Vol. 6, n. 1 - February 2004
Notes from the Chair
A snapshot of the Department each year shows the ways in which the program continues older traditions and develops vital new initiatives. In some ways graduates of twenty years ago would find the offerings and the physical setting of Art History at Rutgers little changed. For example, our main lecture room is still Voorhees 104, the twin recitation rooms in the basement still serve their original function and double as the venue for an occasional lecture, the chair’s office is behind the main office, and the graduate office is at the north end of the hall upstairs. Visitors from years past will recognize that Voorhees 104 is now refurnished, painted, carpeted, and equipped with digital projection facilities. The old 2x2 dinosaur projectors that stood like canon defending the carrousels are long gone; the carrousels are encased in wood and glass; and the digital projectors hang from the ceiling. The new seats in B-15 and B-16 are no longer bolted to the floor. The offices have been repainted and carpeted too. Today’s students are also accustomed to classes in Murray 301 and in several rooms of the Zimmerli Art Museum. The basement area below the museum’s rotunda,which was once our slide room, was transformed into a graduate student lounge and new faculty offices. Our old Art Library became the new location of the Visual Resource Center (nee slide room), and the library moved into an extensive new building next door. There is a full-time “graduate” secretary now, Geralyn Colvil, but the job has evolved to handle all student records and activities for the adjoining offices of the Graduate and Undergraduate directors. Downstairs, our chief-of-staff Cathy Pizzi keeps all the books and keeps us on our schedules. With this organization, when someone calls the Department, a real human voice answers, an increasingly rare event in the era of answering services. We are still a student oriented operation.
Tracy Fitzpatrick receiving her GSNB Dissertation Teaching Award from Dean Holly Smith on May 7, 2003.
Last year this letter described classes in the Department on “The Roman Art of Death,” “Art and Commerce,” “New York/Los Angeles,” and “Theories and Practice of Historic Preservation.” The desire to give students new learning experiences through these “opportunity courses” continues. In the Spring of last year we presented classes on “ New Jersey Architecture,” “ Conservation of Building Materials and Systems,” and “Frank Lloyd Wright.” In addition, the speakers’ committee of the Graduate Student Organization has been successful in bringing a wide range of distinguished lecturers to campus, and over the course of last year we enjoyed visiting lectures by Michael Mills (Ford, Farewell, Mills, and Gatsch), Janet Foster (Columbia University), Margaret Rose Vendryes (CUNY), John Pinto (Princeton University), Roberto Contini (Gemaeldegalerie, Berlin), and Mary Garrard (American University).
In May the 2002-03 academic year was closed with our now annual graduation luncheon at the Rutgers Club. Here we celebrated the achievements, honors, and blessings bestowed on students and faculty, and we had the chance to meet some of the people who make these events possible. Dean Holly Smith attended and was happy to meet so many of our distinguished students. At that time, too, we were once again able to recognize Barbara Mitnick for her many contributions of thought, time, and funding to the Department through the Mitnick-Jacobs Fund. Greg Olsen was acknowledged for his contributions to the Sensors Lab for our graduate students. Patti Quigley and members of the Quigley family were on hand to present the Patrick J. Quigley IV Award to two deserving undergraduates, Eugene Egan and Elizabeth Royzman. A perpetual plaque honoring Elizabeth and Gene hangs in the lobby of the Department’s main office, and we will be adding the names of this year’s awardees to it in May.
Our graduate students also continue to collect accolades for their outstanding work. In Spring 2003, Tracy Fitzpatrick won the GSNB Dissertation Teaching Award, Lisa Victoria Ciresi was the recipient of the GSNB-Dean’s Research Award, and Alison Poe earned an honorable mention for the GSNBGraduate Student Teaching Award. Competition for each of these prizes among all units of the Graduate School is intense, and the fact that Art History is not only represented, but represented in abundance is testament to our standing in the University. Among the numerous conference papers our graduate students presented at professional conferences last year, we single out here Patricia Zalamea and Mary Kate O’Hare who represented the Department at, respectively, the annual Frick and Philadelphia Symposia.
Midori Yoshimoto and Sharon Matt Atkins at their collaborative exhibition “ Do-It-Yourself Fluxus” in Boston
As the new academic year opened in September 2003, we offered the usual array of classes and, in addition, a special course on “The Art and Architecture of Milan,” given by Michael Bzdak, and “Theoretical Concerns in Preservation”, given by Mark Hewitt. This Spring we have courses on the Art of the High Renaissance taught on location in New York by Inge Reist (Frick Art Reference Library), and on Renaissance domestic architecture by Tracy Ehrlich. In addition, there were many trips (as usual!) to local museums, galleries, and private collections, and we heard lectures by the artist Mary Miss (New York), and scholars Michael Leja (University of Delaware), and David Davies University College, London)
The highlight of the fall semester was the 50th Reunion of the Graduate School, for which we solicited papers and organized morning and afternoon sessions that showcased a wonderful group of alumni scholars. It is our special pleasure to thank Louise Belvedere Caldi, Dina Comisarenco,Victor Coonin, Greg Gilbert, Stephanie Leone, Gail Levin, Barbara Mitnick, Hedy de Costa Nunes, Eliot Rowlands, and Ute Tellini for their participation and presentations, as well as many, many other alumni who attended and helped us swap stories of old and catch up on recent events. After our breakfast, a morning session, lunch in New Brunswick, and an afternoon session, we still had enough group energy to be the best represented Department at the Gala Dinner Dance held at the Hyatt Hotel in the evening. It was said that Art History also dominated the dance floor. The semester’s partying ended more sedately with a Departmental Lunch for faculty, staff and graduate students held together with the staff of the Zimmerli Art Museum.
