NEWSLETTER 2006

   In its 27th year, Woman's Art Journal has a new home, new editors, and a new publisher. Beginning in 2006, the WAJ editorial office will be housed in the Department of Art History, Rutgers University, with Professor Joan Marter and longtime WAJ associate editor Margaret Barlow as co-editors. Ms.Barlow is a writer and editor who is the author of Women Artists (1999) and other books. Our new publisher is Old City Publishing, Inc. WAJ will continue publishing twice a year, in May and November.
   Representing the interests of women and art worldwide, WAJ wants to serve as a forum for re-examining feminist concerns of the women’s art movement. The journal includes articles on women artists from the Renaissance to the present, book reviews, and exhibition reviews. Articles concerning images of women are also considered, when they seem appropriate for this journal. WAJ is indexed through JSTOR, and back issues are available through this online digital archive.
   Professor Marter would like to thank Dr. Philip Furmanski, Vice-President, and Holly Smith, Dean of FAS and Dean Barry Qualls for their support in bringing this journal to Rutgers. In the first issue will be articles on Frida Kahlo, Georgia O’Keeffe and Emily Carr, a review of the Elizabeth Murray exhibition at The Museum of Modern Art, and reviews of ten books on women artists and feminist issues. Look for our Exhibition Booth at the College Art Association meeting in Boston.

Submissions Welcome
The editors invite articles presenting current research on women in the visual arts, from the Renaissance to the present day, both portraits of women artists and articles concerning issues and insights. We also invite reviewers for recent books and exhibition catalogues.
New Editorial Process
All submissions must be electronic and will be peer-reviewed by members of the new editorial board and other scholars in the field. Authors should read the new contributors' Guidelines before making a submission. Once a manuscript is accepted, editing will be done electronically, speeding up the process. For more information about submissions, find the New Guidelines for Contributors at http://womansartjournal.org/.
Contact Information
Editors: waj@womansartjournal.org
Book editor: utellini@womansartjournal.org
Subscriptions: http://womansartjournal.org/
Advertising rates and deadlines: info@oldcitypublishing.com

~ Back to Table of Contents ~

   Fall 2005 brought two new faculty members to the Department. Susan Sidlauskas, who specializes in nineteenth century art joined us as Associate Professor. Formerly at the University of Pennsylvania, her research interests are centered on nineteenth-century French art. The second, Andres Zervigon, a specialist in the History of Photography who received his Ph.D. from Harvard in 2000, joined us as Assistant Professor. Their presence greatly enriches our undergraduate and graduate programs, and brings even more intellectual excitement to a department that has been called a “jewel in the crown of Rutgers.”
   This year, the Art History department was one of only two in the Faculty of Arts and Sciences to be allowed to search to fill two new positions, one in Italian Renaissance and the other in Northern Renaissance/Baroque. These searches are underway, with the goal of bringing two more new faculty members to campus in 2006-2007.
   Equally exciting is the news that the Woman’s Art Journal has found a new home at Rutgers. Under the editorship of Joan Marter, the prestigious journal will be based in the Department of Art History. Along with the Rutgers Art Review, the journal contributes to the scholarly reputation of the department and provides excellent opportunities for graduate students to participate in all aspects of production.
   Expansion of the department does not stop here, however. As many of you know, our faculty has suffered for longer than we would like to remember in cramped quarters in Voorhees Hall, Shared offices have been the norm and space shortages have been the constant complaint. Finally, thanks to FAS, in January 2006 we acquired 60 College Avenue, a Victorian house formerly occupied by Labor Relations. While Voorhees Hall will continue to be our main address, the satellite home will provide needed offices, a conference/seminar room and a common room. The faculty looks forward to moving day, which will be in March.
   Among the notable activities this year was the Symposium honoring Rona Goffen, which brought scholars from throughout the United States and abroad to a full day conference arranged entirely by her graduate students. The department maintained its tradition of bringing distinguished lecturers to campus in Art History, as well as in Curatorial Studies and Historic Preservation, two areas in which our department has flourishing Certificate Programs.(see sidebar, page x). Joan Marter also guided students in curating an exhibition at Douglass College Library, discussed further in these pages.
   Thanks to our medievalist, Erik Thuno, the department was invited by Dr. Gerhard Wolf, Director of the Kunsthistorisches Institut in Florence, to establish an ongoing relationship with the institute that allows our graduate students membership privileges at one of Florence’s most distinguished research centers. This year's participant is Katie Poole, who is completing her dissertation research on a Renaissance topic as a Fulbright scholar.

   As you will read, our faculty continues to be actively engaged in all aspects of university life. Several have received competitive outside fellowships for this and the next academic year, bringing national recognition to Rutgers and to our department. All are actively involved in scholarship and in undergraduate and graduate teaching, as well as in service to the university at various levels. In this last aspect, I want to single out Carla Yanni, who is deeply involved in shaping the future of Rutgers University, especially its planning and architecture, through her service to the Task Force on Undergraduate Education, the Housing Master Planning Committee, the Design Guidelines and Architectural Standards Committee, the College Avenue Competition Advisory Committee, and the jury for the international competition to redesign College Avenue. Her brief outline of the Task Force and the competition in this newsletter reveals her enthusiasm for these exciting projects.
   This academic year brings two retirements. Dennis Phillip Cate, who served as Director of the Zimmerli Art Museum for thirty-six years, retired in November 2005, leaving the museum in the capable hands of Greg Perry and a devoted staff.
   The imminent retirement in August 2006 of Seth Gopin, Director of Global Programs, Associate Dean, and one of the most treasured members of our department, has reminded us of just how invaluable faculty can be. Thanks to Seth, 082:106 (Intro. To Art History II) has become legendary, bringing numerous students into the field every year. And it is Seth who is the heart of our renowned Summer Abroad Program in Paris, which he personally directs. Luckily for us, Seth has agreed to continue to direct this program for the summers of 2006 and 2007. He kindly agreed to share his thoughts about Rutgers upon his retirement with the art history alumni.
   Lastly, in May 2005, the Department of Art History conferred its 100th doctorate. The event was celebrated at our annual Graduation Luncheon, where the recipient, Molly Gwinn, was acknowledged with a plaque at the annual graduation luncheon. She declared, “I feel like the New Year’s baby!” This is indeed a milestone, and we mark it in anticipation of maintaining a spirit of excellence as we move forward in the 21st century.

~ Back to Table of Contents ~

   In March of 2005, art history graduate students of Professor Joan Marter's spring 2004 exhibition seminar saw their hard work come to fruition in "Artists on the Edge: Douglass College and the Rutgers MFA" on view from March 9 – June 6, 2005. The exhibition featured some of the MFA program's first students including: Alice Aycock, Loretta Dunkelman, Frances Kuehn, Linda Lindroth, Marion Munk, Rita Myers, Mimi Smith, Joan Snyder, Keith Sonnier, Ann Tsubota and Jackie Winsor.
   These women artists—and one male who formed a close alliance with several of them—were among the first to experience the pedagogy related to a New Art, the multi-media, performance-related, "anything goes" spirit of the Rutgers visual arts program of the early 1960s. The exhibition presented early work by each of the selected artists, and more recent examples demonstrating the artistic evolution of each of the graduates. "Artists on the Edge" was created in part by Professor Marter's seminar, which considered the importance of certain pedagogical models, such as those found at the Bauhaus and at Black Mountain College. Graduate students in the exhibition seminar: Diane Ashton, Jeremy Canwell, Ingrid Dahl, Jessica Evans, Christine Filippone, Elizabeth Gaudino, Catherine Hammond, Florence Quideau, Andra Wheeler Reardon, Catherine Reed and Annemarie Voss interviewed the selected artists, and wrote entries about individual works. The objective was to relate these artists in some fashion to the ideas of their mentors at Douglass College. The students' essays were then published in the exhibition's accompanying catalogue along with introductory texts by Professor Marter and Ferris Olin, Curator of the Mary H. Dana Artists Series.
   The Mary H. Dana Women Artists Series, established in 1971, is the oldest and longest-running continuing series dedicated to increasing the visibility of emerging and established contemporary women artists in the United States. "Artists on the Edge" is one of many compelling exhibitions sponsored by the Series over the past four decades.

