Vol. 10, n. 1 - February 2009
CAA Reunion 2008
Chair's Report from Dr. Catherne Puglisi
In July 2008, Archer St. Clair Harvey stepped down as Chair of the department after serving for the past three years (with an interlude during which Susan Sidlauskas skillfully took over the helm). During her stewardship, Dr. Harvey oversaw the astonishing growth of the department which now numbers nineteen faculty! We welcomed to campus this fall our newest faculty member, Tarek Kahlaoui. Awarded his PhD from the University of Pennsylvania in 2008, Dr. Kahlaoui
specializes in Islamic art, offering undergraduate and graduate courses in Islamic Art and Culture. While Dr. Kahlaoui’s primary responsibility lies in the Department of Art History, his appointment is shared with the History Department, in which he teaches one course annually. His research centers on the cartography of the Mediterranean world in the 11th-16th centuries, Ottoman numismatics, early Islamic codicology and paleography, and the archeology of the Tunisian island of Jerba. Dr. Kahlaoui brings an entirely new field of teaching and research to Rutgers, complementing offerings in the History department and the Middles Eastern Studies program. His expertise in medieval Islamic art enriches Rutgers Art History’s traditional instruction in Western medieval art, and his familiarity with modern Islamic visual culture adds a broadened perspective to our offerings in modern European and American art.
Our graduate program has also expanded and taken a new direction with a Master’s track in Cultural Heritage and Preservation Studies, recently approved by Douglas Greenberg, Executive Dean of the School of Art and Sciences. Developed by Professors Archer Harvey and Tod Marder from the certificate program in Historic Preservation, the program is now accepting applications for fall 2009--please see the full description of this exciting initiative further on in the Newsletter. We can look forward to future events such as the symposium organized last spring by Dr Marder and undergraduate students enrolled in the Historic Preservation certificate program: “Candlelight Vigil marking the 5th Anniversary of the looting of the Baghdad museum.”
The excellence of our graduate program has been recognized by the inclusion of Art History among six Humanities departments in SAS singled out for funding by the Andrew W. Mellon Foundation. Beginning this year, our grad students are eligible to compete for Mellon summer fellowships and dissertation-year fellowships intended to support their timely progress towards completion of the degree.
During the past year, the department has hosted numerous events, only a few of which can be singled out here. A crowning highlight was the inauguration in February 2008 of the annual Sydney Leon Jacobs Lecture in American Art, generously endowed by alumna Barbara Jacobs Mitnick--read further on for the full story. Our Graduate Students Organization invited prominent scholars to campus for the Distinguished Lecture series; the impressive roster of speakers included: Dr. Roger Rothman, The Samuel H. Kress Chair and Assistant Professor of Art History at Bucknell University, “Dali's Femininity”; Dr. Giovanni Freni, Index of Christian Art, Princeton University, “Visual Allegories and their Interpretive Paradigms”; Dr. Jesus Escobar, Fairfield University, “Baroque Architecture in the Spanish World: History-Writing and Myth-Making”; Dr. Damian Dombrowski, Institute for Advanced Study, Princeton, “Apotheosis in Bernini's Later Portrait Busts”; Dr. Nina Rowe, Fordham University, “Confrontation and Submission: New Approaches to Ecclesia and Synagoga”; and Dr. Jacquelyn Tuerk, Kean University, “Sacred Space and Magical Amulets”. This past fall, graduate students enrolled in the Curatorial Studies Certificate Program and working under the supervision of its director Professor Joan Marter had the extraordinary opportunity to organize and contribute to the catalog of the stunning exhibition, “Pop Art & After: Prints & Popular Culture,” held at the Zimmerli Art Museum.
The Art History faculty was engaged as usual in activities that crossed departmental borders. In fall 2008, Professors Tod Marder and Laura Weigert served as respondents at the interdisciplinary symposium “Performances of Power: Architecture, Landscape, and the Stage in Absolutist France,” co-sponsored by Art History. Also last fall, Professors Andres Zervigon and Tanya Sheehan co-founded the “Developing Room,” a working group on photography drawn from several different departments under the umbrella of the Rutgers Center for Critical Analysis. In addition, the Department was proud to collaborate with the Brodsky Center for Innovative Editions in presenting the exhibition, “Sacred Spaces: Photographs of Greece, Cyprus, and Turkey by Mary Cross,” which opened in October 2008 at the Brodsky Center Gallery at the Heldrich Hotel in downtown New Brunswick. The Department continues to support as well the initiatives of the Mary H. Dana Women Artists Series, a rich program of events co-organized by Art history alumna, Ferris Olin (PhD, 1998).
2008 saw a major boost to our capacity to deliver the highest quality images in our classrooms with the acquisition of the database ARTstor, made possible, thanks to Dr. Harvey, by a grant from the Academic Excellence Fund. In a separate report in this issue, Visual Resources Curator Don Beetham provides further details on this and other news from the VRC.
Undergraduate Art History majors are currently energizing the Art History Society--read about their past and upcoming events in the report from their president, Sakina Namazi, and visit the new undergraduate lounge created in the space on the lower level of Voorhees Hall formerly inhabited by the photo study boards (no longer used in our changed digital environment). The space is being enhanced by amenities such as a large screen TV and DVD player.
Read on to learn about the many accomplishments of our faculty, students and fellow alumni. In this issue we honor alumnus Phillip Earenfight, winner of the CAA Exhibition Catalog award. We are proud of his achievement and those of our students and alumni who contribute immeasurably to the national and international profile of the department.
On behalf of the whole department, I express here our gratitude to the many individuals whose contributions provide ongoing opportunities to promising young art historians. In particular, we thank Art History alumni Meredith and Michael Bzdak, for their annual scholarship for undergraduates to study in Milan (a separate account is included). We recognize a special debt to the family of Patrick Quigley, an alumnus tragically lost in the events of 9/11, who established the Quigley award in support of two distinguished undergraduate seniors each year. Their generosity offers a rare opportunity to aspiring art and architectural historians to realize their dreams.
The Department of Art History is looking forward to another exciting year. Despite increasing budgetary constraints, the department will pursue excellence in all its endeavors. Please help us ensure that continued excellence by lending your support to our programs and, above all, our students. At the end of the newsletter, you will find a handy form to send us your news along with a contribution to the department.
Phillip Earenfight, PhD 1999, won the Alfred H. Barr Jr. Award from the College Art Association for the catalogue he edited in conjunction with his exhibition entitled, A Kiowa's Odyssey: A Sketchbook from Fort Marion. Dr. Earenfight was a student of Sarah McHam and is currently the Director of the Trout Gallery at Dickinson College where he is also Associate Professor of Art History.