Christine Laidlaw, Ute Tellini, Greg Gilbert, Gail Levin and Hedy de Costa Nunes at the 50th Anniversary of the Graduate School-New Brunswick
The purposes of serving students and advancing scholarship work on many different levels in our Department. The very successful Curatorial Studies Certificate, which is now over fifteen years old at Rutgers, is much-emulated. Last year we reported on the conception of a new Historic Preservation Certificate, and in May it was fully< approved and set in operation for undergraduate and graduate students. (Courses are given by professors from Art History, from other departments of the University, and by visiting specialists.) As of this writing we have twelve undergraduate candidates formally enrolled for the certificate and about three times as many inscribed in our core courses. In addition, four graduate students are enrolled as certificate candidates and about thirty graduate students from various departments are taking our courses.
Further afield, the renowned summer program in Paris has for some years been taught exclusively on site by Seth Gopin and beginning in the summer of 2004, it will be enriched by a relationship developed with the Musée du Louvre. About one-third of the formal course instruction will now be devoted to the history and collections of the Louvre. Classes taught by senior members of the museum’s curators and staff will take up all aspects of the collections, research, display, and conservation, including the history and conservation of its buildings.
Encouraging a global outlook among our students has become an increasingly important part of the mission of the Department. We are strong participants in the new Italian Studies Program, which will enable students to create a personalized interdisciplinary major, combining art history with Italian language training and electives in the humanities. “ Italian Hours,” the cultural initiative of the program, has featured our department in, to date, a public lecture by Rona Goffen, and an exhibition in the Art Library of Sal Romano’s sculptures, which Joan Marter initiated and for which current grad student Mary Tinti wrote the catalog. Future events include a symposium on Galileo in Fall 2004, in which alum John Beldon Scott will present a paper.
In the Fall of 2004 we will also welcome a member of the Department of Art History at the University of Utrecht, The Netherlands, to teach a course on Dutch art. Soon, hopefully, a member of our faculty will be teaching in Utrecht. This initiative is the beginning of an extensive relationship between the two departments, which will involve the regular exchange of faculty and students, and the use of many facilities on both sides of the Atlantic for mutual benefit. Alumni may be able to take part in these activities, so stay tuned! In development is a Rutgers summer course on Netherlandish art at Utrecht, planned for 2005 to be taught from the monuments on site.
Finally, there is the report on faculty changes. Elsewhere in this Newsletter, John Scott contributes a moving obituary to a dear friend, teacher, and colleague, Olga Berendsen. Olga was an amazing figure – a demanding teacher, sensitive mentor, cooperative colleague, in short, a marvelous scholar and person. Everything she undertook was undertaken with gusto and complete devotion. In return she had the devotion of her associates and all those students who fell under her benevolent spell. We will sorely miss her.
Those who have kept up with the Department are aware of the effect of the retirements of 2001 and the effect they had on our curriculum. Last year, we welcomed Wendy Bellion in American art and began a search in Medieval art. In the midst of the search, the funding was abruptly but necessarily cancelled. Then, in the Fall of 2003, Faculty of Arts and Sciences Deans Holly Smith and Barry Qualls approved the revival of our Medievalist search. By general agreement, then, the faculty simply revived and continued the search process that had been initiated at the New York CAA meetings, and the result was our hiring of Erik Thunø. Erik is currently the Assistant Director of the Danish School in Rome. He is a distinguished specialist of Early Medieval Italian art, whose book Image and Relic, Mediating the Sacred in Early Medieval Rome, 2002, recently appeared in print. Erik, a native of Copenhagen, Denmark, will be teaching the Medieval sequence for undergraduates, advanced graduate seminars, and participating in the introductory survey beginning in the Fall, 2004.