Mimi Smith, Recycle Coat, 1965, re-made 1993, Plastic bags, bottle cap and hanger, one of the art objects in Artists on the Edge

   Along with Ferris Olin, Joseph Consoli and Sara Harrington also served as curators to the exhibition and former graduate student Catherine Hammond was curatorial assistant. Students, curators and artists: Alice Aycock, Mimi Smith, Joan Snyder and Jackie Winsor attended the exhibition’s opening.

~ Back to Table of Contents ~

   While I expected the move to Rutgers to alter my teaching and advising, I didn’t anticipate that it would shape my research so quickly. While I am working on finishing my book on Cezanne’s portraits of his wife, I’ve begun work on two projects which were generated, in part, by my new academic home: one is my first investigation into 19th century French sculpture, focused around a small, terra cotta nude figure in the collection of Rutgers’ Zimmerli Museum called Slave, or Negress. I first became interested in the piece when the former director of the museum, Dennis Cate, asked me to speak at the sculpture symposium that accompanied his current sculpture exhibition Breaking the Mold. A colleague from the English Department has invited me to present this material to his graduate seminar on African American writers. And a photography project that originally began at Penn, a series of “before and after” photographs of 19th century female patients of the ‘rest cure,’ has taken on new life as I’ve presented it to the Rutgers art history department, and discussed it with colleagues in the Women’s and Gender Studies Department, where I’m now an Affiliated Faculty member. This department has a distinguished history at Rutgers, and it sustains a vital, interdisciplinary forum for faculty and graduate students from fields in the social sciences and humanities. I’m very much looking forward to future collaborations.
   There is a flexibility at Rutgers that I’m really enjoying–a conviction that “the doors are wide open” (as my colleague Carla Yanni put it) for creating relationships with colleagues in other departments and research institutes. A few months ago, I went with a friend who recently earned her M.F.A. at Mason Gross to hear the painter Elizabeth Murray interviewed by Rob Storr. Several graduate students from the seminar I had just taught were in the audience as well. This intersection of my personal and professional life–long divided by 60 miles—felt unexpectedly right.

   While it goes without saying that ending a twelve year commute to Penn made coming to Rutgers very appealing (our house in Highland Park is only five minutes away), there were other important reasons I was interested in coming to the Art History Department. Having just finished my first semester here, those reasons have only multiplied.
   Art history attracts many majors at Rutgers, and this is an exciting change for me. I’ve greatly enjoyed the undergraduates here–they’re lively, curious and engaged. And the fact that they’ve had a range of art history courses already prepares them for informed, intelligent discussions in class. Re-inserting discussion back into larger classes has made “lecture” courses enjoyable again. The Art History Department’s graduate students have been extremely congenial, and welcoming. I have relied (sometimes too heavily) on some of them to ease my way into the mysteries of Power Point, which continue to present the occasional challenge. A graduate portraiture seminar last semester produced a variety of excellent papers, with subjects ranging from the post-mortem daguerreotype to the elective facial surgeries of the French performance artist Orlan. Students considered a wide variety of portrait forms from 17th century French memorial sculpture to the self-imaging of a Russian collector. The experience reminded me how much I have learned from my graduate students over the years. My colleagues at Rutgers have made me feel at home from the beginning. While I knew a number of the faculty already–socially, as well as professionally, it’s been gratifying to feel so immediately accepted in what is, after all, a relatively new setting for me (although my husband, Ken Safir, has taught Linguistics at Rutgers for over twenty years.

   In Los Angeles, there’s a small group of people who will declare with an often unrestrained smugness, “I work in the industry.” Of course, what they mean is the entertainment industry even if their actual form of employment may be selling real estate “to the stars!” My response to this often unsolicited declaration was always: “What a coincidence! I work in the industry as well…, the education industry.” Life under the colossal letters reading “Hollywood” may have been unique and, dare I say, entertaining, but I’m delighted to be back in the Northeast where education is unquestionably an industry of top rank.
   Last year around this time I was teaching general art history at a small liberal arts college in Los Angeles called the University of La Verne. I had also reached the busiest point of guest-curating an exhibition at the Getty Research Institute. The show, opening this February, focuses on the work and context of photomontage artist John Heartfield, one of interwar Germany’s most controversial cultural icons. Little would I have divined in this hectic preparation that just five months later, I’d be putting my house on the market and preparing a move back to the New Jersey/New York area.
   My desire to make a change, however, had long been mounting. The university where I had been teaching was comfortably intimate and many of the younger professors encouraged each other’s research with great enthusiasm. But I had come to miss the productive interaction of research and teaching that I had found while completing my Ph. D. at Harvard University. This is not to say that I disliked my charge as a liberal arts professor. The student body at La Verne is as diverse as southern California itself, and many of the undergraduates are the first in their families to attend college. Teaching there was a pleasant, if intense, endeavor, often requiring that I train students in the most basic skills of reading and writing. Performing this kind of work made me a patient and effective teacher.
   When I wished to teach more directly from my research, the great museums of Los Angeles turned out to be the best venue. First-rate institutions such as the Museum of Contemporary Art and the Norton Simon Museum generously welcomed my participation. In their lecture halls I gave numerous talks often derived from my work in the history of photography. In each case I found it a thrilling experience to unfold sometimes complex images for large audiences of dedicated museum-goers. Like my undergraduate students, these attendees sought to grasp tangible meaning from the history of art.

~ Back to Table of Contents ~

Renaissance Woman: A Symposium in Honor of Rona Goffen was held Friday, October 14, 2005 in Alexander Library. Dr. Goffen, until her death in September 2004, was one of the most beloved and active members of the Renaissance scholarly community and a member of the Rutgers Art History faculty since 1988. The number of distinguished speakers and attendees at the Symposium were testaments to her impact on the discipline and a tribute to her as a person. The seven speakers honored their friend and colleague with their papers on topics most beloved by Dr. Goffen: Titian, Bellini and the Renaissance woman. The speakers and their lecture titles are listed below:

Dr. David Rosand, Professor of Art History at Columbis University and Dr. Goffen’s advisor at Columbia: Titian Sacred and Profane.

Dr. Zbynek Smetana, Associate Professor of Art History at Murray State University and Dr. Goffen’s advisee: Hierarchy of the Senses in Titian’s Marsyas.

Dr. Bette Talvacchia, Professor of Art History at University of Connecticut: “A woman of indisputable beauty but perhaps dubious morality” Further thoughts about Flora

Dr. Guido Ruggiero, Professor and Chair of the Department of History at the University of Miami: Woman as Savior: Alibech and the Last Age of the Flesh in the Decameron

Dr. Marcia B. Hall, Professor of Art History and Director of Graduate Studies at Temple University: The Sacred Image from Bellini to the Last Judgement

Dr. Mary Pardo, Associate Professor of Art History at the University of North Carolina: Bellini’s Parrot

Dr. Jerrilyn Dodds, read two chapters from Renaissance Women: Art and Life in Italy, 1300-1600, one of two new books Dr. Goffen was working on at the time of her death.

