’s Uprising of the Mujeres, 1979, which Thomas Saenz analyzed in his thesis on the artist.
articles in a special issue of Ajia yūgaku Mobility of Islamic Art.
and in Orientations. Last spring, he
presented at an online symposium Z. S. STROTHER’s essay, “Iconoclasms
co-hosted by Yale University and the in Africa: Implications for the Debate
University of Kyushu on Jesuit churches on Restitution of Cultural Heritage,”
in sixteenth-century Japan and lectured served as the keynote in a colloquium
on paintings by Kano Sansetsu and Kano debate devoted to “Iconoclasm, Heritage,
Motonobu at Harvard University and the Restitution” and was published in
Denver Art Museum. He hopes to return HAU: Journal of Ethnographic Theory.
to Japan in 2022. She concluded her tenure as a Phi Beta
Kappa Visiting Scholar last year with
10 826 schermerhorn 11
GRADUATE STUDENTS GRADUATE STUDENTS
DISSERTATION FELLOWSHIP SOPHIA MERKIN: “Collecting Oceania: Merchants, and Painters in Early Modern ANGEL JIANG: “Plateresque Fantasies: NATALIE McCANN: “Books, Quills, TIFFANY FLOYD: “Dreaming of
AWARDS Pacific Objects, Histories, and Data in Venice” Architecture and Ornament in Renais- Letters, and Ink: The Representation of Ancient Times: Mesopotamia and the
Nineteenth-Century U.S. Museums” sance Spain” Female Literacy in Early Modern Europe” Temporal Topography of Iraqi Modern
American Institute of Indian Studies, ANNE OCHMANEK: “Conceptualism Art, 1958–2003” (Alexander Alberro
Asher Family Dissertation Fellowship HEATHER WOOLLEY: “Miraculous and the Connexionist World, 1969–1971” ALEXIS WANG: “Intermedial Effects, MA FELLOWSHIP AWARDS and Zainab Bahrani)
CHARLOTTE GORANT: “Reliefs Technologies: The Supernatural in Sanctified Surfaces: Framing Devotional
from the Bhārhut Stūpa: Re-evaluating Modern Image Making, 1800–1900” OLUREMI ONABANJO: “Agudas Objects in Italian Medieval Mural Caleb Smith Memorial Fellowship MATTHEW GILLMAN: “Medieval
Early Buddhist Narrative Art (c. 200 as Afro-Brazilians: Imaging an Atlantic Decoration” MICHELLE CHU Glass and the Aesthetics of Simulation”
BCE–100 CE)” VALERIE ZINNER: “Sumiyoshi Gukei Community between São Salvador (Avinoam Shalem)
and Early Modern Yamato-e” and Lagos” Metropolitan Museum of Art, Theodore Solomon B. Hayden Fellowship
Ary Stillman Dissertation Fellowship Rousseau Fellowship ADEKOYEJO (KOJO) ABUDU NINA HORISAKI-CHRISTENS:
PIPER MARSHALL: “Who Speaks: Eighth-Year Fellowship, Art Humanities JULIÁN SÁNCHEZ GONZÁLEZ: SEHER AGARWALA: “Strategies of “VIDEO HIROBA: Contingent Publics
Ericka Beckman’s New Talkies” RATTANAMOL JOHAL: “Forms of “Lucerna Extincta: Notes on an Presenting Text and Illustrations: Turning Summer MA Thesis REsearch Fellowship and Video Communication in Japan,
Despair: Postmodern Art in Metropolitan Interspiritual History of Art in the Ameri- the Pages of a Sixteenth-Century Book of LEAH DENISON 1966–1981” (Jonathan Reynolds)
DAVID SLEDGE: “Race and the Visual India” cas and the Caribbean, 1970s–1980s” Wisdom” ANDIE FIALKOFF
Publics of American Modernist Art, SOPHIA GEBARA NATASHA MARIE LLORENS:
1920–40” Eighth-Year Fellowship, Italian Academy NICOLE SARTO: “Fire Burn and Museum of Modern Art, Mellon-Marron ABBE KLEIN “Specters of Liberation, Children of
DIANA MELLON: “Bathing in the Cauldron Bubble: Bewitching Women Research Consortium Fellowship Violence: Experimental Film in Algeria
GWEN UNGER: “Other Selves: Critical Renaissance: Bodies & Landscape in the in Greek Art” Y. L. LUCY WANG: “Contagious DISSERTATIONS DEPOSITED 1965–1979” (Alexander Alberro)
Self-Portraiture in Cuba during the ‘Spe- Campi Flegrei” Places, Curative Spaces: Disease in the
cial Period in Time of Peace,’ 1989–1999” IANICK TAKAES DE OLIVEIRA: Making of Modern Chinese Architecture, EMOGENE CATALDO: “Living Stones: FRANCESCA MARZULLO: “Devotional
