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Notes from the Chair Faculty News
Matthew
Baigell (retired ’01)
Matthew Baigell may have retired
in 2001, but you wouldn’t
know it from his busy schedule.Dr. Baigell curated the exhibitionRussian Artists,
Jewish Images at the Zimmerli Art Museum, for which he wrote an article in the
forthcoming issue of
The Zimmerli Journal. Dr. Baigell’s other recent and forthcoming
writings include: an exhibition statement for The Physics of Sprituality at the
Westwood Gallery in New York (2003);“ Jewish Artists in New York
During World War II” in M i d r a s z (Wars aw) 10 (November 2003); “Benny
Andrews: The Bicentennial Series” in Benny Andrews: The Bicentennial
Series (Hartford: the Wadworth Atheneum, 2004);“ Artistic Expressions of
Judaism: The Visual Arts in American Jewish Experience” in The Cambridge Companion
to American Judaism (New York: Cambridge University Press,2004); “Spiritualism
and Mysticismin Recent Jewish Art” in You Should See Yourself! Jewish Identity
in (Post)Modern American
Culture (Rutgers, 2005); and “Jewish American Artists and the Holocaust” in
Encyclopedia of American Jewish History (Santa Barbara: ABCCLIO, Inc., 2005).
He has also delivered numerous lectures, including “The Question–‘
What’s Jewish About Jewish Art?’ – Hopefully Laid to Rest” at
the Association for Jewish Studies Annual Meeting in Boston, December 20, 2003; “Ben
Shahn’s Love of Jewish Letters” at Pomona College in Claremont, CA,
September 20, 2003; “ Kabbalah in Contemporary Art: From Barnett Newman
to Beth Ames Schwartz” at Temple Beth Israel, Scottsdale, AZ,
March 2, 2003; “The Symbolic in Late Nineteenth-Century American Art” at
a symposium on 19th century American Art at the Jersey City Museum, March 8,
2003; and “Changing Values:
American Painting Between the World Wars” at Sotheby’s Institute
of Art, New York, February 11, 2003. Dr. Baigell will deliver the talk, “Getting
a Grip on
God in 19th-Century American
Landscape Painting,” during the
symposium Thomas Cole and
the Dissemination of American
Landscape Imagery at Dickenson
College in March of this
year. Wendy Bellion is on leave this year as an NEH Fellow at the Omohundro Institute of Early American History and Culture at the College of William and Mary, where she is working on her book, Citizen Spectator, Vision and Deception in Early American Art. She will take part in the Institute's conference " Object Relations in Early America" and the Center for the Study of Domestic Interior conference" Gender, Taste, and Material Culture in Britain and America in the Long Eighteenth Century." Dr. Bellion is also American art history in the panel "The American(ist) Agenda." In the summer of 2003, Dr. Bellion published an article on Charles Wilson Peale's The Staircase Group in American Art. Her article exploring Peale's panoramic drawings from the Maryland State House dome will appear in a forthcoming issue of the Art Bulletin. Dr. Bellion and her husband, George Irvine, topped off a busy year with the arrival of baby Luke Bellion Irvine in September, 2003. Sarah Blake-McHam presented a paper entitled “Scientific Illustrations in Fifteenth-Century Manuscripts of Pliny the Elder’s Natural History” at the session“ Illustrating Medieval Medicine and the Natural Sciences II,” and also presided over “Early Modern Funerary Monuments” at the 38th International Congress on Medieval Studies held May 8-11, 2003, in Kalamazoo, MI. Sarah Brett-Smith was a participant in the Clark Conference, Anthropologies of Art, held at the Clark Institute in Williamstown, MA, in April, 2003. Her talk,“ Time, Fieldwork, and Writing a History of Bamana Mud Cloth,”resulted in a paper entitled “The Knowledge of Women,” which will be published in a volume of the conference proceedings. Rona Goffen has been appointed to a five-year term on the International Advisory Board of Art History, the journal of the British Association of Art Historians, starting in the fall of 2003. Yale University Press issued a second printing of Dr. Goffen’s Renaissance Rivals: Michelangelo, Leonardo, Raphael in April 2003, and a paperback edition of the book will be published in the fall. Articles she authored over the past year include: “Renaissance Rivals,” BBC History (May 2003); “Le donne di Tiziano,” in Venere Svelata: La Venere di Urbino di Tiziano, exh. cat., Brussels, Palais des Beaux-Arts (Milan, 2003), pp. 93-108; “Paolo Veneziano's Pala Feriale” in St. Mark’s: The Art andArchitecture of Church and State in Venice (New York, Nov 2003); and “Raphael's Designer Labels,” Artibus et Historiae 23 (Winter 2003). From Fall, 2002 throughJanuary, 2004, Dr. Goffen served on the organizing committee for the Venere Svelata exhibition in Brussels, and she is serving on the organizing committee for The GrimaniCollection exhibition in Venice through 2005. By invitation, she presented versions of “Adam and Eve in the Brancacci Chapel: Sex and Gender in the Beginning,” at University College of the University of London, February, 2003, and at the Villa I Tatti conference on the Brancacci Chapel, June, 2003 (to be published in the acts ofthe conference). Dr. Goffen has also been featured on TV and radio, both in the U.S. and abroad. She was interviewed for a BBC series, Leonardo