Faculty searches represent a changing of the guard, and this is true of our program in Modern art. After more years at Rutgers than anyone else currently teaching, Jack Spector will be retiring. Jack has been a mainstay of the program, promoting its distinctions with his own lectures, publications, and visits, all over the world, from Europe to Asia. His first book was an analysis of Delacroix’s murals at Saint-Sulpice, published by the College Art Association (1967). Not long after he wrote on Delacroix’s “ Death of Sardanapalus” (1975), and between them he produced his most widely known volume, The Aesthetics of Freud (1972). This last book has been issued in German, Italian, Spanish, Japanese, and Chinese up to 1997, and a third edition is in progress. Jack’s Surrealist Art and Writing, 1919 to 1939 was published by Cambridge University Press (1997), and gives evidence of his abiding interest in problems of Surrealism. He edited two issues of American Imago and published articles on an astounding breadth of topics, from Duchamp and Magritte to Klee and Miro, and from psychoanalysis to Symbolism. Jack’s penetrating intelligence has left its healthy impression on over 40 years of students and faculty in the Department. In part because of his distinction and the luster he has brought to the program, we have been authorized to hire a new faculty member to assume many of his responsibilities as an undergraduate and graduate teacher and advisor. As Jack moves into retirement, he leaves a large legacy of many wonderful memories with us in New Brunswick and with his students all over the country. In this new phase of his activity we wish him all the best and hope that he will, like other retired faculty, come back often to visit. In the meantime we hope everyone of our readers will be encouraged to stay in touch with him and continue to stay in touch with the Department.
Olga Paris Berendsen
December 9, 1916-November 6, 2003
Olga Berendsen is remembered as a beloved and respected Rutgers professor. She was born in Moscow of Estonian parents who, following the Bolshevik Revolution, repatriated to their newly independent homeland. There Olga studied art history at Tartu University (1935-1943). During the academic year 1938-1939 she attended art history classes at the Sorbonne in Paris. Her master’s thesis at Tartu was on neoclassical architect Johann Wilhelm Krause (1757-1828). Together with her mother and sister, Olga fled her native land in 1944 in advance of the Red Army, and survived the fire bombing of Dresden where she had settled with many other refugees from the Eastern Front. After the war (1947-1948) she worked as a German language teacher in an American school at U.S. Army Headquarters in Frankfurt-am-Main. From 1948-1949 she was a resettlement officer for the Lutheran Church World Service in Frankfurt.
In 1949 Olga emigrated to the U.S., where she was employed by the Lutheran Resettlement Service in New York. She entered the graduate program in art history at the Institute of Fine Arts at NYU in 1952 and studied with Richard Krautheimer. In the following year she also took a position as research librarian for the art dealer French & Company, and from 1958 to 1960, worked as assistant curator at the Cooper Union Museum. Her influential dissertation on Italian funeral catafalques of the sixteenth and seventeenth centuries was one of the earliest major studies of temporary decorations in Baroque art. After completing the Ph.D. in 1961 she joined the art history faculty at Ohio State University. She came to Rutgers in 1965 and established the graduate program in art history, serving as its first Graduate Director beginning in 1970. Olga was inspired by Italian Baroque art, which she admired for its spectacle and its persuasive power. She published studies on Gianlorenzo Bernini and on the Baldacchino in St. Peter’s Basilica. She also wrote books, chapters, and articles on Estonian and Baltic art. Olga retired from the faculty in 1984.
In her professional role Olga was especially a mentor for many women in the graduate program at Rutgers. Her severe bearing, exotic accent, and reputation as a tough taskmaster made a strong impression on students. Anecdotes about her demanding intellectual presence in graduate seminars are plentiful. When she recommended a particularly dense-sounding German book to a student in the legendary Italian ceiling painting seminar, he told her that he did not know that language. Olga seemed puzzled for a few seconds—as though it were unimaginable that someone could suffer from such an unfortunate condition—and then said, “Oh…, well, read it anyway!” It was a defining moment in graduate student acculturation for the seminar participants.
She had no problem providing blunt advice when necessary, yet, notwithstanding her commanding demeanor, students and colleagues who got to know her better discovered a warm-hearted and generous teacher. She somehow managed to be simultaneously strict and welcoming, erudite and down-to-earth, passionate and amusing. In the no less famous catafalque seminar, students celebrated her birthday with a catafalque cake designed according to the principles learned in the course and with a freshly conceived iconographic program. This was one of the few occasions where she was seen to be truly surprised and touched. She was also feared for the slide identifications on her exams, which would always include diabolically difficult details—a partial view of a crucifix held by a Bernini saint, for example. For comprehensive exams students were assured of being challenged with unknown and stylistically hybrid buildings from Eastern Europe. Of course, there are many similarly characteristic anecdotes that cannot be put in print.
Olga’s life in the U.S. was deeply conditioned by her Northern European background and her commitment to maintaining an Estonian identity together with her husband, Olev. The two decades following her retirement from Rutgers were largely devoted to gathering materials related to émigré Estonian artists and the history of Estonian communities, with the goal of preserving the historical record of the Estonian American experience. She directed the Estonian Archives in the U.S., Inc., located in Lakewood, New Jersey, which is now being transferred to the Immigration History Research Center at the University of Minnesota.
