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schermerhorn

COLUMBIA UNIVERSITY

DEPARTMENT OF ART HISTORY AND ARCHAEOLOGYMIRIAM AND IRA D. WALLACH FINE ARTS CENTER

FALL 2004826

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Meyer Schapiro was one of the stars in the art historical firmament when I was an undergraduate major in this department, his writings prominenton syllabi from Art Humanities to Early Medieval Art, and to advancedseminars on Modern Art. Schapiro was no longer offering seminars, oreven coming regularly to Schermerhorn Hall, but his occasional public lectures at Columbia were mesmerizing and genial art historical reunions.When I graduated from Columbia College I could scarcely have imagined

that twenty-five years later the honor would fall to me to invite the Department’s circle offriends and alumni to a year-long celebration of Schapiro’s legacy. Nor of course did I imag-ine then, or even more recently, that I should find myself elected by old teachers and morerecent colleagues alike to assume the chairmanship of the department that counts me twiceover as an alumnus (some people never learn!).

Inaugurating an endowed annual lecture series—a need that predates even my arrivalin this department—is one of the most pleasurable and least daunting of the tasks at hand.“Schapiro’s Legacy” is the theme of the inaugural season of the Bettman Lectures, made possible by the very generous gift of a friend and alumna of the department, Linda Bettman.It provides the occasion not only to reflect on the history and highlights of the past half century, or more, of one of the country’s most distinguished art history faculties, but also to launch a discussion about the future shape of art history, in the academy, in the museum,and in the larger culture. Columbia is well poised to do so, as the department has in recentyears extended collaboration with other departments—it is notable that two of the mostactive interdisciplinary institutes in the University, the Italian Academy for Advanced Studyin America and the South Asian Institute, have art historians at their helms—and with NewYork’s museums and collections (see story p. 11). With the Visual Media Center, we wereone of the earliest to embrace the revolution in digital imagery not only as a task but as acreative and intellectual challenge. And with programs such as “Art in Society” the depart-ment has made clear its commitment to thinking publicly and in dialogue with challengingminds from other disciplines about the impact of art and architecture in public life.

Over the next few years retirements and new appointments invite us to think collec-tively about the shape of the faculty and the curriculum. We admitted sadly that life inFlorence has attractions when Joseph Connors decided in April to extend his term at Villa ITatti; but the loss of a valued colleague presents us with the urgent challenge to plan for thefuture in one of the traditional building blocks of the curriculum, Renaissance and Baroquearchitectural history. As a leading department among the handful in the country with ency-clopedic ambitions as well as a commitment to sustaining dialogue with many parts of amajor research university, our challenge is both to meet demands made by new generationsof students and to foster and innovate in fields that Columbia has helped define. In thisregard we are delighted that Susan Vogel (see story p. 6) joins us for the next several years tooffer instruction in African art history and to help us plan for restoring Columbia’s pioneer-ing role in the study of African art in an art historical setting. As we turn to celebrating thelegacy of Meyer Schapiro, it is also with the aim of undertaking renewed reflection on theshape of a department that can continue to foster connections between periods and cultures,as well as with other disciplines, and that can assure that both undergraduate and graduatetraining in art history is an opening to exploring new questions and approaches, and ofdoing so with the sense of openness to multiple fields of inquiry and to a public engagementthat was one of the lessons of Meyer Schapiro.

Barry BergdollChair

During the spring term, Barry Bergdoll will be a fellow at the American Academy in Berlin;Jonathan Crary will serve as Acting Chair.

The Legacy of Meyer Schapiro The First Bettman Lectures

Meyer Schapiro, seminal art historian and leg-endary Columbian, will be the focus of a newpublic program. The Bettman Lectures are anannual program of monthly lectures in art historysponsored by the Department of Art History andArchaeology. They have been endowed with abequest from Linda Bettman, a former graduatestudent of the department and have been namedin her honor.

In its inaugural year, the Bettman Lectures willpay tribute to the centennial of Meyer Schapiro’sbirth in 1904. The series begins on September 27with a screening of La Leçon de Meyer Schapiro, a short film by Barbara Rose that features a lecture by Schapiro. With his characteristic powers of illumination, Schapiro weaves together medievalmanuscripts and modern art, and in a strikinganticipation of digital techniques, he playfully alterselements of manuscripts to demonstrate the visualintelligence of particular motifs.

Following the screening, Professor DavidRosand, who holds the Meyer Schapiro Chair inArt History at Columbia, will lead a discussion of Schapiro’s scholarship and approach to art with two pre-eminent scholars currently writing bookson Meyer Schapiro, Hubert Damisch of the Ecolepratique des hautes études en sciences sociales(Paris) and Thomas Crow, director of the GettyResearch Institute (Los Angeles).

The Bettman Lectures will continue withmonthly lectures by leading thinkers in art historywho will consider Schapiro’s impact on a variety offields from medieval manuscripts to photography.Speakers include Jeffrey Hamburger, T. J. Clark,Margaret Olin, Joseph Koerner, and JacquelineLichtenstein.