Kiowa’s Odyssey reconstructs a sketchbook of drawings that chronicle the experiences of seventy-two Southern Plains Indians who were exiled during the Plains Wars and imprisoned for three years (1875-1878) at Fort Marion, Florida. The sketchbook was illustrated by Etahdleuh Doanmoe, one of the Kiowa warriors held captive at the fort, and illustrates his capture, trek to Florida, and experiences there. A Kiowa’s Odyssey reunites the now-scattered pages of the original sketchbook and reconstructs their history and context. The exhibition tour retraced the historic events represented in the sketchbook with venues in the Southern Plains and the Florida coast. Published by the University of Washington Press (Seattle, 2007), the catalogue included contributions by Phillip Earenfight, along with Janet Berlo, Brad Lookingbill and George Miles.
The Alfred H. Barr, Jr., Award for museum scholarship was established in 1980, in honor of the founding director of the Museum of Modern Art and a scholar of early twentieth-century painting. This award is presented to the author or authors of an especially distinguished catalogue in the history of art, published under the auspices of a museum, library or collection. Beginning with the 2009 award year, a second Barr award will be presented to the author(s) of catalogues from institutions whose operating budgets are below $10 million—the category of Kiowa’s Odyssey . All of us in the art history department warmly congratulate Phillip Earenfight.
MA Track in Cultural Heritage and Preservation Studies
The Art History Department is inaugurating a new graduate track within the Graduate Program in Art History, under the auspices of its Program in Cultural Heritage and Preservation Studies (CHAPS). The MA Track in Cultural Heritage and Preservation Studies builds on the success of the Certificate Program in Historic Preservation, now in its sixth year, which is open to undergraduate and graduate students. Co-Directors of CHAPS are Tod Marder and Archer St. Clair Harvey.
The MA Track is a two year degree program (30 credits) that emphasizes the development of a broad understanding of cultural heritage and preservation contexts and policies along with the development of professional skills. There is a strong multidisciplinary and cross-cultural emphasis. Faculty includes members of the Departments of Art History, Anthropology, The Bloustein School of Planning and Public Policy, and the School of Environmental and Biological Sciences, among others, as well as professionals in relevant fields. A major focus is practical professional experiences, which will include an internship with an appropriate institution, firm, or governmental agency, fieldwork experience, and/or an study abroad experience within an approved program in cultural heritage preservation. Students choose an area of focus at the end of the first year. Areas of focus might include: Architectural Preservation; Landscape and Site Preservation; Cultural Resources Preservation, Heritage management, Policy and Ethics. All students will be encouraged to spend a summer or semester abroad.
Program information and application instructions are available at
Application Deadline for Fall 2009: March 15, 2009.
Matthew Baigell won a Liguria Study Center Grant to work in Bogliasco, Italy in October and November 2008. He has several new publications, including "The Landscapes," in Murray Zimiles: Recent Drawings and Paintings (Kent, Connecticut: Morrison Gallery, 2008), "Boris Sveshnikov," in Norton Dodge and Jane Sharp, eds., Painting for the Grave: The Early Works of Boris Sveshnikov (Zimmerli Art Museum, 2008), "Shifting the Center of Gravity of Jewish American Art," in The L.A. Story, (New York: Hebrew Union College, 2008), and the forthcoming Sweat Shop Scenes: History and Memory. Dr. Baigell gave talks on various Jewish subjects at Wayne State University, Michigan State University, and the University of Wisconsin in spring 2008. Other talks include "The Lower East Side," at Columbus at the Georgia Museum (March 2008), "Biblical Cycles by Jewish American Artists" at the Bar Ilan University Art History Symposium, Ramat Gan, Israel (June 2008), "Sweat Shops and Street Scenes: The Lower East Side" at the Pennsylvania Academy of the Fine Arts, Philadelphia (Sept. 2008), and "George Segal's Biblical Imagery" at Montclair State University Museum’s Segal Symposium (Sept. 2008).
Tatiana Flores presented a lecture on women artists in post-revolutionary Mexico in conjunction with the Frida Kahlo exhibition at the Philadelphia Museum of Art in February. She curated the exhibition “More Is More: Maximalist Painting” at the Byblos Art Gallery in Verona, Italy, which ran from May to August. Over the summer, she spent time in Caracas and Mexico City doing research. She was awarded the Grant Proposal Development Award by the School of Arts and Sciences at Rutgers. She contributed the article “Culture and Democracy in Post-Revolutionary Mexico and Bolivarian Venezuela” to the exhibition catalogue Carlos Motta: The Good Life, published by Art in General. Professor Flores has three forthcoming articles this fall: “Strategic Modernists: Women Artists in Post-Revolutionary Mexico” in Woman's Art Journal, “Culture in Caracas: The New Institutions of Bolivarian Venezuela” in ReVista: Harvard Review of Latin America, and “The Historical (Self) Consciousness of Rafael Lozano-Hemmer” in Art Nexus.
Angela Howard spent one week in July at the Museum für Asiatische Kunst, Berlin, studying the Buddhist murals from Kucha, Xinjiang as part of her ongoing research on Central Asian monastic communities. She presented the paper “Shandong Art and the Southern Style” at the international conference Chinese Buddhist Art, New Directions and Perspectives organized by the University of Sidney and the Art Gallery of New South Wales, Sydney, August 29-30, 2008. She is the recipient of an ACLS fellowship to research the project “Beyond Chan Buddhism: A New Pantheon of Song Dynasty in Laitan, Sichuan.” She will spend fall 2009 in China. Her 2008 scholarly contributions include “Pluralism of Styles in Sixth-Century China, A Reaffirmation of Indian Models” Ars Orientalis vol. 35 (2008): 1-28; “The Role of Meditation Among the Monastic Communities of Kucha” The Arts of Central Asia and the Indian Subcontinent, Anupa Pande editor, (New Delhi: National Museum Institute, 2008): 182-89; “Miracles and Visions Among the Monastic Communities of Kucha, Xinjiang,” Journal of Inner Asian Art and Archaeology, vol. 2 (2007): 81-87. Dr. Howard wrote also two solicited reviews of important studies: Amy McNair, Donors of Longmen: Faith, Politics, and Patronage in Medieval Chinese Buddhist Sculpture (Honolulu: University of Hawai’i Press, 2007), CAA. reviews (April 2008), 5 pages, and Eugene Y. Wang, Shaping the Lotus Sutra, Buddhist Visual Culture in Medieval China (Seattle and London: University of Washington Press, 2005), History of Religions (May 2008): 333-336. To top such a busy schedule, Dr. Howard chaired the panel “Taste, Symbolism, and Cultural Context in Korean Art,” MAR/AAS Annual Conference, Rutgers University, October 2008.