da Vinci, which aired in Britain in spring, 2003. It will be broadcast on the Discovery Channel in the U.S., date TBD.She was also interviewed for NPR’s “Morning Edition” on March 28, 2003, which was rebroadcast for WNYC’s “Studio 360” in May. Archer St. Clair Harvey recently published a book, Carving as Craft (Johns Hopkins University Press, 2003), and an article, “Late Antique Transitions,” Memoirs of the American Academy in Rome, 2003. The article focuses on the frescoes discovered on the northeast slope of the Palatine Hill in Rome during the Palatine East Excavation, of which Dr. Harvey is Executive Director. She also serves on the Cultural Properties Legislation and Policy Committee of the Archaeological Institute of America. Angela F. Howard delivered the following papers in 2003: “Visions and Miracles among the Monastic Communities of Kucha in Central Asia,” presented in conjunction with the exhibition Afghanistan, A Timeless History at the Museum of Fine Arts, Houston, Texas in January; “Bringing the Periphery Back to the Center: Sichuan’s Buddhist Cave Temples (ca. 600-1250),” at Bates College, Maine in February; “How Art Met Doctrine at Baodingshan,” for the panel Religious Syncretism and Cliff Sculpture at Dazu, Sichuan, During the Song Dynasty, which she chaired at the Annual Meeting Association Asian Studies, New York, in March; and “Text and Art in the Buddhist Cave Temples of Kucha, Xinjiang,” in conjunction with the exhibition The Beauty of Sacred Texts, Seton Hall University, New Jersey, in November. She published a review of Marylin Martin Rhie’s Early Buddhist Art of China and Central Asia: The Eastern Chin and Sixteen Kingdoms Period in China, and Tumshuk, Kucha and Karashar in Central Asia, vol 2, (Leiden: Brill, 2002), in Artibus Asiae vol. LXII, no. 2 (2002) and has a review of Patricia Berger’s Empire of Emptiness: Buddhist Art and Political Authority in Qing China (Honolulu: University of Hawaii Press, 2003), forthcoming in The Journal of Chinese Religion (Spring 2004). Between May and July of 2003 she was a visiting professor at Universitat Heidelberg, Kunsthistorisches Institut, Heidelberg, Germany, where she taught the lecture course Transformation of Chinese Buddhist Sculpture from Han to Tang and the graduate seminar Revisiting the Buddhist Caves of Kucha: New Evidence Demands a New Approach. John Kenfield wrote catalog entries on architectural terracottas for The Centaur’s Smile: The Human Animal in Early Greek Art, an exhibition at the Princeton Art Museum,October 2003 – January, 2004. The show will move to the Museum of Fine Arts, Houston, February – May, 2004. Tod Marder recently published “Delli Portici, e Piazza Avanti il Tempio Vaticano” and “Della Nuova Scala Regia Vaticana che conduce al Palazzo Ponteficio” in Il Tempio Vaticano 1694. Carlo Fontana, Giovanna Curcio, ed. (Milan: 2003), and “Strumenti e Invenzioni nell’architettura di Bernini” in Storia dell’Archittetura Italiana. Il Seicento, Aurora Scotti Tosini, ed. (Milan: 2003). Dr. Marder served on the search committees for a Medieval Art scholar, and continues as a member of the search committee for a Modern Art scholar. Founder of the graduate and undergraduate certification program in Historic Preservation, he was co-organizer with Joe Consoli and Sara Harrington of the symposium “Forging Memorial Art for Public Memory,” sponsored by the Art Library and the Department of Art History in September, and with Catherine Puglisi for “Excellence in Research – 30 Years of Art History at Rutgers on the Occasion of the Fiftieth Anniversary of the Graduate School – New Brunswick.” Dr. Marder worked with Seth Gopin to organize participation of the Musee du Louvre in the Rutgers Summer Program in Paris. The two also initiated an exchange of teaching faculty, students and facilities with the Department of Art History, University of Utrecht. Dr. Marder delivered numerous lectures in 2003: “Bernini and the Landscape” at the University of Georgia, in January; “Bernini and the Landscape in Seventeenth Century Rome” at the New Jersey Chapter of the American Society of Landscape Architects, Atlantic City, in February; “Bernini, Borromini, and the Four Rivers Fountain” at the Academy of Fine Arts, St. Petersburg, Russia, in April. Dr. Marder is also serving as Middlesex County Democratic Committee Member for the Eighth District, Highland Park, 2003-2004. Joan Marter was elected to the Board of Directors of the College Art Association (CAA), an organization of 14,000 art historians, artists, curators, and art resource specialists. She continues as Chair of the CAA’s Museum Committee. As a member of the CAA Board, she attended a fourday strategic planning meeting atVanderbilt University in October, 2003. At the CAA conference in Seattle in February, 2004, Dr. Marter will participate in the session “What Curators Need to Know: Evaluating Curatorial Studies Programs.” In March, Dr.Marter will give a paper in London at a two-day international conference, British Sculpture Abroad: 1945 to the Present, organized by the Henry Moore Institute at Tate Britain. Her topic is: “Reg Butler’s Project for a Monument: The Unknown Political Prisoner Competition,1952-53.” Her extensive schedule of lectures during 2003 and 2004 includes talks at