Schapiro will also be brought into the curricu-lum this year. Hubert Damisch will offer a series of graduate seminars on Schapiro and abstraction,the subject of his book in progress. And VisitingProfessor Paolo Berdini, who is editing Schapiro’slectures on art theory, will offer a graduate seminaron that topic.

La Leçon de Meyer Schapiro on September 27will begin at 8:00 P.M. in 501 Schermerhorn. All other Bettman Lectures take place on the lastMonday of the month at 6:00 P.M. in the newlyrenovated 612 Schermerhorn Hall and are open to the public.

from the chair

Cover: Djeneba Kouyate, singer. Bamako, Mali, 2002. Photo by Susan Vogel

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September 27La Leçon de Meyer Schapiro, a film by Barbara RosePanel discussion: Thomas Crow,Hubert Damisch, David Rosand

October 25Jeffrey Hamburger, “‘The variouswritings of humanity’: A Sermonby Johannes Tauler on Hildegardof Bingen’s ‘Liber Scivias”

November 29T.J. Clark, “The Sabine Womenand Lévi-Strauss”

January 31Margaret Olin, “The Presence of Photographs”

February 28Joseph Koerner, “Bosch’s Enmity”

March 28Jacqueline Lichtenstein, “The Philosopher and the ArtHistorian: An ImpossibleDialogue?”

The Linda Bettman Bequest

Linda Bettman’s lifelonginterest in ancient andIslamic art was kindledduring graduate studies at Columbia in the late1950s. An adventuroustraveler, she lived formany years in Tehran,Cyprus, and Lebanon,before settling in Rome,

where she died in 2002. As Carol Lewine, a Columbia classmateand dear friend, recalls, Linda felt that her many interests stemmedfrom graduate studies. Her pioneering exhibition on Iranian art,worldwide travels, archaeological work in Rome, and expert tours of the Vatican Museum reflected Linda’s trademark exuberance,delight in sharing knowledge, and visceral love of art history.

A substantial bequest from Linda Bettman has enabled thedepartment to fulfill two long-standing goals. We have created theBettman Lectures, an annual lecture series that brings distinguishedscholars to Columbia University and allows our students to meetleading thinkers in the discipline. We have also renovated our pri-mary lecture hall. The design by Marble Fairbanks Architects hastransformed 612 Schermerhorn into a stylish, state-of-the-art class-room equipped for digital teaching, with stadium seating and muchneeded acoustic improvements. The room has been renamed LindaBettman Lecture Hall.

The Department of Art History and Archaeology gratefullyacknowledges the generosity of Linda Bettman. The BettmanLectures and Bettman Lecture Hall are living tributes to her intellectual curiosity and view of art history as a gateway to the world.

Schapiro: The Spoken WordForthcoming Meyer Schapiro Publications

• Letters to Lillian, 1926–1927 comprises a collection of letters to Schapiro’s then-fiancée written during his European travels on aCarnegie Corporation grant. Edited by Schapiro’s nephew, DanielEsterman, the letters are to be published by the Getty ResearchInstitute.

• Lectures on the Theory and Methods of Art History is being prepared for publication by department alumnus Paolo Berdini.The book collects the lectures of Schapiro’s famous course, thenrequired of all art history graduate students at Columbia.

• Romanesque Architectural Sculptures, Charles Elliot Norton Lectures at Harvard, is being edited for publication by Linda Seidel, to be published by the University of Chicago Press.

• The Language of Forms: Lectures in Insular Manuscript Paintingby Meyer Schapiro, edited by Jane Rosenthal, to be published by the Pierpont Morgan Library, collects Schapiro’s Jasper WallsLectures at the Morgan Library.

The Legacy of Meyer Schapiro (1904–1991)Bettman Lectures 2004–05

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curator’s corner at the wallach: upcoming exhibitions

An Update from Eugenie Tsai

Currently I am organizing a retrospective exhibition on Robert Smithson, a multifacetedartist who is best known as a pioneer of the earth-works movement. Sponsored by the Museum ofContemporary Art in Los Angeles (MOCA),“Robert Smithson” will trace the conceptual continuity that unifies the artist’s career beginningwith early paintings and works on paper that depictthemes from Christ’s passion and closing with proposals for large-scale land reclamation projectsfrom 1973 (the year of his premature death). Iconic works such as Partially Buried Woodshed,Hotel Palenque, and Spiral Jetty will be included.The exhibition catalogue includes my overview of the artist’s work, as well as a provocative histori-

cal essay by Thomas Crow, Director of the Getty Institute forResearch, and a series of shorter essays on individual pivotalworks. One of these is by my former graduate school classmate,Robert Sobieszek (M.Phil.‘81). Now photo curator at LACMA,Sobieszek’s 1993 exhibition “Robert Smithson Photo Works” contributed greatly to our understanding of Smithson’s relation-ship to photography. In addition, Smithson’s last interview will be printed.

My own interest in Smithson also dates back to graduate daysat Columbia, where I was one of the first recipients of a WallachGallery Fellowship. This allowed me to organize the Wallach exhibition “Robert Smithson Unearthed: Drawings, Collages,Writings” (1991). The Wallach show was the first to offer a representative display of Smithson’s early paintings and works on paper, recovering a part of Smithson’s career then all butunknown. Robert Smithson Unearthed: Drawings, Collages, Writings (Columbia University Press 1991) included examples ofSmithson’s previously unpublished poetry and essays that NancyHolt, who had been married to Smithson, donated to theArchives of American Art in 1985.