After completing his dissertation and getting his degree in May 2008 Tarek Kahlaoui worked most of the summer in editing the second volume of Jerba Studies (to be published in the series of the Journal of Roman Archeology). Dr. Kahlaoui’s article "Towards reconstructing the Muqaddimah following Ibn Khaldun's reading of the Idrisian text and maps," which is taken partly from one of his dissertation chapters was published in September in The Journal of North African Studies (special issue on Ibn Khaldun, vol. 13, no. 3, 2008: pp. 293-307). In addition to teaching, he is a fellow in 2008-2009 in Rutgers Center for Historical Analysis (RCHA). His paper on vernacular Islamic geographic and cartographic knowledge was presented and discussed in RCHA's series of seminars on "Vernacular Epistemologies" on December 2, 2008.
In the May and June of 2008, Professor John F. Kenfield directed the Ancient-Medieval portion of the Department of Art History’s Summer Study Abroad Program in Rome. Here is his view of the Piazza Navona taken from the terrace of his apartment. Following the “hand-off” of the direction of that program to Professor Marder, Professor Kenfield traveled first to Campania to study excavated Roman villas in that region outside Pompeii and Herculaneum, and finally drove to Castelseprio, to the northwest of Milano and just south of the Swiss border, to study at first hand the Byzantine frescoes in Santa Maria di Castelseprio. Professor Kenfield broke up that long drive with fruitful stops for study in Terracina in Lazio and Pistoia in Tuscany.
Joan Marter continues as editor of Woman’s Art Journal, which now has more than 1000 subscribers in 6 countries. The fall/winter issue of WAJ includes a cover article on Alice Aycock’s public sculpture, five articles, and a dozen reviews of feminist publications. Marter is also Editor in Chief of The Grove Encyclopedia of American Art, which will be published in five volumes by Oxford University Press. During her sabbatical, Professor Marter has been commissioning new articles from scholars of African-American art, Asian-American art, and contemporary art. Marter’s recent publications include “Critical Writings on Feminist Topics,” in Blaze, Discourse on Art, Women and Feminism (Cambridge, 2008) and “Pop Art and After,” an introductory essay for Pop Art and After, Prints and Popular Culture (Zimmerli Art Museum, 2008). On campus Professor Marter co-organized the Pop Art exhibition with Marilyn Symmes, curator. Students enrolled in the Certificate Program in Curatorial Studies participated in a seminar on the topic, and wrote entries for the catalogue. Professor Marter was also instrumental in bringing an endowment to the department from Dr. Barbara Mitnick, our alumna. The Sydney Jacobs Lecture in American Art was funded by Dr. Mitnick as an annual event for the art history program. In February, 2008, the first Jacobs lecture featured Thomas Crow. Professor Marter presented a lecture “David Smith and Dorothy Dehner: Challenges of an Artistic Relationship,” at the Georgia O’Keeffe Museum in Santa Fe, New Mexico, and is working on plans for an exhibition at the museum. At the annual conference of the College Art Association in February, 2009, Professor Marter is co-chairing a session, “Kitsch in the 1960s, Modernism’s Subversive Other.”
In 2008 Sarah Blake McHam finished the manuscript of her book Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of the Natural History and published the following articles and essays: “Tomba come testamento: Il monumento funerario di Andrea Bregno,” Andrea Bregno: Il senso della forma, ed. Claudio Strinati and Claudio
Crescentini, Rome: Ministero per i Beni e le Attività Culturali, 2008; “Reflections of Pliny in Giovanni Bellini’s Woman with a Mirror,” Artibus et Historiae, 58 (Winter 2008), “Oedipal Palimpsest,” Source. Notes in the History of Art, 27, no. 4 (Summer 2008.
She gave the keynote addresses at the SECAC Conference in Kansas City in April (on Renaissance signature practices derived from Pliny) and at the Sixth Quadrennial Italian Renaissance Sculpture Conference in Memphis in October (on the reasons underlying the transfer of Donatello's Judith to the Palazzo della Signoria in 1495).
She presented papers on Judith at a conference on that theme at the New York Public Library in April (for which she also served on the advisory committee); on Pliny (“The Armchair Traveler’s Guide to the Ancient World: Renaissance Readers and Pliny’s Natural History,” as an invited speaker at a conference on “Travel, Trade, and Translation in Early Modern Europe,” at Wesleyan University, October 2008, and on the Cosimo I monument in relation to the urban design of the Piazza della Signoria, at the Kunsthistorisches Institute in Florence in November (for which she served on the planning committee). She published a review of Doris Carl's monograph on Benedetto da Maiano in CAA Reviews, and organized six sessions on Renaissance Rulers for the Renaissance Society's annual meetings in March.
In 2008 Benjamin Paul settled-in at Rutgers, where he enjoys it very much. Teaching was his main focus last year and it taught him just as much as his students. In addition, he managed to get some of his own work done. He gave talks in Chicago at the annual conference of the Renaissance Society of America; in Venice at the seminar on Tintoretto organized jointly by the Istituto Veneto and the Ècole du Louvre; and in Madrid at a conference on royal tombs. He also published an article in Venezia Cinquecento on the Venetian convent SS. Cosma e Damiano and a lengthy review on the 2006-2007 Tintoretto-exhibition at the Prado in Renaissance Studies. In addition, a couple of shorter reviews appeared in Springerin, Sehepunkte, and Quellen und Forschungen aus italienischen Archiven.
Catherine Puglisi became chair of the Art History department in July 2008. She is co-curator of the exhibition, “Venetian Passion: Renaissance and Baroque Images of the Man of Sorrows,” (MoBia, Museum of Biblical Art, NY, 2011), and is currently preparing loan requests from Venetian and American institutions with the support of a Kress Planning Grant. Related to her research on the Venetian Man of Sorrows, her paper, “Fifteenth-Century Sacrament Tabernacles on Veneto Back Roads,” was delivered in May 2008 at the 43rd International Congress on Medieval Studies in Kalamazoo, MI. She continues to conduct research and lecture on Caravaggio, as most recently in October 2008 on the occasion of the symposium, “Caravaggio and the Knights of Malta: a 400-Year Perspective,” in Washington, DC, where she presented, “Maltese Export/Florentine Import: Caravaggio’s Sleeping Cupid.” Her paper, “Caravaggio’s Soliloquies and narrative Modes in Early Baroque Rome,” will be delivered in the series of linked panels on Caravaggio: Reflections and Refractions” at the annual meeting of the Renaissance Society of America in Los Angeles in March 2009. She has recently joined the editorial advisory board of Studies in Iconography.