David Rosand , Columbia University, and Mary Pardo, University of North Carolina

Tod Marder, Rutgers University, and Marcia Hall, Temple University
 

Mary Shay Millea, Francis Fletcher, and Patricia Zalamea, current Rutgers University Graduate Students

~ Back to Table of Contents ~

Carla Yanni, Associate Professor

   This past year Rutgers embarked on a grand rethinking of undergraduate education. A Task Force was formed to debate every aspect of the undergraduate experience. I was asked by Dean Barry Qualls to serve on the Task Force, and, of course, I agreed. But I didn’t stop there. I fired off an email to Dean Qualls demanding to know why the poor facilities for undergraduate teaching had not been listed among the Task Force’s problems to fix. Dean Qualls instantaneously assigned me and the Chair of Computer Science, Haym Hirsh, to organize a committee of the Task Force that would identify ways to improve classrooms and facilities. The members of our subcommittee could not confine our discussions, however, and our conversations soon branched out to include student centers, dormitories, bus stops, and traffic. As alumni know, Rutgers in New Brunswick/Piscataway is made up of several smaller areas, covering a five-mile span, with a major highway and river dividing ourselves from ourselves. The members of the committee began to think about each of these areas as neighborhoods in a lively city. Each neighborhood would have its own services, recognizable streets and buildings, collegial character, and familiar faces, just as an urban neighborhood has its own corner store, square, and subway stop. This neighborhood model requires multiple libraries, gyms, student centers, transit hubs, and public spaces.
   Around the same time, Professor Alison Isenberg in the History Department and I developed a course titled “Designing the University, Past, Present, and Future.” In this course, we explored the history of university architecture and planning by focusing on Rutgers. During the class, we came to see how Rutgers recapitulates the entire history of higher education, from colonial college, to land grant agricultural college, to an elite women’s college, to a colossal state university. And its charmingly diverse architecture, though somewhat ramshackle, tells the history of this development.
   On both the Task Force and in the class, I listened to students talk about Rutgers and I became more convinced of a simple historical idea: the values of an institution are reflected in its design. When the President of Rutgers, Richard L. McCormick, launched his vision for a rejuvenated College Avenue campus in early 2005, the themes of his vision overlapped very much with the themes of the Task Force and of the course.
   After public debates last spring and during the summer, Rutgers University launched an international competition this past fall. I served on a committee made up of faculty, staff, and students that met for five four-hour sessions during the dog days of summer to discuss all the implications of a grand competition. The importance of having a landscape architect and a transportation planner support the lead architect arose in many of our discussions. The teams that visited Rutgers in January 2006 included all of those professionals. I met wonderful people from all over Rutgers, and everyone had great ideas for improving the campus. It was a pleasure to share my passion for architecture with the participants of the summer sessions.

Carla Yanni with Stephen Mirra and Sarah Beetham, students in the class, "Designing the University: Past, Present, & Future"

   A complex but open-ended Request for Proposals was sent to selected architects this past fall. Designers were called upon to form teams and visit RU for formal interviews. The five teams (Antoine Predock with Olin Partnership, Peter Eisenman with Field Operations, Jean Nouvel with Beyer Blinder Belle, Thom Mayne with Hargreaves Associates, Enrique Norten with WRT) have been encouraged to be bold, creative and pathbreaking. At the center of the teams’ assignment is the conversion of College Avenue, in collaboration with the city of New Brunswick, into a more welcoming, pedestrian-friendly public space. The transformation of this area would create more opportunities for social interaction among faculty, students, alumni, and staff, as well as with the neighboring community. A cutting-edge classroom building will appear on the corner of Hamilton and College; the River Dorms might be demolished and replaced with some buildings or landscape, not yet imagined, that leap over Route 18 and offer access to the Raritan, and a covered bus stop might occupy the space where Record Hall currently squats.
   I was particularly honored to be chosen to serve on the jury, which includes architects, urban planners, and landscape designers as well as alumni, students and two other RU professors. It will be thrilling, even electrifying, to be in a room with twelve other people, discussing the future of the College Avenue Campus. And to think that some of the greatest minds in the world of design are working feverishly at this very moment to improve the campus and the university warms my heart. From March 22 to April 18, 2006, the teams’ proposals will be on view at the Zimmerli. For more on the competition, I hope you will explore http://designcompetition.rutgers.edu. I’m serving on the jury as a representative of a larger constituency, so I encourage the Art History department’s alumni and current students to analyze the five schemes and let me know what you value most in a renewed College Avenue Campus.

~ Back to Table of Contents ~

Sonia Kwiatkowski, Rutgers College Class of 2006 and Student in the Historic Preservation Certificate Program

   In my sophomore year and still uncertain of what major to go into and what to expect from my fall classes, I signed up for Prof. Archer St. Clair Harvey's Cultural Heritage Preservation class. Although I didn't know what to expect, I knew that it would fulfill a writing class requirement for Rutgers College, add to my art history list, probably be interesting since it involved culture, and meet only once a week. As the semester began, I got to learn what a real seminar was—a bunch of upper-level undergrads a few graduate students, and a sophomore (me) gathering for intensive discussion and reading once a week. I buried myself in the library in order to stay up with the class.
   Eventually, Prof. Harvey gave us information about a Historical Preservation Certificate and thought we should give it a try since this class was one of the core requirements. By the end of the semester I had signed the papers and decided to fulfill the requirements. Cultural Preservation had opened my eyes to something that always interested me but without my knowing how to pursue it. The lectures on looting and plundering, theft and repatriation, and all of their legal angles fascinated me, and I was thrilled to learn about people who worked on such cases.
   To fulfill the requirements for the certificate, I needed to take the other core course in Theories and Methods in Architectural Preservation and, for an elective, headed for the Geography department and ultimately decided to do all of my Preservation electives within that department. The classes were not only interesting, but the department was small and personal enough to give individual attention to students. I even learned the GIS (Geographic Information System) computer program, which taught me how to make maps on the computer.
   Soon my junior year and plans for the summer were coming into view. During the two prior summers, I had studied art history abroad, first at an independent program at the Jagiellonian University in Crakow, Poland, and then in Urbino, Italy with Rutgers Study Abroad. Both experiences left lasting impressions on me. So now it was time to choose my next destination in conjunction with my newly declared major in Political Science. From the administrative office I learned that I had nearly completed my major and had incidentally fulfilled most of the requirements for a Certificate in Global Politics.
   At the suggestion of one of the advisers of the Global Politics certificate program, Professor Michael Shafer, I decided to apply for the Political Science internship program in Washington D.C. The Rutgers program works with the Washington Internship Institute (WII) by helping students find an internship in virtually any field of interest and by conducting a class once a week in domestic and foreign policy issues. That class along with a research paper during my summer counted towards two of the requirements for my major.
   Before arriving to Washington D.C. I had a phone interview for an internship with the Institute of Museum and Library Services, specifically in their Office of the General Counsel. Although nervous about the speaker phone interview, I found the women on the other end of the line were incredibly nice and very much interested in my knowledge of architectural preservation and section 106. The IMLS is a Federal grant-making agency for libraries and museums throughout the US. My placement would be with the Office of the General Counsel for the Institute.
   At the end of May, I drove down to Arlington, Virginia, where WII had arranged apartments for its students. My house-mates were from Tampa, Florida; Lynchburg, Virginia; and Houston, Texas. (WII is open to all universities.) We soon became the Hampton Family as we made friends and became very close with the other interns on neighboring floors and bearing the name of the apartment complex. Our unit on the twelfth floor had a view of the National Monument and Capitol Building. At the Office of the General Counsel, which is small (two attorneys, a paralegal, and me), I even got my own office overlooking the intersection of 18^th and M Street. In the legal area, we constantly had specialists from the museum and library side coming to us with questions. During my time there, I had responsibility for creating a Section 106 policy for the agency to help determine eligibility for grant awards. Meanwhile, I also worked on my research paper for the political science department. My topic centered showing how the US was helping to protect cultural property.