I am also at work on “Threshold: Byron Kim 1990–2004,”a mid-career survey exhibition of a painter whose work occupies athreshold between abstraction and representation. The exhibitionis sponsored by the Berkeley Art Museum. Kim is best known forSynecdoche, an ongoing project which he began in the early ‘90s.Composed of several hundred 8 x 10” panels arranged in a gridformation, each panel records the skin tone of a specific individ-ual. Byron and I met around 1990 as members of Godzilla: AsianAmerican Art Network; this is the third time we’ve worked together.

“Robert Smithson” and “Threshold: Byron Kim” both open inSeptember, which has made for an unusually hectic schedule. Butas an independent curator, I take opportunities as they presentthemselves!

—Eugenie Tsai

“The Troubled Search: The Work of Max Abramovitz”SEPTEMBER 14–DECEMBER 11, 2004

The Miriam and Ira D. Wallach Art Gallery will open its fall season with the architecture exhibition “The Troubled Search:

The Work of Max Abramovitz.” Best known for his postwar work on major urban projects such as the United Nations and Avery FisherHall at Lincoln Center, Abramovitz was one half of the renownedarchitectural firm Harrison & Abramovitz. Although Wallace Harrisonhas received much critical attention, notably in the 1989 monographby Victoria Newhouse (M.A. ‘77), “The Troubled Search” will be thefirst in-depth study of Abramovitz. The exhibition and accompanyingcatalogue will provide an overview of his major works—the U.S. SteelBuilding (Pittsburgh), Phoenix Mutual Headquarters (Hartford), theKrannert Center at Brandeis University, and Assembly Hall at theUniversity of Illinois (Champaign-Urbana). Biographical material on his student work and travels, military career, teaching career, and professional activities such as his work with the Regional Plan of New York will also be presented.

“Settlement and Sanctuary on Cyprus”JANUARY 18–MARCH 19, 2005

“Settlement and Sanctuary on Cyprus” exhibits finds from the1970s excavations conducted under the direction of Professor

Edith Porada during the early 1970s in the village of Phlamoudhi.These discoveries offer exciting new perspectives on art and life in the Late Bronze Age, a period in the second half of the second millennium BCE of burgeoning sea trade in the Mediterranean.

Centered on the settlement at Melissa and a sanctuary at Vounari,the exhibition includes pieces from the Bronze Age through theMiddle Ages. It features evidence of a monumental administrativebuilding at Melissa as well as votive offerings and ceramic, metallurgi-cal, and textile arts from both sites. Large-scale plans, photographs,and original artifacts from the excavations simulate visits to the sitesand their environs. Loans from the Metropolitan Museum of Art andthe Pierpont Morgan Library complement the original finds from theexcavations, brought to Columbia University thirty years ago withpermission of the Department of Antiquities of Cyprus.

In the spring the Wallach plans to present a selection of Soviet avant-garde graphics and architecture from the collection of Stephen Garmey.

Courtesy Shinyoung Chung

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The Abramovitz archives, housed in the Department ofDrawings and Archives at Columbia University’s AveryArchitectural and Fine Arts Library, are the foundation for thislong-overdue project. Janet Parks, Curator of Drawings andArchives, has co-curated the exhibit with John Harwood, a doctoral candidate in the department and 2004–06 Chester Dale Fellow at CASVA. This project continues the Wallach ArtGallery’s history of exhibitions and publications that makeColumbia’s archival collections accessible to the general public as well as to scholars. The exhibition coincides with ColumbiaUniversity’s hosting of the biennial Congress of DOCOMOMO(Documentation and Conservation of the Modern Movement in Architecture). Meeting from September 26–29, the Congressincludes a gallery talk by John Harwood that focuses on howAbramovitz’s experiences in the military and other governmentagencies influenced his architectural practice. Please contact the gallery at 212-854-7288 for full information.

Since joining the Department of Art History and Archaeology in 2000, Professor Joanna S. Smith, curator of “Settlement andSanctuary on Cyprus,” has led the effort to complete the publica-tions of the excavations at Phlamoudhi. Among them is TheGuide to Phlamoudhi, which will serve as the exhibition catalogue.In tracing the history of the excavations, the exhibition highlightsthe contributions of several current students and ColumbiaUniversity alumni/ae. An international symposium with work-shops, to be held at Columbia January 20–22, 2005, focuses on the excavations and their significance for Mediterranean arthistory and archaeology. After Columbia, the exhibition will be remounted in the Cyprus Museum in Nicosia. For more information about the Phlamoudhi Archaeological Project, visitwww.learn.columbia.edu/phlamoudhi/.