Although she followed events in the Estonian S.S.R., she vowed never to return to her homeland while it remained under Soviet occupation. Instead, she planned to fly to Finland with the hope of glimpsing one final view of Estonia in the distance as the airplane landed in Helsinki. But the collapse of the Soviet Union made possible in the 1990s several visits to the newly independent Estonia before her failing health prevented international travel. On the first of those visits she re-walked the streets of her childhood in Tartu and was able to visit her first art history professor not long before his death.
Olga is buried in the Estonian plot at Kensico Cemetery in Valhalla, New York. She is survived by her sister, Helga Kutt, of Wyckoff, New Jersey.
John Beldon Scott, Professor of Art History, University of Iowa (Rutgers, PhD, 1982)
The Olga Berendsen Baroque Prize, established in 1984, is awarded annually for an outstanding paper written by a student on a subject from the Baroque period. Winners are chosen by a committee of faculty members teaching courses in the Baroque period at the time of the competition. Contributions to the fund for the prize in her honor should be sent to: Department of Art History, Rutgers University, Voorhees Hall, 71 Hamilton Street, New Brunswick, NJ, 08901
Photo by Steve Arbury
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.
Francesca Bacci delivered a paper on the photographic work of the Italian sculptor Medardo Rosso at the Fifth Annual Conference of the Modernist Studies Association, held in Birmingham, England, September 25-28, 2003. She was also named an alternate for the 2003 Bevier Award.
Amy Bloch conceived and presided over the session “Baptistery Decoration in Late Medieval and Renaissance Italy”, at the 2003 SECAC (Southeastern College Art Conference) in Raleigh, North Carolina. In November, 2003, she delivered a paper entitled “Ritual, Space, and the Bronze Doors of the Florentine Baptistery” at the Early Italian Art Conference at the University of Georgia.
Amy Bryzgel curated Fantasy and Figuration: Works on Paper from the Dodge Collection, an exhibition that ran from March to August, 2003, at the Zimmerli Museum, and published an accompanying article in Volume I of the Zimmerli Journal. Amy spent two months in St. Petersburg, doing pre-dissertation research at the St. Petersburg Society for Free Culture at the Pushkinskaia- 10 Contemporary Art Center. She was awarded a Special Study Grant by the Graduate School to do research and language study in Latvia, and she conducted pre-dissertation research at the Latvian Center for Contemporary Art in Riga.
Meghan Callahan won a Kress Travel Grant to conduct research on her dissertation in Florence.
David Carroll and family at graduation day May 2003
David Carroll successfully defended his dissertation, “Giorgio de Chirico: A Confrontation with Modernity” and received his PhD in May 2003.
Brian Clancy presented a paper, “City Hall Goes to the Opera: Philanthropists, Veterans, and Municipal Government at the San Francisco War Memorial” in the competitive, biannual Dissertation Colloquium at the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University in April, 2003.
Aliza Edelman and husband Sean Ross are proud to announce the birth of their daughter, Hannah Graça Edelman Ross born October 14, 2003
Lisandra Estevez was awarded a competitive Graduate Internship at the Metropolitan Museum of Art for the summer of 2003. Her duties included work in the Department of Prints for an exhibition of Classical mythology in Italian Old Masters prints, as well as research on Spanish prints in the museum’s collection. Lisandra will present the paper, “Artemisia Gentileschi and the Spanish Taste for Italian Painting in the Seventeenth Century” at the annual meeting of the Renaissance Society of America on April 2, 2004. The session is being organized by Rutgers alumna Kelley Helmstutler-Di Dio.
Emma Guest-Consales received a Chester Dale Fellowship at the Metropolitan Museum of Art, where she is working in the European Painting Department.
Cate Hammond at the Eastern State Penitentiary.
Photo by Tim McManus
Heather Hess was awarded the jointly sponsored Fulbright/IFK (Internationales Forschungszentrum Kulturwissenschaften) Junior Visiting Fellow grant. She delivered the paper “Modern and Austrian? Constructions of Identity in Hapsburg Vienna by the Wiener Werkstätte and Its Critics” at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, Second Annual Graduate Symposium “Designed Identities” April 25, 2003.
Natalia Kolodzei, co-owner of the Kolodzei Collection of Russian and Eastern European Art, was the curator of From Leningrad to St. Petersburg: 25 Years of Art, an exhibition that ran through January 17 at the Chelsea Art Museum in New York. Natalia gave two talks during the show, which featured selections from the Kolodzei collection and the International Association of Contemporary Russian Art Collectors.
Opening of American Sculpture Exhibition at Zimmerli Art Museum
September 13, 2003. Dr. Marter’s Exhibition Seminar. (l-r):
Danny Lanzafama, Rowanne Wayland, Thea Gunhouse, Cate
Hammond, Mary Tinti, Sascha Scott, Lisandra Estevez (front row
l-r): Florence Quideau, Patricia Kiernan, Catherine Reed
Mary-Kate O’Hare was recently promoted to Assistant Curator of American Art at the Newark Museum. She is currently working with Holly Connor (Ph.D., 1995) on the traveling exhibition, Not at Home: New Women in American Art, 1865-1900, which is scheduled to open at the museum in March, 2006.