Associate Professor Jane Sharp spent a very busy spring 2008 semester as Undergraduate Director implementing a number of new SAS initiatives, as well as ushering in a new undergraduate symposium shared with Princeton University's art history department. Four students gave lectures in April at Princeton: Rachel Newman, Sarah Dziamba, Jana Gajdosova, and Grace Paik. Dr. Sharp is also active in the University Senate as a representative for the Graduate School. At the same time (spring 2008), her exhibition co-curated with Norton Dodge opened at the Zimmerli Art Museum: "Painting for the Grave: The Early Work of Boris Sveshnikov", with an accompanying catalogue. Other publications in preparation for several years finally appeared in print; they include an essay entitled "The Personal and Public Spaces of Dvizhenie (the Movement Group)" for the exhibition catalogue, Cold War Modern (London: The Victoria and Albert Museum, 2008), and a book chapter in Picturing Russia: Explorations in Visual Culture (New Haven and London: Yale University Press, 2008). In production is the Zimmerli Art Journal, which Dr. Sharp has edited this year. Although Dr. Sharp's book on Natalia Goncharova (Cambridge University Press, 2006) would appear to have laid certain questions to rest, she frequently has been asked to lecture on various aspects of the artist's oeuvre, especially on questions of orientalism and Goncharova's post-emigration work for Sergei Diagiliev's Ballets Russes. Challenging lecture venues this past year were Columbia University (New York), Tsukuba University (Tokyo, Japan), Amherst College (Amherst, Mass.). Dr. Sharp has also continued her research on recent art in Central Asia and the Caucasus by giving a paper at the International Congress of Art Historians in Melbourne, Australia (January 2008). Current projects include exhibition catalogue essays for the CoBrA Museum, Amsterdam (on contemporary art produced by the Georgian diaspora), and for a traveling installation/exhibition by Igor Makarevich and Elena Elagina. She is currently working with Rutgers art history graduate students in this year's exhibition seminar on "Parallel Play: Moscow Conceptualism, 1970-1990" scheduled to open in September 2009 at the Jane Voorhees Zimmerli Art Museum.
Since Tanya Sheehan joined the faculty in January 2008, she has been busy getting acquainted with her new home at Rutgers. In February she collaborated with the folks at the Center for Race and Ethnicity when she was invited to speak in a public roundtable on the topic of “Race and Photography.” She has also been working closely with colleagues at the Center for Cultural Analysis, first by co-founding (with Andres Zervigon) a CCA working group devoted to the critical study and practice of photography, and second by participating as a faculty fellow in the 2008-2009 CCA seminar, “New Media Literacies.” In the latter she has been writing an essay on the cultural work of medical metaphors and models in digital photographic discourse, which will serve as the epilogue to her forthcoming book Doctor Photo: The Medicine of Photography in Nineteenth-Century America (under contract with Penn State University Press). While completing this project, Dr. Sheehan has been conducting research for a second book on the subject of race and early photographic humor in American culture. She presented some of this material at the American Studies Association Annual Meeting in October 2008 and again in November at the Annual Faculty Symposium organized by graduate students in the department; the title of her paper was “‘Oh! Dat Water Melon’: Racist Caricature and the Origins of the Photographic Smile.”
Susan Sidlauskas took over as graduate director in July, and is grateful to Professor Joan Marter who will cover for her during the spring semester while she teaches in the Rutgers/Utrecht exchange program in Holland. Susan and her husband, Ken Safir of the Linguistics Department at Rutgers, will be teaching in their respective departments at the University of Utrecht and living in Amsterdam with their younger daughter, Miranda, until July (their older daughter Emma is a freshman at RISD). In addition to teaching, Susan will travel regularly to London to continue work on her photography project—the “before and after” paradigm in 19th and early 20th century medical photography and on her projected book about John Singer Sargent’s peculiarly modern representation of disintegrating class structures. Cézanne’s Other: The Portraits of Hortense is finally at the designer’s and will be published in the summer of 2009. Susan is very grateful for the research and organizational help of Olivia Gruber Florek in the final stages. One of last summer’s highlights was the teaching of the Paris program with Professor Laura Weigert and Florence Quideau, both of whom will be teaching the program next summer. We took nineteen students from a variety of schools all over Paris and its environs, from trips to Versailles, Chantilly, and Corbusier’s Villa Savoye to the new Musée du Quai Branly and the eccentric but fascinating Musée de la Chasse in Paris. Last October, Susan presented the early stages of the photography project at a conference on “Modernity and Madness,” at the Wellcome Institute for the History of Medicine, and also at Yale University, as a speaker at their 19th Century Studies Colloquium. She also gave a paper, “John Singer’s Sargent’s Figure and Ground,” at the College Art Association’s annual meeting in Dallas. In April, she was the keynote speaker at Arizona State University’s Graduate Symposium in Art History, giving a paper on Cézanne’s resistance to repetition.
Jocelyn Penny Small had a very busy February in which she gave three lectures in Texas: “The Birth of Illusionism”, Father Bader Lecture for the Archaeological Institute of America, San Antonio; “The Art of Etruscan Art”, Cinelli Lecture for the Archaeological Institute of America, Dallas; and “Giving the Etruscans Their Due” for a panel, Cultural Identity and Etruscan Art, organized by P. Gregory Warden, at the College Art Association Meetings. In addition she presented a paper in Rome in September: “Copies and Visual Memory: The Alexander Mosaic” for a panel organized by Carol Mattusch and Kenneth Lapatin, “Art on the Move” for the 17th International Congress of Classical Archaeology (AIAC). Her keynote address, “Visual Copies and Memory,” for the 7th International Conference on Orality and Literacy, University of Auckland, New Zealand appeared in August in the collected papers edited by Anne MacKay. In addition over the summer she did two book reviews and wrote an essay for the catalogue for the forthcoming blockbuster exhibition on Etruscan art to be held at the Meadows Art Museum at Southern Methodist University in Dallas beginning in January 2009.