Storm King Art Center, Fordham University, and Princeton University Art Museum. Dr. Marter edited the essays of graduate students in her Exhibition Seminar for “American Sculpture from the Zimmerli Collection,” Zimmerli Journal I (Fall 2003): 80-121. Her recent and forthcoming publications include “Samuel Rothbort, A Modernist in America,” in Samuel Rothbort, Direct Carver (New York, 2003); “The Paintings of Joan Mitchell,” Woman’s Art Journal 25 (Spring/Summer, 2004); “Arcadian Nightmares: David Smith and Dorothy Dehner in Bolton Landing,” in Reading Abstract Expresssionism: Context and Critique edited by Ellen G. Landau (Yale University Press, forthcoming). Dr. Marter has been awarded the Pollock Krasner Foundation Research Fellowship for 2004/2005. Catherine Puglisi’s presented the paper “The Imago Pietatis in Early Venetian Art,” at the International Congress on Medieval Studies, Kalamazoo, in May, 2003. Its topic derived from an ongoing collaborative research project with her husband, William Barcham, with whom she coauthored the forthcoming article, “The Christo Passo in Venetian Art, c. 1260-c. 1350, and the Pala Feriale.” Dr. Puglisi continues to chair the University Committee on Italian Studies, which has established an undergraduate Italian Studies major at Rutgers, hosts cultural initiatives, and is currently organizing an interdisciplinarysymposium on Galileo for fall, 2004. She has also been named to the Selection Committee of the newly formed Elkins Foundation for the Study of Italian Art,which is empowered to make grants and awards to fund Rutgers art history graduate students who undertake research projects in Italian art. The Italian edition of Dr.Puglisi’s monograph on Caravaggio gio was published by Phaidon last year. Jane Sharp had a productive 2003. Last spring, in addition to teaching, she selected and installed work in the exhibition Nonconformist Art from Leningrad: Selections from the Dodge Collection, and worked with grad student Amy Bryzgel on the show Fantasy and Figuration: Selected Works on Paper from the Dodge Collection. Dr. Sharp also edited and contributed an essay to the first issue of the Zimmerli Art Museum’s journal. She was invited to speak on Natalia Goncharova and Russian Primitivism/Orientalism at both the Walters Art Museum in Baltimore and the Harvard University Museum. In the fall, she participated in the conference of the American Association for the Advancementof Slavic Studies in Toronto, where she served on the panel discussing Judging the Intelligentsia in Imperial and Soviet Russia: Is Institutional Access Dissent? Accommodation and Dissent Among Soviet Unofficial Artists. Dr. Sharp has recently been appointed to the selection committee for the NEH Collaborative Humanities Research Fellowships, which represents the National Council for Eurasian and East European Research. Penny Small reports the publication of her new book, The Parallel Worlds of Classical Art and Text (Cambridge University Press, September, 2003). Dr. Small also reviewed two books during 2003: Stefan Lehmann’s Mythologische Prachtreliefs, Studien zur Kunst der Antike und ihrem Nachleben 1 (Bamberg, 1996) in the American Journal of Archaeology (107) 2003; and Written Texts and the Rise of Literate Culture in Ancient Greece, ed. Harvey Yunis (Cambridge, 2003) in New England Classical Journal 30 (2003). Jack Spector article Duchamp’s Gendered Plumbing: A Family Business?” is scheduled to appear in the April issue of Tout-Fait, an electronic periodical specializing in scholarship on Marcel Duchamp. The article introduces a new approach to the Fountain, including an Adlerian interpretation of the work in relation to Duchamp’s place within the family constellation. This study grew out of the first chapter of a larger project that Dr. Spector expects to complete after his retirement from teaching in July, 2004. The project concerns the aesthetic and ethical ambiguities of the avant-garde in light of theartist’s largely unnoticed criticalfunction, namely, that of making subtle and humorous comment on some of the most creative modernist work of 1910-14. Duchamp’s art mirrors the tensions and contradictions of those within modernism, and adumbrates the postmodern condition of the late 20th century.  Annemarie Voss, Andra Wheeler Reardon, Ljubomir Milanovic, Lisa Neal Tice and Ann Keen at the Eastern State Penitentiary, Field Trip May 2003 Carla Yanni completed a year as Ailsa Mellon Bruce Senior Fellowat the Center for Advanced Study in the Visual Arts, returning to full-time teaching at Rutgersin the fall of 2003. In March, 2003, the Journal of the Society of Architectural Historians (SAH) published "The Linear Plan for Insane Asylums in the United States before 1866," and in April, she participated in a session on health care and architecture at the SAH's annual meeting in Denver, where she presented the paper "The Cottage Plan for Insane Asylums in the United States." In the fall, she took students on a field trip to Philadelphia, where they explored the historic Eastern State Penitentiary and the Pennsylvania Academy of the Fine Arts. The trip was part of the celebration of the 50th anniversary of the Graduate School, New Brunswick.  |
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