Alison Poe won Honorable Mention for the Graduate Teaching Award from the Graduate School - New Brunswick in May, 2003, and was awarded a grant from the Princeton Pettoranello Foundation to do research in Rome starting in January, 2004. Alison delivered three papers during 2003: “Gatherings in the Tomb: The Ritual Context of the Frescoes in the Hypogaeum of the Aurelii, Rome” at the Archaeological Institute of America Annual Meeting in New Orleans, January 3-6; and “The Hypogaeum of the Aurelii: Collegium Tomb” at the UCLA Graduate Late Antiquity Conference, April 5; and “Bringing Light to the Tomb: The Mosaic of Christ-Helios in the Mausoleum of the Julii, Rome” during The Survival and Revival of Antiquity conference, Hood College, December 5-6, 2003. She was also
guest lecturer at the Archaeological Institute of America North Jersey Chapter Lecture Series, where she spoke on “The Hypogaeum of the Aurelii” in November. In January of this year, Alison delivered the paper “Banqueting and Belonging in the Precincts and Solaria of Roman Imperial Cemeteries” at the Archaeological Institute of America’s Annual Meeting in San Francisco. She was a Visiting Lecturer in the Dept. of Art History at Rutgers and at the Zimmerli Art Museum, and a Visiting Scholar at the American Academy in Rome.
Catherine Reed was named an Eagleton Fellow for the 2003- 2004 academic year. Awarded by the Eagleton Institute of Politics, the fellowship provides the opportunity for Catherine to further her study in the relationships between politics, public affairs and art history. Catherine also presented a session on the modernist painter Gerald Murphy and the Russian avant garde artist Natalia Goncharova at A Salute to American Art, a program of art and music held last October at the Zimmerli Museum.
Mary Shay weds Michael Millea December 2003
Suzy Slominski delivered a paper, “From Fantasy to Reality in Self Representations by Artemesia Gentileschi” during the annual conference of the Renaissance Society of America in March, 2003. Suzy’s review of The Urban Development of Rome in the Age of Alexander VII by Dorothy Metzger Habel (Cambridge: 2002) will be published in the Spring, 2004 issue of Renaissance Quarterly (57.1).
Wendy Streule received a Fulbright grant for study in the Netherlands. Wendy presented a paper, “A History of Unruly Objects: The Place of Erotica in Seventeenth-Century Holland” at Boston University’s 19th Annual Graduate Student Symposium on The History of Art on March 29, 2003. She delivered a paper at the XIIIth Annual Graduate Student Symposium in the History of Art at Indiana University on April 5, 2003. The title of her talk was “Objects of Desire and the Desire for Objects: Observations on the Erotic Silverwork of Adam van Vianen.” The following week, Wendy was among the selected participants in the annual Dissertation Workshop at the Getty Research Institute in Los Angeles. She was also awarded a Nuffic grant to participate in an intensive Dutch language course during the summer of 2003.
Patricia Zalamea presented a paper entitled “Visualizing Rome’s Marvels in Giovanni Marcanova’s Collectio antiquitatum: The Mirabilia and Sylloge as Complementary Traditions” at a session entitled Continuity and Change in Italian Art during the 38th International Congress on Medieval Studies held May 8-11, 2003 in Kalamazoo, MI.
Jennifer Zarro’s new baby, Lucy, relaxes
with her friend Primo.
Jennifer Zarro was selected as a 2004-06 Commonwealth Speaker on the Arts by the Pennsylvania Humanities Council. In this capacity, she is traveling throughout the state, delivering public lectures on two topics, “The Light of Impressionism” and “African American Artists in the Collection of the Philadelphia Museum of Art.” In the fall of 2003, she taught Western Art at Philadelphia University. But her proudest accomplishment is the birth of daughter Lucy in May.
Elizabeth Ayer (PhD ‘91)> presided over the session “Art and Architecture of Medieval Pilgrimage III: Miracles of the Blood or the New Made Old: Relics for Veneration and Display in Late Medieval and Early Renaissance Art and Architecture” at the 38th International Congress on Medieval Studies held May 8-11, 2003 in Kalamazoo, MI.
Karen (Loaiza) Blough (PhD ‘95) presented a paper, “’Visionary’ Evangelist Portraiture: A New Perspective,” at the session Imaging Authority I: Art and Ideology in Carolingian and Ottonian Europe during the 38th International Congress on Medieval Studies held in May, 2003 in Kalamazoo, MI.
Alexis Boylan (PhD ‘01) served on the panel of renowned scholars at a symposium at the Parrish Art Museum in Southampton. The title of her talk was “Sculpting Sickness: Saint-Gaudens= Robert Louis Stevenson Medallion.”