View of Phlamoudhi-Melissa looking south, ca. 1972

Phoenix Mutual Life Insurance Building, Hartford, 1964Courtesy Avery Library, NY

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Susan Vogel Joins Department Faculty

Susan Vogel, recognized as one of the world’sforemost authorities on African art, will jointhe Department this fall. “New York may be the best place in the world to studyAfrican art. We have a density of people, activities, and resources, and objects rangingfrom an ancient terracotta in Brooklyn tocurrent installations in Chelsea galleries.Columbia was one of the earliest art history departments in the world to teachAfrican art, and without interruption hasmaintained an ever-evolving view of it. I am looking forward to continuing that distinguished tradition,” Vogel said in arecent interview.

Vogel will bring to her teaching an array of experiences—ten yearsas Curator at the Metropolitan Museum of Art, another ten as theFounding Director of the Center for African Art (now Museum); andthree years as the Henry J. Heinz III Director of the Yale UniversityArt Gallery. She has conducted decades of research in Baule villages ofIvory Coast. Recently, Vogel spent two years as a graduate student inthe NYU Film Program, and she currently has her own independentfilm production company.

She will be teaching half time in order to continue directing and producing documentaries on African art and culture. Current projects include “Sixteen Kings,” which evokes layers of time as two enact-ments of the same Ashanti royal festival flow past—one in 1817, theother in May 2004. She is directing and co-producing with the MuséeNational du Mali a series of films of which the second is “MuddyRhythms,” a study of the spectacular architecture of Djenne, to beshot on location February —March 2005. Vogel has two films currently in distribution—the first in this series, “Living Memory: Six Sketches of Mali Today,” a mosaic of Malian perspectives on theirancient culture; and “FANG: an Epic Journey,” which recounts thehundred-year life of a sculpture in eight minutes.

Vogel is also the author and editor of a website that will putonline all the images of figurative African objects published between1800 and 1920. To be completed in 2006, it is sponsored by James J. Ross (Columbia, LLB 1965) and is based on publications in his private library.

Selected Exhibitions

“The Buli Master: an AfricanArtist of the NineteenthCentury” at the MetropolitanMuseum, 1980, the first one man exhibition of an “anonymous”African artist.

“Art/Artifact” at The Center for African Art, 1988, the firstexhibition to deal with exhibitiontechniques and museum practiceconcerning African art.

“Africa Explores: 20th CenturyAfrican Art at The Center forAfrican Art,” 1991–93, the firstcomprehensive exhibition oftwentieth-century African art;opened jointly at the NewMuseum, New York and traveled to twelve museums in the US and Europe.

“BAULE: African Art/WesternEyes,” 1997–99, representedtwenty-five years of field work inIvory Coast, opened at the YaleUniversity Art Gallery, and traveled to Washington, Chicago,and New York.

Films in Distribution

FANG: an Epic Journey. A century in the life story of anAfrican Sculpture. Narrative. 8mins. Shot on 16 mm, finishedon DV; color and b/w, distrib-uted with “Idol Becomes Art!” a thirty-two page roundtable discussion, 2001 (distributed by First Run/Icarus Films).

Living Memory: Six Sketches of Mali Today, first in the seriesSalt Gold and Timbuctoo: Heirs of the African Empires,Co-Production with the MuséeNational du Mali, 2003 (Englishlanguage version distributed byFirst Run/Icarus Films).

Resurfacing of themosque at Djenne,Mali, 2001.Stills from “Living Memory.” Camera: RacineKeita, Susan Vogel

Selected Books

For Spirits and Kings (edited, with contributions by seventy-one writers), Harry Abrams Inc. and The Metropolitan Museum, New York, 1981.

African Masterpieces from the Musée de l’Homme, with FrancineN’Diaye, Harry Abrams Inc., 1984.

African Aesthetics: The Carlo Monzino Collection, The Center forAfrican Art, 1985.

Art/Artifact, (edited), Prestel Verlag and The Center for African Art,New York, 1988.

Closeup: Lessons in the Art of Seeing African Sculpture, with Jerry L.Thompson, Prestel Verlag and The Center for African Art, NewYork, 1990.

Africa Explores: 20th Century African Art, Prestel Verlag and TheCenter for African Art, 1991.

Exhibition-ism: African Art and Museums, The Museum for AfricanArt, 1994.

BAULE: African Art / Western Eyes, Yale University Press, 1997.L’Art Baoulé: du visible et de l’invisible (translation) Adam Biro, Paris, 2000. Winner of the Herskovits Prize.

Kumasi, Ghana,2004. Photo byDoran Ross.

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Stephen Murray’s new book(University of California Press,September 2004) explores the prob-lematic relationship between the text of a sermon and the putativecircumstances that might have sur-rounded the delivery of that sermonin the immediate surrounds of the Gothic cathedral of Amiens inthe 1260s. Having first sketched acinematic scenario of a charismaticpreacher and his audience, Murrayencourages his readers to peruse theentire text of the sermon (in anEnglish translation placed side-by side withthe original Picard French) and to consider itsrhetorical structure and relationship with the

sculptural program of the portals of AmiensCathedral. The role of the preacher is locatedwithin a particular set of historical circum-stances peculiar to Amiens in the middle

decades of the thirteenth century, atime when the financial resources of the clergy came under extremepressure and the clergy attempted toreach out to a new audience—thevillage folk of the densely-populatedPicard countryside. The astonishingspaces and forms of the Gothiccathedral with its freshly painted“virtual reality” sculptural program,like the emotive language of the sermon, form part of the energeticmission of the Catholic church toaddress the rustici. This book forms

part of Professor Murray’s new program ofresearch intended to explore the narratives ofGothic.