Erik Thunø spent 2007-2008 on competitive leave sponsored by the Alexander von Humboldt Foundation and hosted by the University of Marburg in Germany and the Bibliotheca Hertziana (Max-Planck-Institut für Kunstgeschichte) in Rome. Apart from continuing his research on the early medieval apse mosaic, Prof. Thunø delivered “The Early Medieval Apse Mosaic. Observations on Liturgy and Reception” at The Zentralinstitut für Kunstgeschichte, Munich, Germany, the University of Amsterdam, The Netherlands, and the Delaware Valley Medieval Association at Princeton University. He also presented “Church Unity and the Reciprocal Gaze. The Early Medieval Apse Mosaic” at Bibliotheca Hertziana (Max-Planck-Institut für Kunstgeschichte), Rome, Italy, and “Inscriptions on Light and Splendor. From Saint Denis to Rome and Back” at the conference “Inscriptions in Liturgical Spaces,” The Norwegian Institute in Rome, Italy, November 28-30. In April his article: “Looking at Letters. ‘Living Writing’ in S. Sabina in Rome,” appeared in Marburger Jahrbuch für Kunstwissenschaft 34 (2007): 19-41.
Laura Weigert delivered papers in New York at the conference Seeing the Medieval: Realms of Faith/Visions for Today (“The Medievalist’s Place in a ‘Secular’ Institution”) and in Berlin at the conference Visualität und Theatralität in den Künsten der Frühen Neuzeit (“Medieval Theatricality in Tapestry”). She published an article, “Chambres d’Amour: Courtly Tapestries and the Texturing of Space,” Oxford Art Journal 31.3 (2008). She currently serves on the Pinkney prize committee of the French Historical Society, as Vice President of the Consortium for Teaching the Middle Ages (TEAMS), and as Director of Rutgers summer program in Paris.
Joseph Angelo William Winfrey
Carla Yanni continued to enjoy her administrative role as assistant vice president for undergraduate academic affairs. She teaches one class each semester in art history, which keeps her connected to Rutgers’ most interesting and ambitious undergrads. The students in an SAS honors seminar helped her shape a research project on the historiography of American architecture, and she published a related article on the nineteenth-century critic Mariana Griswold Van Rensselaer. On the personal side, Dr. Yanni married her long-time partner, bought a house in Highland Park, and had a baby boy in July. Joseph Angelo William Winfrey (pictured here) enjoys gurgling, sleeping, and sucking.
Andres Zervigon has spent the last academic year bringing his book manuscript to conclusion and publishing two articles on Weimar-era German visual culture. His manuscript The Agitated Image: John Heartfield and Political Photomontage in Germany, 1917-1929 discusses the origin of this photographic practice in the hands of its most famous practitioner, the artist born Helmut Herzfeld. Zervigon’s related essay “Postcards to the Front: John Heartfield, George Grosz, and the Birth of Avant-Garde Photomontage” will appear next year in Postcards. Ephemeral Histories of Modernity, an anthology of essays edited by Jordana Mendelson and David Prochaska, and published by Penn State University Press (2009). His other essay “’A Political Struwwelpeter?’ John Heartfield’s Early Film Animation and the Crisis of Photography” will appear in the 107th issue of New German Critique this coming spring. As an additional tip of the Heartfield hat, Zervigon will be publishing a review in Germany’s Fotografische Rundschau of the landmark exhibition Hitler Blind – Stalin Lahm. Marinus – Heartfield. Politische Fotomontagen der 1930er Jahre now on view at Cologne’s Ludwig Museum. Zervigon has also found himself a loquacious deliverer of conference papers. This September he spoke on “Looking Closely at Erna Lendvai-Dircksen’s Face of the German Race” in the session “Close Looking” at the Southeastern College Art Conference, New Orleans, LA, September 26, 2008. His Die Arbeiter-Illustrierte Zeitung and the Demands of Soviet Propaganda will be delivered in the session “Transnational Berlin 1850-1934,” at the Modernist Studies Association Conference, Nashville, TN, November 16, 2008. His exploration of this pioneering journal The Worker’s Illustrated Magazine will continue soon thereafter with his talk “Persuading with the Unseen? Die Arbeiter-Illustrierte-Zeitung, Photography, and German Communism’s Iconophobia,” to be delivered on the panel “Seeing and/or Believing the Photograph,” the College Art Association Conference, Los Angeles, CA, February, 2009.
In 1926 when matriculation into New Jersey Law School (later Rutgers University Law School) simply required “18 years of age” and “good moral character,” Sydney Leon Jacobs (1904-1996), a Jersey City High School graduate, began his study of law. After graduating cum laude in 1929, he practiced law in New Jersey for nearly fifty years. In 1993, he endowed the Jacobs/Mitnick American Art Fund with his daughter, Barbara Jacobs Mitnick. Dr. Mitnick earned her PhD in the Department of Art History at Rutgers in 1983 under the supervision of Professor Emeritus Matthew Baigell and went on to publish widely on American history painting. In 2007, Dr. Mitnick expanded the fund to support an annual lecture series named in memory of her father, who shared her love for the study of American history and culture. The lectures by distinguished scholars of American art are intended to promote the professional development of Rutgers students. We owe warm thanks to Barbara Mitnick for her generous support of the department.
Sidney Leon Jacobs as Law Clerk for Charles Hendickson, Jersey City. ca. 1929
In February 2008, Thomas Crow, Rosalie Solow Professor of Modern Art at the Institute of Fine Arts in New York, inaugurated the series with his talk, “Screen Memories in the Art of Ed Ruscha: Los Angeles as a Pop City.” The second lecture will be delivered by Martin Berger, Professor of Art and Visual Culture at the University of California at Santa Cruz, on March 4, 2009, 4:30-6pm, in the Zimmerli Art Museum. A recipient of the American Culture Association's Cawelti Book Award in 2006, Professor Berger’s book, Sight Unseen: Whiteness and American Visual Culture (University of California Press), offered a new way of understanding a wide variety of visual media in relation to ideas about race in modern American culture. His lecture, “Civil Rights Photography and the Politics of Race in 1960s America,” will present new material related to his current book project on Civil Rights photography. Wanda Corn, Robert and Ruth Halperin Professor Emerita in Art History at Stanford University, will be our third distinguished speaker--save the date: November 3, 2009 (note the switch from winter to fall!).
We invite all alumni, students and friends of the department to attend Dr. Berger’s lecture and look forward to seeing you this at this event.
Jessica Apuzzo (B.A. 2003 Phi Beta Kappa) has begun her fifth year working at Glenn Horowitz Bookseller, Inc., a rare book and archives dealer in New York City. She has completed a Master's thesis on Mary McCarthy at Sarah Lawrence College; she will graduate in December 2008. This winter, she is going on holiday to Belgium on a self-guided Renaissance Art History tour.
, Kendall/Hunt Publishing Co., ISBN: 978-0-7575-5161-1. For more information, contact: Curtis Ross, Kendall/Hunt Publishing Co. firstname.lastname@example.org or 804-285-9411.
Costanza Barbieri (Ph.D. 1999) is a professor at the Accademia di Belle Arti di Napoli.
Craig Eliason (Ph.D. 2002) was granted tenure and promotion to become Associate Professor of Art History at the University of St. Thomas in September. He also curated an exhibition, entitled "Face the Nation: How National Identity Shaped Modern Typeface Design, 1900-1960," which appeared at the Minnesota Center for Book Arts in Minneapolis from July 12 to September 21. The associated website is still up, at http://www.stthomas.edu/facethenation, and there are some pictures of the exhibition at
Emma Guest-Consales (Ph.D., 2005) teaches at William Paterson University (Survey of Western Art) and European Renaissance Art at Manhattan College (Riverdale, NY). Her article "Virgil in Venice, 1470-1507: Illuminated Books from the Junius Spencer Morgan Collection" was recently published in the Princeton University Library Chronicle. In June and July 2008 she was an invited fellow and participant at the XIX Seminario di Alta Cultura and the XXIX Congresso Internazionale di Studi Umanistici sponsored by the Istituto Internazionale di Studi Piceni, in Sassoferrato, Italy.
Missy Beck Lemke (MA, 1994)) spoke at Smith College on the photographer and former Smith art history professor, Clarence Kennedy in April 2008. An article based on her Kennedy research will be published in the November 2008 issue of The Burlington Magazine.
Stephanie Leone (Ph.D., 2001) published her book The Palazzo Pamphilj in Piazza Navona. Constructing Identity in Early Modern Rome (Harvey Miller/Brepols) in the summer of 2008.
Tom Loughman (Ph.D., 2003) moved to Williamstown, MA, to begin work in the director's office at the Clark on October 15. In his new position, as Assistant Deputy Director, he will be helping move things ahead strategically as the Clark embarks on a major capital expansion centered around a $180m visitor and conference center designed by Tadao Ando, the reorientation of the campus, a renovation of its existing structures, and the amplification of its world-class programs. He and Kelley Helmstutler di Dio contributed to a book project that came out recently: The Patron's Payoff: Conspicuous Commissions in Italian Renaissance Art (edited by Jonathan Katz Nelson and Richard Zeckhauser) was released by Princeton University Press in September.
Ferris Olin (Ph.D., 1998) was named Director of the Institute for Women and Art at Rutgers in 2008. She co-authored with Judith K. Brodsky an article: "'Stepping out of the beaten path’: Feminism and the Visual Arts,” SIGNS (Vol. 33, No. 2, (Winter 2008): 329-342; and they also co-curated three exhibitions: "Never Has She Ever: Rene Cox", New Brunswick, NJ, Douglass Library Galleries, September 22- December 8; "Never Has She Ever… (group show co-curated with LaToya Ruby Frazier)), New Brunswick, NJ, Mason Gross School of the Arts Galleries, October 14-31; and "Passage to Jersey: Women Artists of the South Asian Diaspora in our Midst" New Brunswick, NJ: Brodsky Center Gallery, The Heldrich; Jan 15–July 31. Ferris was named to three boards: Editorial Board, "Visual Resources", Advisory Board, "Neighborhood Narratives Project"; and Advisory Board, The Feminist Theorists Papers, Brown University. Lastly, Ferris received three awards: Art to Life Award, A.I.R. Gallery and Art and Living Magazine; Alice Paul Equality Award, Alice Paul Institute; and the Douglass Medal, Douglass College and Association Alumnae of Douglass College.
Jasmine Martina Lyons
Alison Poe and her husband, Tim Lyons, welcomed baby Jasmine Martina Lyons on December 16, 2008. Jasmine weighed 9 pounds and 1 ounce and measured 21 inches long. In May, Alison will give a paper entitled "Doctors as Teachers and Students: A Possible Collegium Medicorum in the Via Latina Catacomb, Rome" at the 44th International Congress on Medieval Studies in Kalamazoo, Michigan. With a colleague, she will also speak at the "Classical Receptions in Children’s Literature" conference at the University of Lampeter (Wales) in July, presenting a paper entitled "Narcissus in Children's Contexts: Didacticism and Scopophilia."
Mark Pohlad (M.A., 1986) regularly gives lectures on Abraham Lincoln in photography and American art at public sites throughout Illinois as part of the Illinois Humanities Council's "Road Scholars" program.
Katie Poole (Ph.D. 2007) moved to Ohio to begin her year as Visiting Assistant Professor of Art History at Kenyon College, home to another RU alumna and fellow Italian Renaissance art enthusiast, Kristen Van Ausdall (Ph.D. 1994). Katie presented a paper, "Set in Stone: Ferdinando I de'Medici, Public Sculpture, and the Creation of a New Grand-Ducal Iconography," at the annual Renaissance Society of American Conference in Chicago in April.
Marice Rose (Ph.D., 2001) continues to teach at Fairfield University. Her article "Constructions of Mistress/Slave Relationships in Late Antique Art" was published in Woman's Art Journal in November. In March, she chaired a session on Late Antique Art at the New College Conference on Medieval and Renaissance Studies, at which fellow Rutgers alums Alison Poe and Stephanie Smith delivered papers.
As a Henry Luce Foundation/ACLS Dissertation Fellow, Sascha Scott (Ph.D. 2008) finished her dissertation on interwar art production in the American Southwest and graduated in May. In August, she began a position as the assistant professor of American Art at Syracuse University. Last spring, she was invited to speak about her work at The Colorado College, where she taught as a visiting professor, as well as at the University of Oklahoma, CSU-Chico, Auburn, Towson, UTEP, Texas Tech, and Utah State University.
Amanda L. Smith (B.A. 2006) is currently working as a Fine Art Cataloguer at Rago Arts and Auction Center (Lambertville, NJ). She manages the biannual sale of 19th/20th Century American and European Art as well as assists in cataloguing of the biannual Discovery Auction and the annual Great Estates Auction. She is currently cataloging and managing a sale of a single-owner collection of fine photographs. She is also continuing personal studies of the history of photography and its processes.
Mary Tinti (Ph.D. 08) received her Ph.D. in May of 2008. In August, Mary joined the staff of WaterFire Providence as Assistant to the Artist and Executive Director, Barnaby Evans. In October, Mary was a panel participant in the symposium for “A Thousand Ships: A ritual of remembrance at WaterFire marking the bicentennial of the Abolition of the Transatlantic Slave Trade” held at The John Nicholas Brown Center for Public Humanities and Cultural Heritage at Brown University. Her recent publications include: “Celebrating the Public Art of Alice Aycock,” Woman’s Art Journal 29 no.2 (Fall/Winter 2008), “Airport Art Revisited: Site Responsive Lessons from The Acconci Studio’s Flying Floors for Ticketing Pavilion,” Collections 4 no.3 (Summer 2008), and “The Refreshing Relevance of Rather Roundtable,” an invited essay for The Field Guide to the Rather Roundtable, a 2008 catalogue published by artists Russ Anderson, Heather Hart, Joelle Howald, Morgan Page, Tom Russotti, Nathan Shafer and Shane Whilden.
Elizabeth Weinfield (B.A., 2002) is a second-year Ph.D. student in Historical Musicology at the Graduate Center of the City University of New York. She holds a Master's degree in music from Oxford University and is currently the Content Editor of the Heilbrunn Timeline of Art History at The Metropolitan Museum of Art. Elizabeth has also worked as a researcher of French nineteenth-century art at the Met, and recently held a curatorial fellowship at the Yale University Collection of Musical Instruments, where she designed an exhibition of baroque plucked strings. During the summer, she teaches art history for Oxford at L'Académie de Paris, a summer study abroad program, and currently serves as an adjunct in the department of music at City College. She is also an avid violist and gambist and teaches and performs throughout the New York metropolitan area.
Jennifer Zarro (Ph.D., 2007) teaches Modern Art and a senior Internship class at Moore College of Art. She reviewed the Pennsylvania Academy of the Fine Art's Cecilia Beaux exhibition and accompanying catalogue for the Women's Art Journal and is working on publishing a dissertation chapter, as well as other small writing and criticism projects in Philadelphia. She is also busy taking care of Lucy (5) and Asher (3), and encourages anyone in Philadelphia to get in touch!
Jeremy Canwell with artist Raul Meel and Mari Meel in Pivarootsi, Estonia, 2008
Jeremy Canwell published an essay, "Orphans of Vision (or *How Modernism Has Been An Awful Parent*)" in the Estonian journal Kunst.ee. He is a Visiting Scholar in the Russian and East European Institute at Indiana University.
Christine Filippone gave the paper “War, Technology and Feminist Utopias in the Works of Martha Rosler and Carolee Schneemann” for the session Persons of Interest: Locating the Artist in Times of Conflict at CAA Dallas. In the spring, she led a study abroad trip to Greece for students at Peace College, Raleigh NC, after which she moved from Raleigh back to the Philadelphia area. She is currently completing the article “Cosmology and Transformation in the Work of Michelle Stuart” for Woman’s Art Journal.
Ann M. Keen presented a paper, “Nervi’s Palazzo and Palazzetto dello Sport: Striking a Delicate Balance between Past and Present in 1960 Rome,” at a conference co-presented by the University of Reading and the Institute of Classical Studies, University of London, “Thinking the Olympics: Modern Bodies, Classical Minds.” The international, interdisciplinary conference took place in London in September 2008 as part of the academic and cultural events leading up to the London Olympic Summer Games in 2012. During the past year, she also presented talks related to her dissertation to Dr. Corey Brennan’s first-year seminar on stadium architecture and at Rutgers’ Showcase Italian II: Teaching the Unknown Classics, co-presented by the Italian Studies program and the NJ Italian and Italian American Heritage Commission. In June 2008, Ann accepted an architectural historian position at Geo-Marine, Inc., in Plano, Texas. She now lives in Dallas and is happy to be living in a building older than she is!
Karen Lloyd co-organized a Studiumtag/Giornata di studio (Bibliotheca Hertziana, June 10th, 2008) on the theme of "Der späte Bernini (1655-1680)"with colleague Claudia Lehmann, and presented a paper entitled "Bernini, Altieri, and Albertoni." At the symposium Exempla Moralia hosted by the Norwegian Institute in Rome (October 17-18, 2008) she presented the paper "What's in a Name? Cinzio and Pietro Aldobrandini as Papal nephews and Patrons." Both conference proceedings are slated for publication. In the spring, Karen participated in the the SSRC International Dissertation Field Research Fellowship Workshop (New Orleans, March 6-12, 2008). Finally, Karen's first academic publication appears in the December 2008 issue of The Burlington Magazine, in the form of a shorter notice titled "Bernini and the Vacant See."
San Solu, Eveline Baseggio, Prof. Joan Marter, Alexa Arroya and Andrew Scruggs at the Pop Art Opening
Ljubomir Milanovic won a Fellowship from The École française de Rome for spring 2009. He presented a paper entitled “A Body that Matters: St Stephen and the Cult of Serbian Royal Saints, Its Genesis and Images,” at the 40th National Convention of AAASS (American Association for the Advancement of Slavic Studies), Philadelphia, November, 2008.
On May 8, 2008, Gabriella Miyamoto presented a paper entitled "The Ambo of Henry II in the Aachen Palatine Chapel: The Use of Multivalent Imagery to Express Divine and Temporal Legitimization" at the 43rd International Congress on Medieval Studies hosted by The Medieval Institute at Western Michigan University in Kalamazoo. She was a part of a three-person panel session on Carolingian and Ottonian Continuity in the Medieval German Empire, sponsored by Societas Rerum Imperii and moderated by Eliza Garrison of Middlebury College. Several distinguished scholars were in the audience, including Ilene Forsyth, Dale Kinney, and Bryan Ward-Perkins.
Chiara Scappini and Dr. Filippo Paoletti
Chiara Scappini was awarded a Samuel H. Kress Fellowship in Art History at the Kunsthistorisches Institute in Florence for two academic years. Chiara will be examining documents in Siena and Florence pertaining to her dissertation topic, “History, Preservation, and Reconstruction in Siena: the Fonte Gaia from Renaissance to Modern Times”. In September of 2008 Chiara married Dr. Filippo Paoletti in Porto Ercole, Italy.
Carmen Vendelin curated “The Buffoonish Bourgeois: Caricatures and Satire of the Upper Middle-Class Businessman in 19th-century France”, which was on view March 5- May 30, 2008 at the La Salle University Art Museum, Philadelphia, Pennsylvania. The exhibition was supported in part by a grant from the International Fine Print Dealers Association. She also wrote the catalogue essay for the accompanying catalogue and gave a lecture, "“Not so easy: Images of Middle-Class Men accosting Un-chaperoned Women on the Streets of Paris c. 1840s-1890s," in conjunction with the exhibition at the La Salle University Art Museum, April 3, 2008.
Congratulations to the Mellon Fellowship Award Winners
Dissertation Fellowship: Ljubomir Milanovic and Florence Quideau
Summer Dissertation Writing Stipend: Karen Lloyd
Summer Research Grant: David Boffa, Olivia Gruber Florek, Ljubomir Milanovic and Heather Shannon
The past year has been a challenging one for the Visual Resources Collection. There have been vexing budget cuts but also great opportunities and exciting new ventures.
Most importantly, the university has licensed ARTstor. All fall semester, the VRC staff has been hard at work preparing the department collection of approximately 120,000 images to migrate from Luna Insight to ARTstor. The department images will be available alongside the vast holdings of ARTstor. Faculty and students will be able to search both external and internal collections simultaneously.
It is tempting to think of virtual worlds as an emerging media. Virtual worlds offer new ways to create and explore art. Some of our most treasured monuments have been reconstructed in “Second Life”, the most popular of the virtual worlds. These include the Sistine Chapel, San Francesco in Assisi, Saint Catherine at Mount Sinai, the city of Rome, Islamic, Christian and Jewish structures in Jerusalem, Sultan Ahmet Mosque in Istanbul, the Forbidden City in Beijing, and a virtual recreation of the entire old masters wing of the Dresden Gemaldegalerie. Unfortunately these manifestations can be fleeting. Some monuments such as the Crystal Palace and a three-dimensional Van Gogh exhibit already have been removed.
Student Avatars Visiting Icon Gallery at virtual St. Catherine Monastery in Preparation for Exhibition
To think of the virtual worlds only as new media misses the point and limits the educational opportunities. These architectural monuments are more than three-dimensional showpieces. An individual’s “avatar” can visit these places, move around the space, interact with people there, and even virtually use the buildings for their original purpose. Many of the staff in the Visual Resources Collection, along with members of our Second Life “Art History” group, have been thinking about, and discussing these issues. We have been offered the opportunity to explore the issues in a virtual exhibition that will open in the Hall of Appearance in Rieul in Second Life at the end of January. [The exhibition building belongs to the Play as Being group, an initiative of the Kira Institute (http://www.kira.org)]. The exhibition will be called “Art and the Sacred in the Virtual World”. On one hand the exhibition will be a virtual catalog of many of these monuments, offering one convenient entry point. The exhibition will compare the second life constructions with the real life counterparts. But what happens when many of the real life barriers of exhibiting architecture are removed? So far real life architectural exhibitions have been limited to photos, plans, drawings, models and maybe architectural components. What if one could teleport to the actual building as part of the exhibit, and then return, and then to another building, and so on? How does this add to our experience? Can we begin to think about comparative spaces? How do the spaces relate to real life counterparts? How does space relate to the functioning of the building in the virtual world?
Visit the exhibition website at
Summer in Paris
Students experienced a broad range of art and cultural events in the first half of the Paris program, ranging from a personal viewing of medieval manuscripts to “front row” seats at a fashion show. Other highlights included, a trip to Versailles, with a guided tour of rooms closed to the general public; an excursion to the cathedral of Chartres; a tour of the private rooms of the Hôtel Sully; two visits to the Louvre; and an evening at the Casino of Paris, with a cabaret show based on Josephine Baker’s career.
Students at Pompidou Center
Hotel du Louvre and Metrolitan Sign
In Park near Eiffel Tower
In the Rain
Dr. Weigert with Students at the Louvre
Summer in Rome
The Rome Summer Course went smoothly as always, with the usual high spots being the behind-the-scenes tour of the Vatican Palace and the Sistine Chapel, and the fountains of the Villa D'Este at Tivoli. The first half of the course, taught by Prof. John Kenfield, finished with great fanfare at a festive farewell dinner that included many toasts to Ancient and Medieval Rome. During the second half of the course, we toured the Renaissance and Baroque City, with a visit to the Synagogue built in Liberty Style (Italian art nouveau) and visits to the contemporary architecture of Richard Meier. On our last day of touring we took in the ancient republican hilltop ruins at Terracina and the blue Mediterranean beachtown below it. Our farewell dinner was a tribute to Dr. Joseph Stibora, who for three years served as our program-person-on-the-ground, organizer, interpreter, and first-aid manager, who was packing finally to return to the East Coast. As in the past, no one left Rome disappointed by their experience.
Bzdak Travel Award for Study in Milan
Dorothea Lewis (BA, Art History 2008) was the recipient of the Bzdak Award in 2008. She traveled to Milan, Italy in September to conduct research on the church of Santa Maria presso San Satiro, renovated and expanded by Renaissance architect Donato Bramante. During her month-long stay in the city, Dolly not only had the opportunity to study the church at first hand, but an unexpected encounter with some book and art loving Milanese transformed the trip into a valuable opportunity to get to know the city from an insider’s perspective.
Dorothea Lewis Receiving the Bzdak Award feon Undergraduate Director Jane Sharp
This annual award was established by Drs. Michael J. Bzdak and Meredith Arms Bzdak to provide financial assistance to undergraduate students for the study and/or research of Art History in Milan, Italy. At present the Director of Corporate Contributions at Johnson and Johnson, Michael Bzdak earned his PhD in 2001 under the supervision of Professor Emerita Elizabeth MacLaughlin. Meredith Arms Bzdak earned her PhD in 1995 under the supervision of Professor Tod Marder; she currently is an architectural historian with Farewell Mills Gatsch Architects, LLC. The Bzdak travel award is intended to acquaint students with the rich early Christian and Renaissance art and architecture of Milan as well as the city as a contemporary capital of design, style and fashion. The department warmly thanks Michael and Meredith whose generosity has made this unique opportunity available to our undergraduates.
Patrick J. Quigley Memorial Scholarship
The winners of the Patrick J. Quigley Memorial Scholarship were Sarah Filik and Nina Khachiyan. The Quigley Scholarship was presented at the annual graduate luncheon.
From left to right: Samantha Quigley Lawrence, Patricia Quigley, Sarah Filik, Jane Sharp, Mrs. Patrick Quigley, and Ruth Quigley Lawrence.
Art History Honor Students
The Scream. Channel your inner stoic through Grant Wood's
American Gothic. You or your child can be immortalized
in great works of art-and take home a souvenir photo,
to boot. Perhaps you'll start your own family gallery?
Joan Marter, editor, invites you to attend this program:
Celebrating 30 Years of the Woman’s Art Journal,
Feminist Issues Then and Now
Friday, April 3, 2009
Zimmerli Art Museum
Robert Hobbs, Lisa Farrington, Dina Comisarenco, Midori Yoshimoto
Reception to follow.