   Another perk for me was association with the Rutgers in Washington program, which creates networking events, guest speakers, and excursions. While at the Air and Space Museum, a Rutgers alum who works at the museum gave me a helpful list of contacts and specialists for my topic. As a dual citizen of Poland, I also decided to contact the Polish Embassy and arranged to chat with the Chargé d'Affairs on the topic of cultural property as well. (For Prof. Harvey=s class I had done a research project on the protecting cultural property in Poland, so I knew quite a lot about the field.) After practicing my Polish for about two hours, I walked out of there with another list of contacts, including one for the Director of Museum Studies at George Washington University who was a Rutgers alum as well! I was convinced at this point that Rutgers ran Washington.
   Another event that RIW planned was a tour of Immigrations and Customs Enforcement at the Department of Homeland Security. There we heard one of the special agents give a little spiel on the work he does. Through him I learned that the ICE team had just cracked one of its cases,and would celebrate the repatriation of a sixteenth-century altarpiece to the Peruvian Embassy. At the event I was the only person who hadn't worked on the case besides the press. Everyone else was from Interpol, ICE, the Office of the Attorney General, the Smithsonian Institute, and other government offices. After being lectured on how great ICE is, how they are the forerunners in the field of art crimes, and how I should seriously consider working for them, I left the embassy equipped with all the information I needed to write my research paper.
   At the end of the summer I sadly left my internship at the OGC, my new friends and the Hampton Family. Most importantly, I had fallen in love with a new city. I am now in my last semester at Rutgers. Looking back, I don't think I could have taken better advantage of everything it offered. Little did I know when I came to the state university that there are so many interesting classes to take and avenues to explore. And I must say that the certificates that I completed really did open my eyes to more issues and realities than I could have imagined and made the journey much more fun that I ever anticipated. At this point, I am planning on going to law school in hopes of one day working with cultural property issues.

~ Back to Table of Contents ~

   Students in Art History classes increasingly depend on the department website to retrieve supporting materials for their courses. There were over 8 million hits on the site in 2005. In December 2005 one of the department’s web accounts was 13^th in hits and another was 16^th in rank among all the accounts on the rci server, the main computing source for faculty and staff in New Brunswick. The department web pages are administered through the Visual Resources Collection. Matthew Diener, Kandice Rawlings and Gretchen Burch all have made substantial contributions to assure that material from professors is posted in a timely matter. Kevin Ford is responsible for much of the design and the programming that has reduced the effort needed to post submissions from faculty and allows neat and efficient access to the material. “Use of electronic materials will continue to grow but there will be a shift in the near future from traditional web pages to software such as Luna Insight which can deliver higher quality images both in the classroom and for study” says Donald Beetham, the department’s Visual Resources professional.

   Gretchen Burch, a graduate student in the Department of Art History, and Jennie Woo ’05, an Art History major, where nominated for “Student Employee of the Year” for their contributions to the Visual Resources Collection during the 2004-2005 academic year. Ms. Burch was cited for her initiative and efficiency in her duties including the creation of course web pages and other technical assignments such as calibrating the collection monitors The nomination for Ms. Woo focused on her work on a special assignment to identify sources for images of Greek art but recognized her three years of service to the department as a slide mounter, photographer, slide scanner, image editor and circulation assistant.

~ Back to Table of Contents ~

    After twenty-six wonderful years at Rutgers, I am planning to retire in August of 2006. For the past five years, I have been thinking about retiring early. I think that this coming year is the perfect moment to do so.
   As you know, I love being at Rutgers. I have enjoyed working with all the FAS deans and the last three Rutgers presidents. I especially love working with Rutgers undergraduates. I think they are outstanding people and, for the most part, appreciative of the work I have done with them. I have always thought I have the best job at Rutgers and I am certainly not leaving to take a post anywhere else.
    My plans are to write, to travel, and to enjoy my family. I have two books within me that I want to bring to the light of day and which I have not been able to do while working at Rutgers. One is a monograph on Jean Baptiste Vanmour, the artist on whom I wrote my dissertation. The second is a book based upon the successful summer course I have developed in Paris over the past ten year: Spaces and Places: The Historical Development of Urban Paris. Finally, and not the least, I want to spend more time with my family.
   As I am involved in so many university projects, I thought it best to announce this as soon as possible so that there will be sufficient time to decide how things should proceed in the different areas.
   Global Programs. First and foremost, I have enjoyed being part of international education at Rutgers for the past twenty-five years. From Ewha Woman's University in Seoul to the University of Sao Paulo in Brazil to the Louvre Museum in Paris, I have greatly enjoyed developing a network of partners around the world for Rutgers faculty and students. Pioneering Global Interactive Courses, both at Rutgers and internationally, has been very satisfying. Of course, I am most proud of developing Rutgers Study Abroad and founding Global Programs.
    Scholarships and Fellowships. Over the years, I have had the privilege of mentoring Rutgers, Douglass, Livingston, University College, MGSA, Engineering, Pharmacy, and Cook students applying for the nation's most prestigious fellowships and scholarships. I have been lucky enough to have had worked with more than five Truman scholars winners, ten Goldwater scholars winners, over a dozen successful Fulbright scholars, countless Rotary scholars winners, and of course, the two Rhodes winners, Dana Brown and Randal Pinkett.

   Teaching Rutgers Undergraduates. I love teaching Rutgers' students. Although not an official part of my responsibilities, for more than twenty years I have taught in one of the largest liberal arts courses in the university, Introduction to Art History. In most years it has enrollments of more than 500 students, and I would estimate that over the years I have touched some 10,000 students in this single course. It is a team-taught course and I have had the pleasure of teaching with interesting faculty members as well as working with dedicated teams of graduate assistants. Although I rarely got to know individual students in this course, I have always been amazed at how appreciative the students in this large survey course were. In addition, for the past eight years I have taught a small honors seminar in Art History around the dining room table in my home. This experience constantly renews my faith in the intellectual ability of our students. Also, for the past ten years, I have been able to teach a wonderful upper-level Art History summer course in Paris. In this class, you can see how much the students absorb from a Study Abroad program.
   University Commencement and Rutgers College Graduation. I have been involved with commencements and graduations from my very first year at Rutgers. I have heard wonderfully articulate speakers and truly awful ones. I have sat through commencements and graduations in the most glorious sunshine and, at times, sat through the event in pouring rain. Whatever the weather or quality of speaker, it was always a grand day. I am proud of the small role I have played in both the university commencements and Rutgers College graduations, acting as Head Marshall for the last ten years. And my recent task of helping to revise the commencement ceremony has been most satisfying.
   When I am retired, I am hoping to maintain my connections with Rutgers. I would like very much to direct the Rutgers program in England someday and, if needed, to direct other Study Abroad programs for Rutgers. I would also certainly consider helping out on any special projects.
I am excited about my new prospects but I am also thrilled about what is happening now at Rutgers and believe that its best days are to come.

With my very best,

Seth

~ Back to Table of Contents ~

   A couple of years ago an exhibition was held in the Art Library of the metal sculptures of the New York artist Sal Romano. One of the sculptures was in the shape of a book and the art librarian, Joe Consoli, voiced the desire to add this unique piece to the small permanent collection of art work the library is in the process of assembling. Ute Tellini volunteered to help with this project and was guided by John Pearson and Kwi Brennan of the Rutgers Foundation. She contacted her friends and colleagues from her graduate days - a group of almost fifty people - who, for the most part, supported the project enthusiastically in thought and deed. Almost $6,000 were pledged for the purchase of the circular book sculpture of unique ‘pages’ of worked bronze, entitled Violations. It occupies a premier position in the building, placed on a specially constructed pedestal allowing the work to be viewed from all angles. It is clearly visible from the exterior, enticing visitors to enter the building to get a closer look. A small celebration was held at the end of October 2005 with about twenty-five people in attendance.
   The response to the work has been unanimously enthusiastic. Students and visitors circle the work, experiencing the diversity of each page, just as one experiences a similar sensation turning the pages of the Library’s books.

Ute Tellini introduces Salvatore Romano at the unveiling of his sculpture titled Violations

   It is so important for the Art Library to include actual art works rather than just reproductions in its space. This original work fits so well with the mission and experiences for which the building was constructed, a book made of art materials, for the pleasure of our students, produced by a renowned living artist. We wish to thank the donors for giving the Library a book for art’s sake.

~ Back to Table of Contents ~

Matthew Baigell’s book American Artists, Jewish Images (Syracuse University Press) will be published in Spring 2006. Jewish Art in America (Rowman and Littlefield) will be out in 2007. Baigell is a co-editor of Antisemitism and Assimilation: Modern Jewish Art (Wayne State University Press) which will be out in 2007. His recent articles include: "What's Jewish About Jewish Art: Some American Views," Art Criticism 20, no. 1 (2005): 76-85. "George Inness's Images and Emanuel Swedenborg's Writings," Source (in press). He will give a talk at the Museum of Art, Columbia, SC on recent Holocaust art on March 5, 2006.

Angela Howard received a travel grant from the Asian Cultural Council to pursue her research on Buddhist caves of the ancient realm of Kucha, Xinjiang in spring 2006 and published Chinese Sculpture, in the series The Culture and Civilization of China, with Li Song, Wu Hung, Yang Hong, (Yale University Press and Foreign Languages Press, 2005). Dr. Howard delivered three lectures in 2005: “Summit of Treasures: Buddhist Cave Art of Dazu, China,” Columbia University, New York, Art History Department; “Aspects of Chinese Buddhist Sculpture (ca. 200-750),” Arts of Asia series The Culture and Arts of China from the Neolithic through the Tang Dynasty, The Asian Art Museum of San Francisco; and “Miracles and Visions among the Monastic Communities of Kucha, Xinjiang,” Center for Buddhist Studies, University of California, Berkeley.

Jon Kenfield A book co-edited by John Kenfield, which is derived from the proceedings of the Third International Conference on Italic Architectural Terracottas held at the American Academy in Rome in November of 2002, is now in print. It is entitled Deliciae Fictiles III; it is published by Oxbow Press in Oxford, England; Professor Kenfield edited the book along with Profs. Ingrid Edlund of the University of Texas and Giovanna Greco of the University of Naples (Federico II); he wrote the article titled "Dipoinos, Skyllis and an Antefix."

Tod Marder delivered a talk at an international colloquium in Paris sponsored by the National Institute of the History of Art, Paris (Institute National de l’histoire de l’art), June 8 – 11, 2005. Title of paper: “Bernini’s Central-Plan, Churches for Pope Alexander VII.” The conference title was: Architecture of the Counter-Reformation. He was invited to pursue his research at the Centre André Chastel Institute National d'Histoire de l'Art, in Paris for the latter half of September 2005. Dr. Marder was a guest lecturer at the Siena School For Liberal Arts in Siena, Italy as part of their Art History Week Seminar held December 9 and 12-14 2005. The week focused on artists’ portraits and society in Italy. Dr. Marder’s seminars were entitled, “Bernini's Early Portraits: from Prodigy to Master,” “Bernini's Maturity and the Speaking Likeness” and “Bernini and Royal Patronage: the Ruler Portrait.”

Joan Marter has become co-editor of Woman’s Art Journal,which will now be co-sponsored by Rutgers and Old City Publishing. Marter’s recent publications include a forthcoming book that she edited, Abstract Expressionism, The International Context (Rutgers University Press). She also has the following essays published or in press: “Arcadian Nightmares: The Evolution of David Smith and Dorothy Dehner’s Work in Bolton Landing,” In Reading Abstract Expressionism: Context and Critique edited by Ellen G. Landau (New Haven:Yale University Press, 2005), 625-645; “Ethical Issues and Curatorial Practices,” in Ethics in the Visual Arts edited by Elaine A. King and Gail Levin. New York: Allworth Press. 2006 (in press)“William Zorach,” “Marguerite Thompson Zorach,” and “Chaim Gross” in Lines of Discovery: Four Centuries of American Drawings. Columbus, Georgia: The Columbus Museum, 2006; “Artists on the Edge,” in Artists on the Edge, Douglass College and the Rutgers MFA (New Brunswick: Rutgers University Libraries, 2005); “Dorothy Dehner and the New York School,” Qauderni di Scultura Contemporanea (October 2005).
   With graduate students in the Curatorial Studies program she co-organized the exhibition, Artists on the Edge, Douglass College and the Rutgers MFA, Mary H. Dana Women Artists Series, Mabel Smith Douglass Library, March 9-June 6, 2005 (funded by the Institute for Research on Women, Alumnae Association of Douglass College).
   Marter served as chair and organizer of a symposium entitled “All-Over: Abstract Expressionism’s Global Context,” Stony Brook University, April 8-9, 2005. Marter also presented “Science Fiction and Technological Interface: Constructivist Sculpture of the 40s and 50s,” at the CAA in Atlanta in February 2005. She was chair of a session, “Alexander Archipenko Revisited, Current Scholarship,” September 17, 2005 at Cooper Union, New York. Professor Marter was appointed Chair of the Exhibitions Commiteee, College Art Association, and was elected to the Nominating Committee. She continues to serve on the Board of Directors of the College Art Association until 2007.
 

Sarah Blake McHam’s article on civic statues erected throughout Italy commemorating Roman authors, “Renaissance Monuments to Favourite Sons,” came out in Oxford University’s journal last fall (Renaissance Studies, 19, no. 4 (Sept. 2005), 458-86). She was the keynote speaker at the conference held at the Henry Moore Institute in Leeds for the exhibition on early fifteenth-century Italian relief sculpture from the Victoria & Albert Museum in April, where former students Amy Bloch and Patricia Kiernan presented papers, and reviewed the show for CAA Reviews.
   In her role as Chair of the Program Committee for the Italian Art Society she organized its four sessions on “Women in Power” for the International Conference on Medieval Art, Kalamazoo, Michigan, in May 2005, where former student Meghan Callahan presented a paper. In addition, she was co-organizer and chair of the Society’s session on “Italian Art and Artists in England” at the joint meetings of the Renaissance Society of America and its English counterpart in Cambridge, England, in April, where she also chaired and served as respondent in a session on “Liturgy, Theater and Art in Church Furniture of the Italian Renaissance.” She continued in her role as a reader of Fulbright Grant application for the Institute of International Education in New York (2004-7) and was elected a discipline representative for art history for the Renaissance Society. Professor McHam welcomes grandbaby Charles Alfred Lambert.

Catherine Puglisi began the year by reviewing the Naples leg of "Caravaggio: The Final Years," for Simiolus (31, 2004-05). In February, she presented a paper at CAA in Atlanta, "Re-envisioning the Imago Pietatis: Two Altarpieces by Paolo Veronese." She was interviewed in April about Caravaggio by Peter Crimmins for "Art with a Moral," on Studio 360, WNPR, National Public Radio. In July, she traveled to Malta as a consultant for the Caravaggio Foundation. Upon the opening of the new downtown Loyola University Museum of Art in Chicago in October, she inaugurated the lecture series with, "Object of Desire, Object of Devotion: St John the Baptist in Caravaggio's Art." The French edition of her book, Caravaggio, was published at the end of 2005. Her article (coauthored with William Barcham), "The Beginnings of the Cristo passo in Venetian Art," is forthcoming in the festschrift, Cose Nuove e Cose Antiche: Scritti per Monsignor Antonio Niero e Don Bruno Bertoli, Biblioteca Marciana, Collana di Studi, X (currently in press). From September 2005 to August 2006, Dr. Puglisi is a J. Clawson Mills Fellow in European Paintings at the Metropolitan Museum of Art, where she is conducting research and writing a collaborative book on the history of Christ as Man of Sorrows in Venetian art.
 

Jane A. Sharp was promoted to Associate Professor with tenure in 2005, and rewarded with increased administrative responsibilities as director of undergraduate studies. Publishing delays postponed the printing of her book, Russian Modernism between East and West, (Cambridge University Press) to January 2006. In March 2005 she lectured at the Smithsonian Institution in Washington D.C. on Realisms in 20^th-century Russian art; in April she participated in the symposium “Abstract Expressionism: the Global Context” which was co-chaired by Joan Marter. She curated another Zimmerli exhibition on abstract painting in the Dodge Collection entitled “Allusive Form: Painting as Idea” which opened in March 2005. She is currently at work on an exhibition of Russian kinetic art for the Zimmerli: “In and around Dvizhenie (The Movement Group).”