Fulbright-Hays Doctoral Dissertation “Renaissance Heaven—The Empyrean 1894–1949” Sculpted Foliage in Gothic Architecture, Overdoors in Medieval and Renaissance
Center for Advanced Study in the Visual Research Abroad Fellowship in the Art of the Fifteenth- and c. 1140–1300” (Stephen Murray) Italy” (Michael Cole)
Arts, Chester Dale Fellowship 2020–22 VALERIE ZINNER: “Sumiyoshi Gukei Sixteenth-Century Italian Peninsula” Pierre and Maria-Gaetana Matisse
ERHAN TAMUR: “Site-worlds: An and Early Modern Yamato-e” Dissertation Fellowship XIAOHAN DU: “On A Snowy Night: DAVID SCHNELLER: “Crafting Across
Account of Material Lives from Tello GSAS Teaching Scholars Fellowship MOLLY SUPERFINE: “Radical Touch: Yishan Yining (1247–1317) and the Devel- Time and Space: Artistic Exchange and
(ancient Girsu)” Fulbright-Nehru Doctoral Dissertation ALEXANDER EKSERDJIAN: “Immortal Performative Sculpture and Assemblage opment of Zen Calligraphy in Medieval Archaic Greek Sanctuaries in the Eastern
Fellowship Bodies: The Sculptural Representation of in the 1970s” Japan” (Robert E. Harrist, Jr.) Mediterranean” (Ioannis Mylonopoulos)
Center for Advanced Study in the Visual CHARLOTTE GORANT: “Reliefs Mortals and Gods in the Sanctuaries of
Arts, Paul Mellon Fellowship 2020–23 from the Bhārhut Stūpa: Re-evaluating Central Italy” Rudolf Wittkower Dissertation COURTNEY FISKE: “‘Requestioning’ BRIAN VAN OPPEN: “Radiant Bodies:
CLEO NISSE: “Unraveling Canvas: Early Buddhist Narrative Art (c. 200 Fellowship Postminimalism: Gordon Matta-Clark’s Living with Etruscan Bronze Candelabra”
Textile Supports and Venetian Painting BCE–100 CE)” TARA KURUVILLA: “Disjecta Membra: ISABEL BIASCOECHEA: “Imagining and Creative Energetics, 1968–72” (Branden (Francesco de Angelis)
from Bellini to Tintoretto” The Fragmentation of the India Museum Representing the Chthonic in Greek Art” W. Joseph)
GSAS Research Excellence Dissertation and the Colonial Construction of BRIGID VON PREUSSEN:
Center for Advanced Study in the Fellowship Knowledge over the Long Nineteenth MONICA BULGER: “Facing Forward: NICHOLAS FITCH: “Institutional “Manufactories of Virtù: Classicism,
Visual Arts, Samuel H. Kress Fellowship CLAIRE DILLON: “Constructing the Century” Frontality in the Archaic Period” Critique and Autobiography in the post- Commerce, and Authorship in Georgian
2020–22 Histories of Norman Sicily: Production, 1968 Work of Clorindo Testa” (Barry Britain, c. 1759–1800” (Anne Higonnet)
ISABELLA LORES-CHAVEZ: Power, and Fragmentation in the Textile Howard Hibbard Dissertation Fellowship EMMA LE POUÉSARD: “Contested Bergdoll and Branden W. Joseph)
“Plaster Casts in the Life and Art of Industry and Beyond” TERESA SOLEY: “The Politics of Sites of Feminine Agency: Ivory Groom- LEAH WERIER: “From Vitrine to Screen:
Seventeenth-Century Dutch Painters” Death: A Social History of Renaissance ing Implements in Late Medieval Europe” Art and the Architecture of Commodity
ZOË DOSTAL: “Rope, Linen, Thread, Portuguese Tomb Sculpture” Display” (Alexander Alberro)
Centro de Estudios Europa Hispánica Paper: Gender, Labor, and the Textile
Curatorial Fellowship in Spanish Industry in Eighteenth-Century British Art” Japan Foundation Fellowship
Paintings, National Gallery, London CHEN JIANG: “Repainting the Past:
DANIEL RALSTON: “Painting in KATHERINE FEIN: “The Garb of Kikuchi Yōsai’s (1788–1878) Visualization ALUMNI NEWS ADRIAN ANAGNOST ’07 MA published COLLEEN BECKER ’08 PhD presented
Nature: Art, Nudity, and Ecology in the of History” Spatial Orders, Social Forms: Art and the economics research at Imperial College
Spanish: Fortuny, Manet, and the Image
Nineteenth-Century United States” City in Modern Brazil (Yale University Business School and at the Columbia
of Spain in the Later Nineteenth Century”
NAOMI KUROMIYA: “Finding the Past JOSÉ ABETE ’79 BA is secretary-general Press, 2021) and is co-leading a Mellon Alumni Association of Washington, DC.