Louise Caldi (PhD ‘02) spoke on "Art as a Defense against Dante's Anti-Angevin Propaganda" at the 38th International Congress on Medieval Studies held May 8-11, 2003, in Kalamazoo, MI.
Lisa Victoria Ciresi (PhD ‘02) won the Graduate School’s Research Award for 2003. Lisa will deliver a paper, “The Cologne Dreikoenigenschrein - A Liturgical Approach,” at the conference Reliquiare in Mittelalter: Kunst, Kult, Kontext for the Internationale Tagung des Kunstgeschichtlichen Seminars der Universitat Hamburg in Hamburg, Germany, April 30-May 2, 2004.
Sharon Dale (PhD ‘84) presided over the session Giovanni Sercambi: Writing in the Renaissance at the 38th International Congress on Medieval Studies
held May, 2003, in Kalamazoo, MI.
Henry Duffy (PhD ‘01) currently curator at the Saint-Gaudens National Historic Site,
was part of a panel of renowned scholars at the Parrish Art Museum symposium in Southampton on June 7, 2003, when he spoke on “A Life in the Studio: Saint-Gaudens at Cornish.” On July 20, he presented a talk on the Cornish and Dublin New Hampshire Art Colonies at the New Ipswich Historical Society in New Hampshire. Henry recently co-authored Augustus Saint-Gaudens: American Sculptor of the Gilded Age (Archetype Press, 2003), published in conjunction with an exhibition that is traveling to 12 venues between 2002 and 2005. He recently obtained a $55,000 grant for new shelving in the museum storage building of the Saint-Gaudens National Historic Site. Henry also reports that he is enjoying painting again after a hiatus of 30 years.
Philip Earenfight (PhD ‘99) was a speaker at the Early Italian Art Conference at the University of Georgia in November, 2003 Philip’s talk was entitled “The Iconography of Tobit at the Misericordia in Florence.”
Annie Farrell (BA ‘99) has started the PhD program at Duke University, where she is studying the art and architecture of 19th and 20th Century Japan. Annie has been awarded the James B. Duke Fellowship, a competitive, university-wide grant that provides five years of support.
Tracy Fitzpatrick (PhD ‘03) won the Graduate School’s Dissertation Teaching Award for 2003. As stipulated by the terms of the award, she is currently teaching an undergraduate seminar “American Art & Architecture in the Age of the Machine”, which is based on material from her dissertation.
Tracy Fitzpatrick and Professor Joan Marter, May 7, 2003
Joanna Gardner-Huggett (PhD ‘97) has started her tenure-track position at DePaul University, where she is teaching modern, contemporary, and women’s studies. This year, Joanna’s article, "Margaret Gardiner: Activist Collector," will be published in the British Art Journal and a short piece, "Art and Part-Time Labor," will be featured in the Radical Art Caucus Newsletter. Joanna reports that she and Lilian Zirpolo have completed editing the fourth volume of Aurora, dedicated to the history of women's art patronage and collecting from the Roman Empire to the present. On a personal note, Joanna gave birth to fraternal twin sons Kai Willem Huggett and Ivor Daniel Huggett on June 10, 2003.
Greg Gilbert (PhD '98) is up for tenure in the Department of Art this year at Knox College, where he was awarded the Philip Green Wright/Lombard Prize for Distinguished Teaching for untenured faculty in the Fall of 2002. His article "Robert Motherwell's World War II Collages: Signifying War as Topical Spectacle in Abstract Expressionist Art" is forthcoming in the Oxford Art Journal. Gilbert wrote the original version of this article for Matthew Baigell's 2002 unpublished festschrift, which he compiled with Caroline Goeser. He also had an essay titled "Pyschological Integration and Pragmatist Aesthetics: the Role of Emotion in John Dewey's Theory of Art" accepted for the anthology Emotions and American Philosophy, which is being edited by Hans and Charlene Haddock Seigfried. This is part of his book project "Pragmatist Thought and the New York School: Redefining the Early Art and Writing of Robert Motherwell," for which he recieved Faculty Development Awards this past Fall from Knox College to complete his research on Motherwell at the Dedalus Foundation and the Archives of the Museum of Modern Art in New York City. At the Midwest Art History Society Conference in Pittsburgh in Spring of 2003, he presented the paper "Caricature as Commodity in Andy Warhol's Pop Art" for a session titled "Andy Warhol and His Impact, " which was chaired by Tom Sokolowski, director of the Andy Warhol Museum. Dr. Gilbert delivered a shortened version of this talk this past October at "Excellence in Research - 30 Years of Art History at Rutgers," which was the symposium held in conjunction with the 50th Anniversary of the Graduate School. In November 2003, Greg was invited to deliver a talk titled "Robert Motherwell's Collage and Cutout Aesthetic" for a symposium held in conjunction with the exhibition "American Cutout" at the New York Studio School of Drawing, Painting and Sculpture. The other panelists included Robert Rosenblum, Irving Sandler, Carter Ratcliff, Robert Storr, Jack Flam and Katy Siegel.