Susan Sidlauskas, new faculty member, is writing a book on Cézanne's portraits of his wife as well as a book on a Degas painting at the Getty Museum.

Penny Small received a fellowship from the National Endowment for the Humanities for the 2006-2007 academic year for her research on “Optics and Illusionism in Classical Art.” Dr. Small published an essay entitled “Pictures of Greek Tragedy?,” in A Companion to Greek Tragedy edited by Justina Gregory Oxford 2005. Additionally, she reviewed Donatella Mazzoleni and Umberto Pappalardo, Domus. Wall Painting in the Roman House (J. Paul Getty Museum, Los Angeles, 2004) for the Journal of Roman Archaeology. In May 2005, she delivered three lectures on “The Nature of Greek Art” at the University of Peking. She has been invited to deliver the keynote address at the "Orality, Literacy, Memory" conference at the University of Auckland, New Zealand, July 4-8, 2006. The conference is the seventh in a series of international orality/literacy conferences hosted by the University.

Archer St. Clair Harvey is the recipient of the Samuel H. Kress Foundation European Preservation Grant for 2006-2007. Her project title is "Programmatic Overpainting of Late Antique Frescoes in Rome and Ostia." She will spend the next academic year carrying out research in Italy. In January 2006, she chaired a session on "Domestic Assemblages" at the Archeological Institute of America's Annual Meeting, and serves on the AIA Program and Cultural Properties Legislation and Policy Committees.

Ingrid Steffensen produced an article that has been accepted by the Woman’s Art Journal.

Erik ThunØ received a grant from the University Research Council to pursue his research in Rome this past summer on medieval mosaics. Dr. ThunØ’s article “Materializing the Invisible in Early Medieval Art: The Mosaic of Santa Maria in Domnica in Rome,” was published in Seeing the Invisible in Late Antiquity and the Early Middle Ages, edited by Giselle de Nie et al. by Brepols, 2005. In April, he chaired a session at Princeton University’s conference, “Interactions: Artistic Interchange between Eastern and Western Worlds in the Medieval Period.”

Carla Yanni received a grant from the Graham Foundation for her book, The Architecture of Madness, which will be published by the University of Minnesota Press in the series titled American Architecture, Culture, and Landscape. She was invited to Holland to give a paper at a conference on the architecture of hospitals. Graduate students at MIT invited her to deliver a lecture in the History Theory and Criticism
department. She published an essay in the Journal of the Society of Architectural Historians in a series of articles about interdisciplinarity. Her piece was called Learning from the History and Sociology of Science: Interrogating the Spaces of Knowledge. She
continues to serve on the Board of the Society of Architectural Historians.

Andres Zervigon, new member of the Art History Department faculty, is Guest Curator of the upcoming exhibition entitled Agitated Images: John Heartfield and German Photomontage, 1920 – 1938 at the Getty Research Institute in Los Angeles, February 21 – May 28, 2006. The show focuses upon the combative photo-journalist and book-publishing context in which the artist produced his most famous work. A symposium to accompany the exhibition is currently being planned by Dr. Zervigon and Andrew Perchuk. Dr. Zervigon’s peer-reviewed essay, “Postcards to the Front: John Heartfield, George Grosz and the Birth of Avant-Garde Photomontage,” will appear as a chapter in the book-length anthology Postcards: Ephemeral Histories of Modernity, edited by Jordana Mendelson and David Prochaska to be published in early 2006 by Penn State Press. Another peer-reviewed article by Dr. Zervigon “A Magnificent Distraction? The Drag Cult for Nazi-era Film Diva Zarah Leander,” will appear in Australia New Zealand Art Journal. Vol. 6, No. 1, 2005. Dr. Zervigon uses Siegfried Krakauer’s category of cinematic distraction to analyze the contemporary cult among German drag performers for Nazi-era film star Zarah Leander. His article will appear as part of special issue on “masculinities.”

~ Back to Table of Contents ~

Amy Liebman Arato (BA, 2001) who double majored in art history and landscape architecture, practices landscape architecture for the New York City firm of Mathews Nielsen Landscape Architects.

Francesca Bacci (Ph.D. 2004) began her appointemnt as a post-doctoral researcher in the History of Art Department at Oxford University in September 2005. She presented a paper entitled: "Medardo Rosso's Unfinished Business: Casting Accidents and Un-publishable Photographs as an Assertion of Authorship" at the annual Association of Art Historians (AAH) Conference in Bristol, UK (April 2005). Dr. Bacci was also invited by the Islamic Republic of Iran's Academy of the Arts to present a paper in December 2005. In 2006, she will present her paper “In your face: the Futurists’ assault of the public’s senses” at the AAH conference in Leeds and organize a two day conference on Art and the Five Senses at Oxford University. In 2007 she will organize a conference on on Art and Vision for the meeting of the European Conference on Visual Perception.

Costanza Barbieri (Ph.D. 1999) organized a conference on Veronese at the Universita' di Venezia on Veronese. One dozen speakers, including the Venetian art historian, Augusto Gentili, presented the latest research on a series of paintings by Veronese.

Christina Bisulca (B.A. 1999) completed her Master’s in Art Conservation at Winterthur/University of Delaware. She will be returning to Rutgers to pursue a Ph.D. in Chemistry to attain a career in art object conservation.

Amy Bloch (Ph.D. 2004) As of September 2005, Amy Bloch is a tenure-track assistant professor at Chico State University in California.

Michael Bzdak (Ph.D. 2001) presented his paper "Money in the Bank? Corporate Support of the Arts in Twentieth-Century American Art" at the 13th Annual Conference on Cross-Currents in Literature, Film and Visual Arts 2005 held 6-8 May 2005 at the School of Language and Literature at the National University of Ireland, University College Cork.

Meghan Callahan (Ph.D. 2005) recently accepted a position as visiting Assistant Professor at Wells College in Aurora, New York.

Andrea Campbell (Ph.D. 2000) accepted a position as Assistant Professor of Art at Randolph-Macon Woman's College in Lynchburg, Virginia, in Fall 2004. Her article, "A Spectacular Celebration of the Assumption in Siena," appeared in the Summer 2005 issue of Renaissance Quarterly.

Justin Carlino (Ph.D. 2005) received his doctorate.

Kathleen Enz Finken (Ph.D. 1998) began a new position as Dean of the College of Arts and Humanities at Minnesota State University Moorhead on July 1 of this year, after having served as Interim Dean for one year. Her oldest son, Colin, was married this March. She became an instant grandmother as his new wife brings a wonderful three-year-old daughter into her family. Her younger son, River, graduated from high school in June, and will attend Reed College this fall.

Jessica Evans (M.A. 2005) is enjoying her new position in the Education Department of the Philadelphia Museum of Art.

Marianne Ficarra (MA 1994; BA 1988) co-edited Volume II of Transcultural New Jersey: Diverse Artists Shaping Culture and Communities with Isabel Nazario and Jeffrey Wechsler of Rutgers University, which was published in September 2005.  Volume I was published in 2004.  These publications document the Transcultural New Jersey exhibitions which took place at 24 museums, galleries and arts organizations over a two year period; the exhibitions brought awareness of and visibility to New Jersey artists from African American, Asian American, Latino/a, and Native American backgrounds.

Joanna Gardner-Huggett (Ph.D. 1997) is co-publisher of Aurora with Lilian Zirpolo (Ph.D. 94). She presented "Julia Thecla's (1896-1973) Sartorial Masquerade" at the Courtauld History of Art conference in July 2004.

Andrew Graciano (BA, 1995) has an article forthcoming in the December 2005 issue of The Huntington Library Quarterly, and another under review elsewhere. Last spring he presented two papers at academic conferences: "Painting for Men of Feeling: Joseph Wright and the Scottish Enlightenment" at the American Society for Eighteenth-Century Studies (Las Vegas, April 2005) and "The Picture of Unhappiness: Benjamin Wilson's Portrait of the Earl and Countess of Derby" at the British Society for Eighteenth-Century Studies (Oxford, January 2005).  In March, he was awarded a Huntington-British Academy Fellowship by the Huntington Library (California) and the British Academy (London). The latter is the UK's national academy of arts and sciences. The award was made to further Andrew's new research on Benjamin Wilson, which brings together the histories of art and science, and was further augmented with funds from the University of South Carolina, allowing him to spend May and June 2005 in London. Andrew has also been elected the USC Department of Art's new Area Coordinator for Art History for 2005-2007. In the coming academic year, he will chair two conference sessions: "Science and the Arts, c. 1700-1900" at SECAC (Little Rock, October 2005) and "Science and the Visual Arts in the Long Eighteenth Century" at the American Society for Eighteenth-Century Studies (Montreal, March 2006).

Emma Guest (Ph.D. 2005) is an adjunct lecturer at Bergen Community College in Paramus, NJ.

Tricia Laughlin (Ph.D. 2003) is an instructor at The New School in New York City.

Stephanie C. Leone (Ph.D. 2001) co-edited and co-authored Walls and Memory: The Abbey of San Sebastiano at Alatri (Lazio) from Late Roman Monastery to Renaissance Villa and Beyond (Brepols Publishers, 2005). On October 8, 2005, Dr. Leone married Thomas M. Hanlon.


Tom Loughman (Ph.D. 2003) Curator of European Art at the Phoenix Art Museum received a $10,000 planning grant from the Kress Foundation for an exhibition project to unite early Italian paintings (pre-1550) in Southwest collections for a multi-venue tour. The region has rich holdings, but there are precious few early Italian scholars working in the region’s museums. Dr. Loughman hopes to prepare a census of privately- and publicly-held pictures in order to develop a checklist and create a show and catalogue with several goals in mind: to reinvigorate popular and institutional interest in this material, to devote time and attention to the care of these objects, to bring new ways to the public of seeing these objects, to draw together a group of interested participants from academe, collecting institutions, and collectors to advance our knowledge of these works of art. Dr. Loughman's project will tentatively explore three themes: the faithful and devotional art; art and the period household; and convents and monasteries as art patrons. The Loughmans welcome baby Anna Gray Loughman.

Stephen Lucey, (Ph.D. 1999) Assistant Professor of Art History at The College of Wooster, recently curated Ancient Ohio/Ancient Egypt at The College of Wooster Art Museum. The exhibition featured an array of objects from the indigenous Eastern Woodland cultures of the American Midwest during the period c. 1000 B.C.E. to 1000 C.E. along with The College of Wooster's Ptolemaic-era mummiform coffin from Akhmim, Egypt c. 300-220 B.C.E.

Barbara Mitnick (Ph.D. 1983) served as general editor and a contributor for the anthology, New Jersey in the American Revolution, published by Rutgers University Press in July. Her essay in the work is titled "Picturing Revolutionary New Jersey: The Arts." The publication explores topics including New Jersey as the "Crossroads of the Revolution," important military campaigns, the 1776 Constitution, and the significant contribution of blacks, Native Americans, and women. Reflecting the contemporary view that the war's impact extended beyond military engagements, the essays also discuss the fine and decorative arts, literature, architecture, archaeology, as well as social and economic conditions. State Senator Leonard Lance wrote the Foreword. Essay authors include Thomas Fleming; Maxine N. Lurie; David J. Fowler; Mark Edward Lender; Barbara J. Mitnick; Harriette C. Hawkins; Lorraine E. Williams; Giles R. Wright; Delight W. Dodyk; Merrill Maguire Skaggs; and Richard W. Hunter and Ian C.G. Burrow (co-authors). Several have either current or past Rutgers connections.

Scott Montgomery (Ph.D. 1996) is still teaching at the University of Denver. This past fall taught a class about the art and culture of Medieval Flanders. The class culminated in December with a ten day visit to Belgium where they visited Brussels, Bruges, Ghent and Antwerp for lots of hands-on art history. Scott and wife Alice Bauer and daughter Francesca are proud to announce the arrival of Gabriella Sophia on October 14, 2005.

Rachel Mullen (MA 1996) recently reviewed a portrait exhibit at Drew by Mary Alice Copp, a Morristown, New Jersey resident who is working on a group of portraits of Newark teenagers at the Newark Museum.

Ferris Olin (Ph.D. 1998) The Margery Somers Foster Center at Rutgers University Libraries, run by Dr. Olin, was awarded a Getty Foundation grant in the amount of $149,000 to create WAAND: Women Artists Archive National Directory- http://waand.rutgers/edu. The on-line directory will allow students, scholars, arts professionals, and the general public to identify where the papers of women artists active in the US since 1945 are located and their accessibility. Ferris and her colleague, Judith K. Brodsky (Founding Director of the Rutgers Center for Innovative Print and Paper) are  co-directors of the project. Dr. Olin and Dr. Marter, along with the graduate students, curated “Artists on the Edge" that focused on the students in the Douglass College Art Department and the graduate Art Department, from c. 1959-1972. Dr. Olin and Professor Brodsky also became the coordinators of a new national initiative, "The Feminist Art Project," that celebrates the impact of the Feminist Art Movement on contemporary art practice and curated an exhibition at the MGSA Galleries, entitled "How American Women Artists Invented Postmodernism, 1970-1975." This exhibition kicked off The Feminist Art Project, will travel throughout New Jersey and will open in an expanded version in Washington, DC in late 2007.

Jennifer Poole (B.A. 1998) After leaving the Director position of the Newhouse Center for Contemporary Art, I moved on to another borough (The Bronx Museum of the Arts) to head up their registrar and permanent collection department until May 2005. Presently I am living and working in Dublin Ireland for a contemporary arts publication.

Diane Reilly (B.A. 1990) has a book coming out early next year entitled, The Art of Reform in Eleventh-Century Flanders: Gerard of Cambrai, Richard of Saint-Vanne and the Saint-Vaast Bible, Studies in the History of Christian Traditions (Leiden: Brill). She also received an Andrew W. Mellon Fellowship to the Pontifical Institute of Medieval Studies in Toronto for the 2004-2005 academic year.

Marice Rose (Ph.D. 2001) has been appointed Assistant Professor of Art History at Fairfield University, beginning fall 2005. She and her husband Mark Bonasera welcomed baby Clare Kathleen on May 29, 9 lbs 10 oz.

Clare Savard (B.A. 1995) married Matthew McGowan (RC, BA, English 1995) in July, 2005. Clare is the Associate Registrar at the Asia Society and Museum, New York, NY.

Stacy Schultz is currently an Adjunct Lecturer at California State University, Northridge, and San Diego State University. In November 2005, she presented a paper at the annual conference of the Art Historians of Southern California, a CAA-affiliated society. Her presentation was entitled "Latinas: Reconciling Ritual, Culture, and Belonging." The 2005 conference was the first AHSC event devoted entirely to Latin American scholarship.

Nancy Siegel (Ph.D. 1999) was awarded an Eleanor McD. Thompson Research Fellowship at Winterthur Museum and Library, Winterthur, DE, for the fall, 2005. Her recent publications include: "'I never had so difficult a picture to paint:' Albert Bierstadt's White Mountain Scenery and The Emerald Pool," in Nineteenth-Century Art Worldwide (September, 2005) and co-editor (with Phillip Earenfight) of Within the Landscape: Essays on Nineteenth-Century American Art and Culture (Pennsylvania State University Press in association with the Trout Gallery, Dickinson College, 2005) to which she also contributed "Decorative Nature: The Emblematic Imagery of Thomas Cole." She presented "In the Name of Liber-tea: Tea Consumption as a Socio-Political Symbol in the Early Republic," at the 2005 CAA conference in Atlanta.

Kathleen Enz Finken (Ph.D. 1998) has been named Dean of the College of Arts and Humanities, Minnesota State University Moorhead.

Jennifer Tonkovich (Ph.D. 2002) had various articles out in 2005, including: “‘Rymsdyk's Museum': Jan van Rymsdyk (fl. 1740-1788/89) as a Collector of Old Master Drawings," Journal of the History of Collections (forthcoming, December 2005); "How Petrarch Became Boccaccio: A Bronze Bust from the Morgan Library" with Victoria Kirkhan, Studi sul Boccaccio (forthcoming, Fall 2005); "Claude Gillot's Designs for Turkish Costumes: Some New Sources," Burlington Magazine, April 2005, pp. 248-52. She also gave various lectures including: The Destailleur Portfolio of Ornamental Designs by Claude Gillot (1673-1722); French Ornament Drawings of the Eighteenth Century, Maison Française d'Oxford and Waddesdon Manor, 18-19 November 2005; Morgan's Memlings: Investigating Early Netherlandish Panel Painting, gallery talk at the Metropolitan Museum of Art, New York, 12 April and 6 May 2005; François Boucher and the Catalogue des tableaux of Jean de Jullienne, at the conference "François Boucher: Man of the Enlightenment", The Wallace Collection, London, 4-5 February 2005.

Elizabeth Weinfield (B.A. 2002) is currently a graduate student in music at Oxford University, where she is focusing on Baroque Performance Practice, with a specialty in Baroque viola and historic string instruments.

Stephan Wolohojian (B.A. 1984), recently won the George Wittenborn Memorial Book Award and the Book Prize from the AAMC (American Association of Museum Curators) for his book A Private Passion: 19th-century Paintings and Drawings from the Grenville L. Winthop Collection, Harvard University (Yale University Press, 2003).

Midori Yoshimoto’s (Ph.D. 2002) revised dissertation Into Performance: Japanese Women Artists from New York was published by Rutgers University Press. She held her book talk at the Zimmerli Art Museum, Bard College, the Museum of Modern Art, New York, and the Jersey City Museum. She co-edited and contributed an essay to artists' biographies to the catalog "Japanese Women Artists in Avant-Garde Movements, 1950-1975" accompanying the exhibition under the same title held at the Tochigi Prefectural Museum of Art in Japan. As the gallery director of New Jersey City University Galleries, she also curated two thematic exhibitions: "Resonance: Five Asian Women Artists in New Jersey" and "Evolving Pattern." At CAA, she was appointed a member of the Committee on Women in the Arts.

Lilian Zirpolo's (Ph.D. 1994) book, Ave Papa/Ave Papabile: The Sacchetti Family, Their Art Patronage, and Political Aspirations, was published by the Centre of Reformation and Renaissance Studies in Toronto (2005). She has also published three reviews this year: "Caravaggio" by John Gash (Chaucer Press, 2003)" in Art History, "Architecture and Politics of Gender in Early Modern Europe" edited by Helen Hills (Ashgate, 2003) in the Woman's Art Journal, and "Philip II of Spain: Patron of the Arts" by Rosemarie Mulcahy (Four Courts, 2004) in the Renaissance Quarterly. In 2006, she will organize and chair with Joanna Gardner-Huggett a conference, entitled "Constructions of Death, Mourning, and Memory" to take place at the Woodcliff Lake Hilton in Woodcliff Lake, NJ.

~ Back to Table of Contents ~

Christopher Atkins published “Frans Hals’s Virtuoso Brushwork” in Virtus, virtuositeit en kunstliefhebbers in de Nederlanden 1500-1700 (Nederlands Kunsthistorische Jaarboek, Volume 53. Waanders, Zwolle, 2005, p. 281-307, and Masterworks from the MFA, Boston: Celebrating the Human Form in Art.Exhibition catalogue, Nagoya/Boston Museum of Fine Arts, Nagoya/Boston Museum of Fine Arts, Boston, 2005. (Contributed catalogue entries on works by Peter Paul Rubens, Francisco de Zurbarán, and François Boucher.)

Ashley Atkins gave birth to Henry Thomas Kaddy on October 26, 2005. He weighed 5 pounds 11 ounces.

David Boffa’s article, entitled "Divine Illumination and the Portrayal of the Miraculous in Donatello's St. Louis of Toulouse", was published in the art history journal Simiolus.  David’s article grew out of a talk he delivered at last year's Frick Symposium.

Amy Bryzgel presented "Sign and Symbol in Arfika's 'Crimania'" at the Philadelphia Symposium on the History of Art, Philadelphia Museum of Art in March 2005; "Shifting Borders in the Work of Katarzyna Kozyra" at the conference 'Multiculturalism at the Start of the 21st Century: The British-Polish Experience' Lodz, Poland, May 2005; "Miervaldis Polis' 'Bronze Man' Performance; Art and Social Change in Latvia" at the Warsaw East-European Conference, Warsaw, Poland, July 2005 and at the Visual Culture: Cultural Studies in a Post-Soviet Context conference in Tallinn, Estonia in August 2005. She also won the Institute of International Education Fulbright Award and the Foundation Graduate Studies and Research in Poland Grant both for academic year 2004-2005.

Gretchen Burch was invited to give a gallery talk I at the Brooklyn Museum on Saturday, November 5th.  She discussed the American Landscape tradition in conjunction with the "Manufactured Landscapes" exhibition of photographs by Edward Burtynsky.

Jeremy Canwell presented the paper "Radical Reflex: Malevich's Supreme Sign" at the Midwest Slavic Conference at Ohio State University in March 2005. He also presented "Alexander Deineka: Between Visions of Utopia," an Emerging Scholars lecture at the Zimmerli Art Museum in October 2005.

Kimberly Curtiss has been selected as the Graduate Lecturer at the National Gallery of Art in Washington, D.C. for the academic year 2005-2006.

Lisandra Estevez was awarded a grant to purchase photographs from the American Society for Historians of Hispanic Art.

Christine Filippone’s paper "The Roots of a Feminist Art: Martha Rosler and Nancy Spero Respond to Vietnam” was accepted by the Honolulu Conference: “The Vietnam War in Literature and Film,” which took place in November 2005. Christine recently moved to Raleigh, NC where she is currently a Visiting Research Scholar at Duke University. Christine will co-chair a session entitled “The Potential of the Print: Public Art and the Role of Digital Technologies” at CAA Boston in February 2006. She will also deliver a paper in that session titled “A Multiplicity of Meanings: Reading Gender into Public Art.” Christine will write a review of Robert Hobbs's very recent book, Alice Aycock: Sculpture and Projects for the fall/winter issue of Woman's Art Journal due out early 2006.

Elizabeth Gaudino joined the staff at the Dahesh Museum of Art in February 2006 as a full-time Education Assistant. She had been working in this capacity on a part-time basis since October 2005.  She is the coordinator for all group tours and is responsible for the coordination and implementation of educational events and programming.

Julia Kameron was an intern in the Prints and Drawings Department at the Metropolitan Museum of Art as part of the 2005 Metropolitan Museum of Art Summer Internship Program for Graduate Students.

Ann M. Keen, in December 2005, was awarded a research grant by the International Olympic Committee to study at the Olympic Studies Centre in Lausanne, Switzerland.  The grant program is intended to assist researchers in the human and social sciences to use the OSC's human resources and collections of more than a million archived documents, publications, official reports, photos, and films.  Ann will be examining documents pertaining to her dissertation topic, "Redefining Modernism: Monumentality and Expressionism in Architecture of the Olympic Summer Games, 1960-1976."  Ann's is one of five projects awarded for 2006.

Karen Lloyd won an award supporting her summer 2005 research in Rome from the Fondazione Lemmermann, as well as a Pre-dissertation Research Award from the Graduate School, New Brunswick.