An expert on ancient Greek temples, ProfessorMarconi is writing a series of books on thesculptural decoration of the temples atSelinunte, one of the most important sites of Hellenistic culture. His publicationsinclude Greek Painted Pottery, L’Attività dellaCommissione di Antichità e Belle Arti in Sicilia,Selinunte: Le metope dell’Heraion, and theforthcoming The Archaic Metopes of Selinusand Selinunte. Le metope del tempio ‘F.’

It was spring 1823 when two young architects of the Royal Academy of Arts inLondon, Samuel Angell and William Harris,embarked on an architectural study of“Temple C,” the main temple on theAcropolis of Selinunte, Sicily. The architects’proposed project was daunting, for whileSelinunte had once been one of the mostpowerful colonies in western Greece, by thenineteenth century it had become desert land,

its temples thrown down by earthquakes andcovered by sand dunes. Angell and Harrishired a team of local workers to dig TempleC’s platform from the sand. Although the digging was illegal, their actions provedarchaeologically fruitful. On the steps of themain façade they uncovered the remains ofthe temple’s Doric frieze, including fragmentsof its carved metopes. This was an exciting

discovery with critical implications for thestudy of Greek sculpture. However, localpolice, having heard rumors of the architects’work, forbade them from proceeding with the project.

Despite the warning, Angell and Harriswere determined. They moved from theAcropolis to the Eastern Hill, where theyuncovered fragments of the carved metopes of “Temple F.” This major discovery was alsoillegal. On May 16, 1823, police arrestedAngell and Harris in front of Temple F, confiscated the fragments of the metopes, and shipped them to Palermo, to the newlyestablished Museum of Fine Arts (now theRegional Archaeological Museum).

Today the metopes of Selinunte are featured in all textbooks of Greek art. Fewother cities in the Greek world so consistentlydecorated their temples with sculpture, or

A small congregation has gathered to listen to the visiting preacher. We are in a church in, or close to, Amiens in Picardy, a city wherethe great Gothic cathedral of Notre-Dame, having been under construction for the past half century, is now substantially complete,paint still fresh on the sculptured portals. Our congregation is made upof country folk, some having substantial land holdings. It is morning.

The preacher addresses the members of his flock directly in their own language—it is as if he knows who they are, what they have beendoing, and the way they think. He ruefully pokes fun at himself.

He slyly mocks the established Church. He pays attention to the femalemembers of the congregation. Cursing profusely he condemns cursing,making his audience laugh—yet oddly enough, the seriousness of his message is enhanced rather than undermined by such behavioralconduct.

His vivid word images and lively dialogue impart knowledge of theScriptures and a sense of the Apostolic mission, as he urges his listeners to enter into a kind of contract with their Saint Mary of Amiens, buying into a coherent strategy of salvation…

A Gothic Sermon: Making a Contract with the Mother of God, Saint Mary of AmiensSTEPHEN MURRAY

The Rediscovery of the Metopes of SelinunteCLEMENTE MARCONI

The above text is an excerpt from the prologue of Stephen Murray’s new book, A Gothic Sermon.

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did so for such a long period of time. Overthe course of a century (560–460 B.C.), six monumental temples were decorated withcarved images, including the gods of the localpantheon and the exploits of favorite heroeslike Herakles and Perseus. The colonists, itseemed, had an urgent need to visualize theirgods and heroes atop their temples.

Selinunte’s prolific sculptural productionmay have been due to its position as the west-ernmost outpost of Greek colonization inSicily, where the community bordered non-Greek communities, including those inhabitedby the Phoenicians and native Elymians.These non-Greek populations participated ina lively social and economic exchange with theGreeks. The frequent interaction may haveprompted the Greeks to reassert their culturalidentity through the erection of a spectacularseries of monumental temples and through thedisplay, on temple entablatures, of Greek godsand heroes. This would account for the great

richness of sculpture which has come to lightfrom Selinunte, with sculptural work rangingfrom the Archaic to the Early Classical periods.

To date, knowledge of this series is largelyincomplete, especially information surround-ing the metopes discovered by Angell andHarris. When the architects discovered them,only the metopes in best condition were pub-lished and displayed by the Palermo museum:three from Temple C and two from Temple Fout of the original twenty metopes (ten fromeach frieze). Hundreds of fragments of thesefifteen remaining metopes remained unpub-lished. As a result, scholars, for almost twohundred years, were unaware of the metopetreasure in the museum’s basement—frag-ments that could reveal the originalappearance of the temple friezes.

In 1989, I discovered the records of the1823 excavations in the museum archives. Forthe next fifteen years, I searched for the “lostfragments” of the metopes. Over the years,some of these fragments have reemerged, not

from the sand, but from hundreds of boxes in the storerooms of the RegionalArchaeological Museum—boxes hiddenamong thousands of others containing findsfrom all over Sicily. In July 2003, I made my own major discovery: over two hundredfragments, without labels or inventory num-bers and mixed in with a variety of objects on a museum shelf.