Caroline Goeser (PhD ‘00) was awarded a post-doctoral fellowship at the Center for Humanistic Inquiry at Emory University for the 2003-2004 academic year. The fellowship will support the completion of her book, Making Black Modern in Harlem Renaissance Print Culture, which is forthcoming in the Culture America series edited by Karal Ann Marling and Erika Doss for the University Press of Kansas.
Kelley Helmstutler-Di Dio (PhD ‘00) is organizing and will preside over the session Artistic Relations between Italy and Spain in the Sixteenth and Seventeenth Centuries II at the annual meeting of the Renaissance Society of America on April 2, 2004. Current graduate student Lisandra Estevez and Rutgers alum Zbynek Smetana will be two of the presenters for the session.
Norman Kleeblatt (BA ’71) has had several articles published recently, including: “Istanbul Biennial” in Reviews: International, ARTNews (Dec 2003; “Great Dictation - Norman Kleeblatt on Blindspot: Hitler’s Secretary,” Artforum, vol. 41, no. 5 (Jan 2003); “The Nazi Occupation of the White Cube: Piotr Uklanski’s The Nazis and Rudolph Herz’s Zugzwang,” in Plastika, no. 4 (Winter 2002) and reprinted in Impossible Images: Contemporary Art after the Holocaust, Shelley Hornstein, Laura Levitt & Laurence Silberstein, eds. (New York: New York University Press, 2003). On December 6, 2003, Norman presented “The Distanced Mirrors of Memory: Contemporary Artists Respond to Nazi Imagery and Evil” at the Memorial Art Gallery at the University of Rochester. He served as a panelist for Art, Interpretation, Meanings at the Museums and Difference Conference, The Center for 21st Century Studies and the Milwaukee Art Museum in November, 2003, and for the Museum Program for the New York State Council on the Arts, 2001-2003. He also participated in Race, Racism and Identity: A National Meeting of Museums at The Field Museum in Chicago, April, 2003.
Missy Lemke (MA ‘94) organized the show “Revelations from Reproductions: 15th Century Italian Paintings in the National Gallery of Art” for the National Gallery Library in Washington. The exhibition will be on view through March, 2004.
Thomas Loughman (PhD ‘03) has been named Curator of European Art at Phoenix Art Museum. In May, 2003, he organized and presided over a session entitled “Vita Benedicti in Italy: Cycles in Panel and Mural Painting” at the 38th International Congress on Medieval Studies held May 8-11, 2003 in Kalamazoo, MI. In November, he was a participant at the Early Italian Art Conference held at the University of Georgia, where he spoke on “Fashioning Civic Identity in Totila’s Encounters with St. Benedict of San Miniato al Monte, Florence.” Thomas also recently received a Chester Dale Fellowship at the Metropolitan Museum of Art.
Stephen Lucey (PhD ‘99) delivered the paper “Who’s Who in Early Medieval Rome: Image and Audience at Santa Maria Antiqua” at a session entitled Medieval Rome I: Patrons and Patronage, at the 38th International Congress on Medieval Studies held last May in Kalamazoo, MI.
Scott Montgomery (PhD ‘96) was a guest speaker at the 38th International Congress on Medieval Studies in Kalamazoo last May. During the session Medieval Art, Pilgrimage, and Violence, Scott delivered the paper “Establishing the Loca Sancta: Cephalophory and Relic Cults.”
Allison Palmer (PhD ‘94) married Michael Kelley in Norman, Oklahoma on March 22, 2003, and announces the birth of their son, Evan.
Allison Palmer, husband Michael Kelley, and son Julian welcome new arrival Evan Neil Palmer Kelley
Betsy Parkyn (MA ‘03) is the Executive Assistant to the Chief of the Art of the Americas department at the Museum of Fine Arts, Boston. Betsy was recently engaged, and plans to marry in Mexico during January, 2005.
Mark B. Pohland (M.A., 1986) is Associate Professor in the Department of Art and Art History at DePaul University in Chicago, where he has taught since 1992. In 1994, he received his PhD from the University of Delaware, where he was a student of Rutgers alum Patricia Leighton. Mark has published primarily in the area of photohistory, and is now at work on a book on Marcel Duchamp, the subject of his dissertation.
Jennifer Poole (B.A. ‘98) is the Acting Director of Visual Arts and Director of the International Artist in Residence Program at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center. Jennifer recently edited three catalogs, Landfill
and the Invisible Thread: Buddhist Spirit in Contemporary Art; Four Artists from Llasa; and Modernism, Fresh Kills: Artists Respond to the Closure of the Staten Island Landfill.
Victoria Reed (PhD ‘02) delivered the paper "Lucas Cranach's Feast of Herod
Paintings and the Lutheran Cause" at the 38th International Congress on Medieval Studies in Kalamazoo, MI, last May. On August 1, she became the Research Fellow for Provenance in the Art of Europe Department at the Boston Museum of Fine Arts.