BARTHÉLEMY GLAMA: “How Colonial in the Future: Tracing ‘the Integrated of the Fondation Jardin Majorelle and Foundation Sawyer Seminar at Tulane.
C.V. Starr Dissertation Fellowship GRETA BERMAN ’75 PhD completed
CHARLOTTE GORANT: “Reliefs Archaeology Transformed the Louvre: Artwork’ in Modern Japan” serves on its board of directors.
RICHARD BALIKIAN ’97 BA is owner forty-two years of teaching at Juilliard. She
from the Bhārhut Stūpa: Re-evaluating Antiquities, Empire, and the Encyclopedic
ANTHONY ALOFSIN ’87 PhD was of a facial plastic surgery practice in San is art editor of Persimmon Tree Magazine.
Early Buddhist Narrative Art (c. 200 Museum in France, 1830–1870” Mellon/ACLS Dissertation Completion Diego.
Fellowship invited by the Carl Friedrich von Siemens
BCE–100 CE)” ANNETTE BLAUGRUND ’87 PhD,
RACHEL HUTCHESON: “Color CATHY ZHU: “Born in a Golden Light: Stiftung to lecture next June. A Chinese-
language edition of his book Wright and NOIT BANAI ’07 PhD was visiting consulting curator at the Thomas Cole
HAE YEUN KIM: “Unkoku Tōgan Photography, 1890–1920: Technology, Omens, Art, and Succession in the professor at NYU Shanghai and contribut- National Historic Site, is at work on the
Gender, Colonialism” Southern Song, 1127–1279” New York (Yale University Press, 2019) is
(1547–1618) and Painting in Early Modern ed essays to White Space in White Space, upcoming exhibition Thomas Cole’s Studio.
forthcoming.
Western Japan” Elaborate Gesture of Pastness: Three Films Her article on artist Sam Adoquei was
CHEN JIANG: “Repainting the Past: Metropolitan Museum of Art, Jane and MACKY ALSTON ’87 BA is a director by Dani Gal, and Elisabeth Wild: Fantasías. published in Fine Art Connoisseur and
EMMA LE POUÉSARD: “Contested Kikuchi Yōsai’s (1788–1878) Visualization Morgan Whitney Fellowship whose feature documentaries have won her term as president of ArtTable’s board
Sites of Feminine Agency: Ivory Grooming of History” OLIVIA CLEMENS: “Forming ‘Islamic awards at Sundance. DEVRIM BAYAR ’06 MA curated and ended this summer.
Implements in Late Medieval Europe” Art’ in the United States: Collecting edited the monograph for the Jacqueline
MATEUSZ MAYER: “Image Making in and Exhibiting in the American Context, de Jong retrospective at WIELS Contempo-
Times of Conflict: German Emperors, c. 1880–1940” rary Art Centre in Brussels.
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ALUMNI ALUMNI
ALUMNI PROFILES
NELSON BLITZ, JR. ’87 MA published Furnishings in Stone and Marble (University a SSHRC fellowship. She is a curatorial
“Politics and German Identity as Factors in of Michigan Press, 2020). assistant at the National Gallery of Canada Charles Miers ’80 BA
Kirchner’s Suicide” in the catalogue Ernst and assisted in the exhibition Jeff Koons:
Ludwig Kirchner (Prestel, 2019) and loaned EVELYN M. COHEN ’04 PhD received Lost in America at the Qatar Museums
the Narkiss Prize from the Center of WHEN ASKED ABOUT his most formative experiences as an undergraduate
works of art for the exhibition, held at the Gallery in Doha.
Neue Galerie. Jewish Art at the Hebrew University of art history major, Charles Miers, publisher of Rizzoli New York, speaks first
Jerusalem. KEVIN D. DUMOUCHELLE ’17 PhD not of specific classes, professors, or events, but rather a space: Avery Library.
ANDREW BOTTI ’83 BA is a practicing curated and edited the forthcoming Engaging with this extraordinary place and its incomparable collection of
attorney and oil painter. SANDRINE COLARD ’16 PhD received catalogue for Heroes: Principles of African art and architectural books, in tandem with his studies in the department,
the Roy Sieber Dissertation Award from Greatness at the Smithsonian’s National
ISOLDE BRIELMAIER ’03 PhD was the Arts Council of the African Studies came to shape his career trajectory. First employed upon graduating by the
Museum of African Art.
appointed deputy director of the New Association. She curated and co-edited publisher George Braziller, Miers assisted in the production of a range of
Museum. the catalogue for Congoville, held at the MARY D. EDWARDS ’86 PhD teaches at books, including the creation of elaborately bound, gilt facsimiles of medi-
Middelheim Museum in Antwerp. Pratt Institute. She presented a paper on eval manuscripts. Rizzoli has been his home now for the last thirty years,
EMMELYN BUTTERFIELD-ROSEN the myth of Narcissus in twentieth-century
LINDSAY COOK ’18 PhD presented
during which time he has overseen a remarkable expansion in the publica-
’06 BA is associate director of the Williams art at the SECAC annual meeting.
College Graduate Program in the History papers at the CAA and ICMS annual tion of art, architecture, fashion, and design books. While recent offerings
of Art. She published Modern Art and the meetings; gave virtual public lectures on PATRICIA EMISON ’85 PhD published range in subject matter from American weathervanes to the selfies of Kim
Remaking of Human Disposition (University the conservation and restoration of Notre- Moving Pictures and Italian Renaissance Kardashian, central to all these works is a belief in high editorial standards,
of Chicago Press, 2021). Dame of Paris; and was appointed chair of Art History (Amsterdam University Press, the importance of images, and the power of books as physical objects—
the ICMA Digital Resources Committee. 2021) as well as essays in A Cultural principles Miers traces back to his education at Columbia. Miers acknowl-
DAVID CALLIGEROS ’93 BA is owner History of Memory (Bloomsbury, 2020)
of Remains, a custom lighting and historic SUSAN J. COOKE ’95 MPhil is an editor and Journal of Aesthetic Education. edges that illustrated books face new demands in a world ever more
restoration company in New York. He and project manager for the catalogue saturated with visual imagery. He is nevertheless convinced there will always
is working with transit and community raisonné of David Smith, as well as editor YASMINE ESPERT ’20 PhD was be a place for high-quality printed books that can create an intimate con-
of a monograph on Walter De Maria, both awarded an ACLS fellowship and Photo: Christophe von Hohenberg
groups to rebuild the original Penn nection, just as there will be a need for beautiful places to read them. One
Station. forthcoming. appointed postdoctoral research associate
such space is undoubtedly the Rizzoli Bookstore in the St. James Building on
in the Department of Art History at the
DAVID CAST ’70 PhD published CARRIE CUSHMAN ’18 PhD is a cura- University of Illinois Chicago. Broadway, designed by another Columbia grad, Thomas Kligerman ’79 BA,
“Germany/England: inside/outside” in torial fellow in photography at the Davis and inspired—as one might expect—by Avery Library.
Journal of Art Historiography. Museum at Wellesley College. She curated ALIX FINKELSTEIN ’09 MA is market-
Komatsu Hiroko: Creative Destruction, ing director at the Museum of Arts and
FRED T. CATAPANO ’71 BA has taken up which opened this fall. Design in New York.
lost-wax bronze casting of yoga poses. ARIELLE GOLDSTEIN ’15 BA is a mem- PIRI HALASZ ’82 PhD publishes and She is director of the Conservation Field
CARLA ADELLA D’ARISTA ’17 PhD MICHAEL ANTHONY FOWLER ber of the Post-War and Contemporary Art writes for the art historical blog (An Appro- School for the Abydos Temple Paper
LYNN F. CATTERSON ’02 PhD published The Pucci of Florence: Patronage ’19 PhD is assistant professor in the Archive Project.
Department at Christie’s. priate Distance) From the Mayor’s Doorstep.
published several articles on art dealer and Politics in Renaissance Italy (Harvey Department of Art and Design at East
Stefano Bardini and gave virtual talks Miller/Brepols, 2020), as well as the article Tennessee State University. CAROLINE GOODSON ’04 PhD is WILLIAM HENNESSEY ’78 PhD JINYOUNG ANNA JIN ’04 MA is
for institutions in Geneva and Lisbon “Between the Real and the Ideal” in Annali university senior lecturer at the University published Walking Broadway: Thirteen director of the Charles B. Wang Center
as well as the Hugo Helbing Lecture for di architettura. SUSAN FUNKENSTEIN ’92 BA teaches of Cambridge. She published Cultivating Miles of Architecture and History (Monacelli at Stony Brook University and published
the Zentralinstitut für Kunstgeschichte at the Stamps School of Art & Design at the City in Early Medieval Italy (Cambridge Press, 2020). A sequel devoted to Fifth three journal articles this year.
in Munich. JOHN DAVIS ’91 PhD served as interim the University of Michigan. She published University Press, 2021). Avenue is forthcoming.
director of the Cooper Hewitt and is now Marking Modern Movement: Dance and DONALD JOHNSON-MONTENEGRO
ANNE HUNNELL CHEN ’14 PhD co-ed- president and CEO of Historic Deerfield. Gender in the Visual Imagery of the Weimar SARAH URIST GREEN ’07 MA BETH HINDERLITER ’08 PhD co-edited ’11 MA was named partner at Luhring
ited the volume Late-Antique Studies in Republic (University of Michigan Press, published You Are an Artist (Penguin the volume More Than Our Pain: Affect and Augustine Gallery.
Memory of Alan Cameron (Brill, 2021). SABINA DE CAVI ’07 PhD is assistant 2020). Books, 2020). Emotion in the Era of Black Lives Matter
professor in the Department of Art History (SUNY Press, 2021). JACQUELINE JUNG ’02 PhD was pro-
ELIZABETH CHILES ’97 BA began at NOVA University Lisbon. ALEX GARTENFELD ’08 BA is artistic DIANA GREENWALD ’11 BA published moted to professor in the Department of
teaching photography at St. Edward’s director at the Institute of Contemporary Painting by Numbers: Data-Driven Histories JEFFREY HOFFELD ’73 MPhil is a pri- the History of Art at Yale University.
University and has an upcoming solo ELIZABETH VALDEZ DEL ALAMO Art, Miami, where he organized exhibits of Nineteenth-Century Art (Princeton Uni- vate art dealer and advisor to the estates
exhibition, Time Being, at Grayduck ’86 PhD published several articles on for Chakaia Booker, Janiva Ellis, Dalton versity Press, 2021) and gave a talk on the of artists and collectors. LEWIS KACHUR ’88 PhD contributed
Gallery in Austin. medieval cloisters. Gata, and Allan McCollum this year. subject for the department’s professional catalogue essays for Surréalisme dans l’art
development workshop. KATHERINE BYGRAVE HOWE américain at Centre de la Vieille Charité in
CANADA CHOATE ’17 BA is assistant MARIE-STÉPHANIE DELAMAIRE LESLIE GEDDES ’01 BA published ’99 BA co-authored, with Anderson Marseilles and Les Musiques de Picasso at
editor at Artforum and a participant in the ’13 PhD co-edited Circulation and Control: Watermarks: Leonardo da Vinci and the BARBARA GUGGENHEIM ’76 PhD Cooper, Vanderbilt: The Rise and Fall of an Musée de la musique in Paris.
Whitney Independent Study Program in Artistic Culture and Intellectual Property Mastery of Nature (Princeton University wrote an essay on art advisers for American Dynasty (Harper, 2021).
Critical Studies. in the Nineteenth-Century (Open Book Press, 2020) and was a fellow at Harvard’s Collecting American Art and completed a TRUDY KAWAMI ’83 PhD presented
Publishers, 2021). She is directing a proj- Villa I Tatti. book of essays, Little Known Facts About EILEEN HSIANG-LING HSU ’99 PhD papers at the ASOR annual meeting
PETRA TEN-DOESSCHATE CHU ect on Ludwig Denig’s 1784 illuminated assisted in editing the multi-volume set and at the Rencontre Assyriologique
Well-Known Figures, as well as a guide-
’71 PhD co-edited Daniel Cottier: Designer, manuscript, which was awarded a Getty AMY GOLAHNY ’84 PhD published Visualizing Dunhuang (Princeton University Internationale.
book, Only in LA.
Decorator, Dealer (Yale University Press, Foundation Paper Project grant. Rembrandt: Studies in his Varied Approach- Press, 2021).
2021). es to Italian Art (Brill, 2020). A book on KAI GUTSCHOW ’05 PhD was promoted ANI KODZHABASHEVA ’17 MPhil is a
IVANA DIZDAR ’19 MA entered a Rembrandt’s “Hundred Guilder Print” is to associate head of design ethics at the LISSETTE JIMENEZ ’06 BA was ap- grant writer and project manager at The
JACQUELYN COLLINS-CLINTON doctoral program in art history at the forthcoming. pointed assistant professor in the School Collective, an architecture and urbanism
Carnegie Mellon School of Architecture.
’70 PhD published Cosa: The Sculpture and University of Toronto and was awarded of Art at San Francisco State University. NGO, and regular contributor to Artists
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