Many of these fragments can be joinedtogether; and with the help of the excavationrecords, they will enable me to reconstruct the composition of the missing metopes ofTemples C and F. Thanks to this discovery,the corpus of architectural sculpture recoveredfrom the site has more than doubled. The newscenes of gods and heroes on the metopeshold a key to Hellenistic religious and socialbeliefs. The challenge in the coming years,then, will be to reconfigure the display of theRegional Archaeological Museum by incorpo-rating both the old and the new metopes ofSelinunte.

Frank Lloyd Wright is the chief architecturalspokesman of the anti-urban tradition inAmerican thought. But Wright was a creatureof cities, from his early career in Chicago to his long, ambivalent relationship with New York.

Several years ago in the course of preparingfor a class, I sought information aboutWright’s 1929 skyscraper project for NewYork. The surprising discovery that the St.Mark’s Towers had not been studied launchedme on a research project that has culminatedin an exhibition at the Skyscraper Museumthis fall and a book to follow, Frank LloydWright’s Towers (W.W. Norton, 2005).Wright’s fierce anti-urban rhetoric, as I quickly learned, co-existed with a seriousinvestigation of the skyscraper and the urbancondition. At the core of most scholarly proj-ects is a personal quest: a devoted urbanist, I wanted to understand the attitudes ofAmerica’s greatest architect toward the cityand the tensions—between individuality andcommunity, nature and city—that his towersembodied.

Wright regarded the skyscraper as a vitallyimportant problem of architectural designand urban planning, and he brought to bear

his full creative powers in reinventing thebuilding type. He took his vision of organicarchitecture, conceived for the horizontalplane, and translated it to the vertical dimension. Over the course of his career,Wright designed more than a dozen high-risebuildings of which only two were built—the Johnson Research Tower in Racine,Wisconsin, and the Price Tower inBartlesville, Oklahoma (which revived the1929 New York design). Dispersed across the timeline of Wright’s career, the towersmay appear as flights of fancy at odds withhis horizontal aesthetic, but viewed together,they reveal a dimension of Wright’s achieve-ment that has not been recognized.

Wright did nothing less than reinvent thestructure and form of the skyscraper. Heregarded the traditional masonry-clad steelskeleton as a contradiction between structureand expression. His new skyscraper structurewas based on the cantilever and built of rein-forced concrete; floors were cantilevered froma central structural and service core, likebranches extending from the trunk of a tree.Screens of glass, often trimmed with copper,hang from the edges of the floor slabs formingtextured and iridescent curtain walls.

The exhibition at the Skyscraper Museumfeatures drawings by Wright and his officeand documents the construction of the two cantilever towers. The installation wasdesigned by Wendy Evan Josephs, a prize-winning architect who recently designed aboutique hotel within Wright’s Price Tower.

“Frank Lloyd Wright: The VerticalDimension” will be on view at the SkyscraperMuseum, 39 Battery Place, New York fromOctober 6, 2004–January 9, 2005. For further information: www.skyscraper.org or call(212) 968-1961.

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Hilary Ballon Curates Wright Exhibition at Skyscraper MuseumHILARY BALLON

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Zainab Bahrani researched hernext book, The Body and Violencein Mesopotamian Art, last yearwhile supported by a Guggenheimfellowship. She remains involvedwith efforts to recoverMesopotamian antiquities and topreserve cultural heritage in Iraq.Bahrani edited and translated Jean-Jacques Glassner’s Writing at Sumer: the Invention ofCuneiform, published by JohnsHopkins University Press (2004).

Hilary Ballon stepped down as department chair in July and is enjoying a sabbatical this year at the Center for Scholars andWriters at the New York PublicLibrary. Her new research concernsRobert Moses and the moderncity. Ballon is the curator of“Frank Lloyd Wright: TheVertical Dimension,” an exhibi-tion opening in October 2004 at the Skyscraper Museum inLower Manhattan (see story p. 8).

James Beck has been researchingand writing about the Madonna of the Pinks painting attributed to Raphael, which the LondonNational Gallery purchased inFebruary 2004 for a record $60million, and which he asserts is a fake. He has been interviewed by the London Times and Turin’sLa Stampa on the matter and is preparing a book which growsfrom the issues of modern con-noisseurship.

Barry Bergdoll was a resident atthe Institut national d’histoire de l’art in Paris in May–June 2003.The first installment of a plannedbook on Marcel Breuer appearedas an essay in the Vitra DesignMuseum’s catalogue Marcel Breuer:Design and Architecture. Bergdolldelivered papers at conferences on Ludwig Persius in Potsdam,Germany, on I.M. Pei at theNational Gallery in Washington,and on the architectural historiansHitchcock and Summerson at thePaul Mellon Centre in London.

Richard Brilliant retired on June30, 2004, but not before three of his students, Caroline Goodson,Elizabeth Marlowe, and JaniceRobertson, successfully defendedtheir dissertations. Brilliant servedas the guest curator for an exhibi-tion of Roman sculpture at theMinneapolis Institute of Art and is completing a book on the historiography of Roman art forCambridge University Press.