Jane Rehl (MA ‘73) earned her PhD in art history with a concentration in ancient American art from Emory University in May, 2003. Her dissertation was entitled “Weaving Metaphors, Weaving Cosmos: Discontinuous Warp and Weft Textiles of Ancient Peru, 300 BCE-1540 CE.” In January, 2003, Jane began teaching at Savannah College of Art and Design.
John Beldon Scott (PhD, 1982) has published his most recent book, Architecture for the Shroud: Relic and Ritual in Turin, Chicago: University of Chicago Press, 2003, which has been awarded the Charles Rufus Morey Book Award.
Zbynek Smetana (PhD ‘97) will present a paper entitled “Titian Reborn (in Velasquez)” at the annual mee t i ng of the Renaissance Society of America on April 2, 2004. The session is being organized by Rutgers alum Kelley Helmstutler-Di Dio.
William Stargard (BA ‘79) has been awarded tenure at Pine Manor College in Chestnut Hill, MA, where he is Associate Professor of Art History. He received his MA and PhD from Columbia University.
Jan Newstrom Thompson (PhD ‘80) and her husband, Paul Goldstein, have “downsized” now that their daughter is a student at New York University and are enjoying life back at the Stanford campus’s faculty neighborhood.
Kristen Van Ausdall (PhD ‘94) presented “Doubt and Faith: Legitimacy in Host-Miracle Pilgrimage Shrines in the North and South” at the session Art and Architecture of Medieval Pilgrimage III: Miracles of the Blood or the New Made Old: Relics for Veneration and Diplay in Late Medieval and Early Renaissance Art and Architecture during the 38th International Congress on Medieval Studies held May 8-11, 2003 in Kalamazoo, MI.
Dorothy Verkerk (PhD ‘92) was a speaker at the 38th International Congress on Medieval Studies held last May in Kalamazoo, MI. Dorothy delivered a paper entitled “Life after Death: The Afterlife of Sarcophagi in Medieval Rome” at the session Medieval Rome I: Patrons and Patronage.
Midori Yoshimoto (PhD ‘02) has received a tenure track position as Assistant
Professor/Gallery Director at Jersey City University. Midori served as guest curator at Art Interactive in Cambridge, MA, for an exhibition entitled Do-It-Yoursel f Fluxus. In conjunction with her curating duties, Midori directed a members-only gallery walk/discussion of the show in December, 2003. The exhibition ran from October , 2003 to January, 2004. Midori’s book Japanese Women Artists in New York, 1955-1975, will be published by Rutgers University Press in the Fall/Winter 2004/2005.
Lilian H. Zirpolo (PhD ‘94) has published numerous articles, including “Artemisia Ge n t i l es ch i ’ s Spada Madonna and the Trauma of Loss,” in Essays on Women Artists: “The Most Excellent,” Liana De Girolami Cheney, ed., (Lewiston, Queenston, and Lampeter: Mellen Press, 2003), Vol. I; and “Bernini’s Faun Teased by Children,” Discoveries: South-Central Renaissance Conference News and Notes (Fall 2003). Forthcoming articles include “The Mirror of Truth Revealed by Time: Christina of Sweden’s Patronage of Gian Lorenzo Bernini,” Woman’s Art Journal; and “Marriage Practices in Early Modern Rome: The Case of Giovanni Francesco Sacchetti and Beatrice Tassoni Estense,” Explorations in the Renaissance. Lilian’s reviews include Virtue and Beauty: Leonardo’s Ginevra de’ Benci and Renaissance Portraits of Women by David Alan Brown, ed. (Princeton University Press, 2001)," in Woman’s Art Journal XXIV: 1 (2003); Women Who Ruled by Annette Dixon (Merrel Publishers, 2002) in Woman’s Art Journal XXIV: 2 (2003); Orazio and Artemisia Gentileschi, Keith Christiansen and Judith W. Mann, eds. (Metropolitan Museum of Art and Yale University Press, 2001),” in CAA Reviews (April 2003); Artemisia Gentileschi Around 1622: The Shaping and Reshaping of an Artistic Identity by Mary D. Garrard (University of California Press, 2001) in CAA.Reviews (April 2003). We look forward to reading her reviews of Velazquez’s Las Meninas, edited by Suzanne Stratton-Pruitt (Cambridge University Press, 2003) in Renaissance Quarterly; and Giovanni Baglione: Artistic Reputation in Baroque Rome by Maryvelma Smith O’Neil (Cambridge University Press, 2002)” in Sixteenth Century Journal. Lilian continues to co-edit and co-publish Aurora, The Journal of the History of Art, now in its fifth year, with Rutgers alum Joanna Gardner-Huggett.
TO ALL ALUMNI AND FRIENDS OF THE DEPARTMENT OF ART HISTORY AT RUTGERS UNIVERSITY: