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Study Abroad Program in Rome
Archer St.Clair Harvey is on competetive leave for 2006-2007, under the auspices of the Samuel H. Kress Foundation. She spent much of the Fall semester in Rome, undertaking research in Ostia Antica and in Rome itself for her project on the programmatic overpainting of frescoes in Late Antiquity. Angela Howard traveled to Xinjiang, China to complete her research on the monastic communities of the ancient Kingdom of Kucha during May and June of 2006. The trip was sponsored by a grant from the Asian Cultural Council. On July 5th she presented the outcome of her fieldwork at the Institut fur Indologie und Iranistik in Munich, Germany. Chinese Sculpture, part of the series The Culture and Civilization of China (New Heaven, London, and Beijing: Yale University Press and Foreign Language Press) was published in February 2006. Chinese Sculpture is the result of ten years collaboration between Dr. Howard and the Chinese scholars Wu Hung (now residing in the US), Li Song and Yang Hong. Dr. Howard began serving as Undergraduate Advisor in the fall of 2006. Sarah Blake McHam published three essays reflecting her interests in Italian Renaissance sculpture and painting and the influence of Pliny’s Natural History. One, a new interpretation of the interior decoration of the Palazzo della Signoria (Palazzo Vecchio) in Florence, appeared in Renaissance Florence:Social History, published by Cambridge University Press. Another, dealing with the influence of contemporary theoretical discussions on the sculpture of the Lombardo dynasty, was part of a volume published by Marsilio for IUAV, the architectural school of the University of Venice. The third, which decodes the illuminations commissioned by Pico della Mirandola for his personal manuscript of Pliny’s Natural History, was published by Ashgate for AVISTA, an organization devoted to the interdisciplinary study of science, technology and art. Dr. McHam also presented several papers in 2006. At the Renaissance Society’s annual meetings in San Francisco she presented on the intellectual politics of Renaissance manuscript decoration. She also gave papers on different topics related to Tullio Lombardo and Venetian funerary monuments at the University of Georgia and the Cini Foundation in Venice. She also organized and will chair two sessions on funerary rhetoric, ritual and monuments for the Renaissance Society meetings in Miami this March. During the summer she wrote two essays. The first develops her ideas about the triad of tombs honoring the Mocenigo family in the Venetian church of SS. Giovanni e Paolo for a volume to be published by the Cini Foundation. In the second, written for a volume organized by the Victoria & Albert Museum, she proposes new directions for research on fifteenth-century relief sculpture. She continued to work on her book manuscript about the influence of Pliny’s Natural History throughout the summer and fall semester while she was on leave. Her most important work for the department was the successful completion of her duties as chair of the Italian Renaissance search committee. Her ongoing commitments outside the university include service as discipline representative for the Renaissance Society and as reader of Fulbright grant applications for the Institute of International Education in New York. Tod Marder presented a lecture in February 2006, at the conference entitled "Sankt Peter in Rom 1506-2006: Internationaler Kongress, Kunsthistorisches Institut der Rheinischen Friedrich-Wilhelms-Universität, Bonn. The title of his talk was, “A Finger Bath in Rosewater: Cracks in Bernini’s Reputation .” In March 2006 his review of books by N. Courtright (The Papacy and the Art of Reform in 16th Century Rome) and T. Ehrlich (Landscape and Identity in Early Modern Rome: Villa Culture at Frascati in the Borghese Era) appeared in the Art Bulletin.In July and early August,he joined Erik Thunø in teaching the first edition of our Rome Summer School.The high points for his half of the course included a personal tour behind the scenes at the Vatican Museums and the Vatican Palace, as well as a visit to ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Heritage).And surviving the heat.In the Fall 2006, Prof. Marder served as Respondant at a symposium (October 15, 2006) in Princeton entitled "Virgin Saints and the Early Christian Revival" which was held in conjunction with the exhibition "Pietro da Cortona's Saint Martina Refuses to Adore the Idols-- a Painting in Context."On January 25, 2007 he spoke on Bernini and the dome of St. Peter's in a talk entitled "A Fingerbath in Rose Water: Cracks in Bernini's Reputation." Joan Marter has recently publishedAbstract Expressionism, The International Context as editor(Rutgers University Press).book considers post-war abstraction on four continents and includes essays by David Anfam, Dore Ashton, Serge Guilbaut, Ann Gibson, Ellen Landau, and Stephen Polcari,others. Dr. Marter contributed a chapter to Ethics and the Visual Arts, edited by Elaine King and Gail Levin (Allworth Press).April 2007 Professor Marter will participate in a symposium on Lee Krasner and Abstract Expressionism at the Stonybrook University Manhattan campus, and in July she will present a paper at the Pollock-Krasner House and Study Center in East Hampton.. Marter continues as chair of the Exhibitions Committee of the College Art Association, and a member of the Board of Directors.is editor of Woman’s Art Journal, and has now published two issues of the journal under the sponsorship of Rutgers University.
Catherine Puglisi completed her year-long J. Clawson Mills Fellowship in European
Paintings at the Metropolitan Museum of Art in August 2006. While at the Met
she conducted research for a collaborative book on the image of Christ as Man
of Sorrows in Venetian art. She presented papers related to this research in
March 2006 at the annual meeting of the Renaissance Society of America in San
Francisco and in April 2006 at the Fellows Colloquia of the Metropolitan Museum. Susan Sidlauskas has just finished her book, Cezanne's Significant Other: The Portraits of Hortense, forthcoming from the University of California Press.She chaired a session at CAA last February called "What Can We Say Now About Cezanne?" and also spoke about Degas at a session on feminist pedagogy and "the canon" chaired by Norma Broude and Mary Garrard.She contributed an Afterword to an exhibition catalogue called “Skin and Bones: Parallel Practices in Fashion and Architecture”, curated by Brooke Hodge at the Los Angeles Museum of Contemporary Art, which opened in November. There will be a related symposium at FIT this April.A great pleasure of this year has been participation in the faculty and graduate student seminar at Rutgers' Institute for Research on Women, where the theme is "Bodies and Health."The seminar project is "Before and After: Picturing the Rest Cure," a study of pairs of black and white photographs that show young women prior to their treatment (skeletally anorexic) and after their doctor's intervention (the "cure" depended upon enforced isolation and a diet of "fat and blood.")Being Acting Chair for this year has been highly educational, if not always easy, and a great debt is owed not only to fellow faculty and supportive graduate students, but to Cathy Pizzi and Geralyn Colvil, who run the departmental office.They have been indispensable. Jocelyn Penny Small was invited to give the keynote address at the 7th International Conference on Orality and Literacy in July, 2006. The title of her talk was “Visual Copies and Memory,” and it will be published in the conference proceedings. In addition, Dr. Small gave ten lectures at the five major universities in New Zealand: the Victoria University in Wellington, the University of Canterbury in Christchurch, the University of Otago in Dunedin, the Massey University in Palmerston North, and the University of Auckland in Auckland. These lectures addressed three topics, of which two are part of her current project on optics and illusionism in classical art for which she has received a National Endowment for the Humanities Fellowship for this academic year. The third topic, on Etruscan portraits, was an informal lecture given to classes and was based on the lecture she gives in her own courses on Etruscan art. She also lectured at Smith College on “The Birth of Illusionism” in October. She published one article (“Was Alexander the Great Left-Handed?,” Laterality 11 (2006): 562-565, companion piece to “The Modern Mythology of the Left-Handedness of Alexander the Great” by I. C. McManus, and two book reviews (Donatella Mazzoleni and Umberto Pappalardo, Domus. Wall Painting in the Roman House (J. Paul Getty Museum, Los Angeles, 2004), Journal of Roman Archaeology 18 (2005): 604-606; and Jenifer Neils, editor, The Parthenon. From Antiquity to the Present (Cambridge, 2006), New England Classical Journal 33 (2006) 311-313. Erik Thunø delivered papers at the College Art Association meeting in Boston, the Institute of Fine Arts in New York, Harvard University, and the Medieval Conference in Kalamazoo. His co-edited book, Decorating the Lord's Table: On the Dynamics between Image and Altar in the Middle Ages (Copenhagen: Museum Tusculanum Press, 2006) appeared in July. Dr. Thunø contributed the article "The Golden Altar of Sant'Ambrogio in Milan: Image and Materiality" to this book. Dr. Thunø also won a one-year competitive research fellowship from the Alexander von Humboldt Foundation and will in his fellowship year be hosted by the Department of Art History of the University of Marburg, Germany, and the Bibliotheca Hertziana (Max-Planck-Institut) in Rome, Italy. Laura Weigert is currently on leave with grants from the American Philosophical Society and Rutgers Competitive Fellowship Leave Program for her book project: “Images in Action: the Theatricality of Franco-Flemish Art.” She has given several talks related to this topic. Last spring, while a Member at the Institute for Advanced Study, she presented a paper, “Diptychs of Violence: Pictures and Plays of the Vengeance of Our Lord,” to the School of Historical Studies. In the fall, she presented “Entre messe et mystère: les tapisseries de la Chaise Dieu,” at a conference devoted to the tapestries at the Chaise Dieu. While conducting research in France she delivered a paper, “Theatralität in Bildwerken und Schauspielen des Spätmittelalters und der Renaissance,” at Saarbrücken University and at the Ruprecht Karls University, Heidelberg. She will present a version of this paper to the Medieval/Renaissance forum at Yale in March. In May, she will present a paper, “Visualizing the Rhythm of Urban Drama in the Late Middle Ages” at the International Medieval Congress in Kalamazoo, where she is also respondent to a session on biblical illustration. With Tanja Michalsky (University of Frankfurt), she organized the art history session entitled “Art and the Production of Space,” for a joint Humboldt and APS sponsored interdisciplinary symposium, German-American Frontiers in the Humanities, for which she was also one of the conference organizers. She has been elected vice president of TEAMS: the Consortium for the Teaching of Medieval Studies.
Andres Zervigon has been on research leave in Berlin to complete his book
The Unsettled Image: John Heartfield, Photomontage and the German Avant-Garde,
1917-1929. While scouring through archives and scribing chapters, he has also
been co-organizing symposia and presenting papers. In October he and art historian
Oliver Botar staged the symposium “Detours of Technology: Insights into
the Hungarian and Weimar German Oeuvres of Laszlo Moholy-Nagy.” The event
was held at the Zimmerli in conjunction with the museum’s Moholy-Nagy
exhibition, curated by Botar. Dr. Zervigon’s contribution was entitled “A
New Way of Seeing or Blinded by Science? Laszlo-Moholy Nagy, John Heartfield
and the Battle over Weimar-Era Photography.” Dr. Zervigon is also co-chairing
the session “Subject: Photography” at this year’s College
Art Association conference in New York. In October he presented a paper on
John Heartfield’s film work at a Walter Benjamin conference in Berlin,
and in January he delivered a paper on Weimar-era worker photography at a conference
covering methodologies of image analysis held in Konstanz, Germany. Last summer
Dr. Zervigon’s exhibition “Agitated Images: John Heartfield and
German Photomontage,– 1938” closed at the Getty Research Institute.
In conjunction with the show and shortly before its end, Zervigon co-organized
the symposium “Radical Politics/Radical Aesthetics,” also at the
Getty Research Institute.
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