Benjamin Buchloh is a residentat the Institut national d’histoirede l’art in Paris during Fall 2004.He recently wrote the lead essayfor a monograph on ThomasHirschhorn, published by PhaidonPress, and essays for catalogues onGabriel Orozco and on the latework of Andy Warhol.

Jonathan Crary was a keynotespeaker at the Visual Knowledgesconference at the University ofEdinburgh in September 2003.

Vidya Dehejia assumed thedirectorship of Columbia’sSouthern Asian Institute. Hermost recent publication is The Sensuous and the Sacred: Chola Bronzes from South India(University of Washington Press,2003), which accompanied a touring exhibition of the sametitle.

David Freedberg continues asDirector of Columbia’s ItalianAcademy for Advanced Studies inAmerica. After the critical successof The Eye of the Lynx: Galileo, his Friends and the Beginings ofModern Natural History, he has at last been able to begin work on his project on the relationshipbetween art and the new neuro-sciences.

Cordula Grewe received the2004 Hettleman SummerFellowship and is serving as the2004–2005 Resident AcademicDirector of the Berlin Consortium.Grewe gave several talks, including

those at Bogaziçi University,Istanbul, in December 2003. In March 2004, she led the undergraduate travelling seminar,sponsored by Philip Aarons, to Berlin.

Robert Harrist returned to teaching and to the directorship of Art Humanities in January after a sabbatical. His recent andupcoming lecture venues includeSydney, Heidelberg, and Madison,Wisconsin. Various articles andessays have appeared recently inOrientations and other journals.

Anne Higonnet was awarded a Mellon Foundation NewDirections grant to design a museum studies program forBarnard College. The MacmillanEncyclopedia of Children andChildhood, of which she was aneditor, was published in the fall of 2004. She was featured in a program on the issue of childpornography on Canadian SEXTV (in a professional capacity, ofcourse).

Elizabeth Hutchinson receivedfellowships from the NEH and the Georgia O’Keeffe Museum to continue work on her book,The ‘Indian Craze’: Primitivism,Modernism and Transculturation inAmerica, 1890–1914. An article onCarleton Watkins is forthcomingin October.

Natalie Kampen has beennamed the inaugural BarbaraNovak ’50 Professor of ArtHistory. The endowed chair is thegift of Barnard alumna and trusteeKaren Habib Fleiss (1968) andhonors Barbara Novak, professoremerita of Art History, for herservices to the education of undergraduates and her enormouscontributions to the study ofAmerican art.

Christina Kiaer spent the2003–2004 year on parental leave with her daughter Zora

(born October 5, 2003) and on research leave on a SocialScience Research Council grant,working on a book on SovietSocialist Realism.

Holger A. Klein has received aDumbarton Oaks project grant tocontinue his archaeological workon the church of Hagia Sophia atVize (Turkey). He has edited thecatalogue and curated the exhibi-tion “Restoring Byzantium. TheKariye Camii in Istanbul and theByzantine Institute Restoration”at the Wallach Art Gallery. He is currently on a leave of absencefrom Columbia to serve as theRobert P. Bergman Curator ofMedieval Art at the ClevelandMuseum of Art.

Rosalind Krauss recently published her translation of TheNeutral, one of Roland Barthes’slast lecture courses at the Collègede France (Columbia UniversityPress, 2004), in addition to a textbook on twentieth-century art(Thames & Hudson, 2004), whichshe wrote with Benjamin Buchloh,Hal Foster (Princeton), and Yve-Alain Bois (Harvard).

Clemente Marconi spent spring2004 in Italy on research leave. He completed publications on themetopes of Selinunte in additionto a volume on the history of archaeology in Sicily. Marconi alsolectured in Pisa, at the ScuolaNormale Superiore.

Melissa McCormick published“Genji Goes West,” in The ArtBulletin, 85:1 (March, 2003), co-organized a conference onJapanese art at Columbia in thespring of 2003, and edited a special issue of the Review ofJapanese Culture and Society (vol. 15).

Robin Middleton has remainedbusy having just edited and introduced Julien-David LeRoy’s The ruins of the most beautifulmonuments in Greece, Getty

9

faculty highlights

Publications, 2004, and complet-ed the text for the most boringpiece of architectural history ever,a book on Jean Rondelet.

Keith Moxey was on leave in spring 2004, co-teaching acourse entitled “Art History Afterthe ‘End’ of Art” for the MITArchitecture Department’sHistory, Theory, and CriticismProgram. Moxey also recently lectured at Concordia University,the University of Nevada, and theFirst International Conference ofVisual Studies (Madrid). Teoria,Practica y Persuasion (Barcelona:Serbal) was published in 2004.

Stephen Murray was a HenryLuce Senior Fellow at theNational Humanities Center in2003-2004 while working on hisbook, Telling the Story of Gothic:Building and Interlocutor. Thisand his previous book, A GothicSermon, deal with the intersection

of verbal narration and architec-tural form. During summer 2004Murray directed the third fieldschool in medieval architecture atthe Château of Bostz in theBourbonnais, France.

Esther Pasztory’s novel withshort stories, Daughter of thePyramids, received a positivereview in the Columbia Spectatorand has done well at book signings (Xlibris, 2003). Thenovel is set in Pre-Columbiantimes and involves archaeologyand romance, and the short stories are set in Colonial Mexico.Pasztory is currently on leave, at work on a book project on the art of the Andes.

John Rajchman gave a series of lectures at the ArchitecturalAssociation (London) and at theGetty Center. He reviewed GilesDeleuze’s Francis Bacon forBookforum. His book The

Deleuze Connections appeared in Portuguese and Spanish, andhis Truth and Eros in Spanishtranslation.

Kishwar Rizvi’s “Religious Iconand National Symbol: The Tombof Ayatollah Khomeini in Iran”appeared in Muqarnas: Journal ofIslamic Art and Architecture (vol.20, 2003). Rizvi is finishing hermanuscript, The Safavid DynasticShrine: Architecture, Piety andPower in 16th and 17th-centuryIran, and preparing a paper on the concepts of “Persianate” and“Islamic” art for an upcomingsymposium at Harvard University.

David Rosand’s recent publications include “BeyondConnoisseurship? The FutureStudy of Master Drawings,”(IFAR Journal, vol. 5, no. 4(2002–2003); and “Una linea sola non stentata: Castiglione,Raphael, and the Aesthetics of

Grace,” in Reading MedievalCulture: Essays in Honor of RobertW. Hanning (University of NotreDame Press, 2004).

Simon Schama was the DuncanPhillips Lecturer at the PhillipsCollection in May 2004. A collection of his essays on art,Hang-Ups, will be published byBBC books in November, and hestarts work on an eight-part artseries for BBC Television inOctober.

Joanna Smith continued work as an M. Aylwin CottonFellow, on the publication of the Columbia excavations inPhlamoudhi, Cyprus. She is curator of the Wallach Art Gallery exhibition “Settlementand Sanctuary on Cyprus” and is traveling this fall as a Norma and Rueben Kershaw lecturer on the ancient Near East for the Archaeological Institute of America.

10

Clemente MarconiGreek Vases: Images, Contexts and Controversies, ed. (Leiden: Brill, 2004).

Stephen Murray A Gothic Sermon: Making aContract with the Mother of God,Saint Mary of Amiens (Berkeley: University ofCalifornia Press, 2004).

David Rosand The Invention of Painting inAmerica, The Leonard HastingsSchoff Memorial Lecturesdelivered at Columbia in 2002.(New York: Columbia UniversityPress, 2004).

Benjamin Buchloh and Natalie Kampen Appointed to Named Professorships

The Department extends its deepest congratulations to ProfessorsBenjamin Buchloh and Natalie Kampen, who recentlyreceived named chairs from Barnard College. Professor Kampen has been appointed as Barbara Novak ‘50 Professor of Art Historyat Barnard, and Professor Buchloh as Virginia Bloedel Wright ‘51Professor of Art History. Barbara Novak taught American art histo-ry at both Barnard and Columbia until her retirement in 1998, andVirginia Wright, Barnard ‘51, has been a generous contributor toBarnard for many years and is emerita member of the BarnardCollege Board of Trustees.

FACULTY BOOKSHELF

New Appointment in Architectural History

Vittoria Di Palma (Ph.D. 1999) returns to the department asAssistant Professor of Architectural History. A specialist in eigh-teenth century architecture and landscape, Di Palma has taught at the Architectural Association in London and at Rice University.She is completing several works on landscape issues in the eigh-teenth century and in the contemporary period, including a volumeentitled Fragmented Landscapes: Constructing Nature in England.

Visual Media Center: The Asian Art Digital Teaching Project

The Visual Media Center (VMC) has received a major three-year grantfrom the National Endowment for the Humanities (NEH) to developThe Asian Art Digital Teaching Project. Through the initiative, theVMC will develop a suite of Web-based teaching tools featuringimportant works of Chinese, Japanese, and South Asian art from thecollections of The Metropolitan Museum of Art, The Freer and SacklerGalleries in Washington, D.C., and The National Palace Museum in Taipei, Taiwan.

Given digital technology’s advanced design capabilities, the VMCexpects the project will offer Columbia educators unique opportunitiesto unveil the complex character and format of Asian art. The project is designed to enhance undergraduate studies in both art history andAsian studies.

Members of the project’s interdisciplinary Advisory Committeeinclude Columbia’s Vidya Dehejia, Robert Harrist, Melissa

McCormick, and alumna Debra Diamond. The project will be carriedout under the direction of Robert Carlucci, Director of the VisualMedia Center, and the VMC’s team of Educational Technologists,including Juliet Chou, James Conlon, and Jeremy Stynes.

This is the second major NEH grant awarded to the Visual MediaCenter. In 2001, the VMC received a three-year grant to develop digital resources for the teaching of architectural history, an initiative now near completion. These projects reflect the VMC’s commitmentto developing new and creative ways to merge digital technology withthe teaching of art history. The Asian Art Digital Teaching Project, likeall VMC programs supported by NEH grants, will be freely accessibleon the Web for educational use.

11

Art in Society Journal Available for Purchase

Columbia in the Museums

Our liaisons with area museums are stronger than ever, giving our students first-hand experience with New York’s renowned collectionsof both art and curatorial talent. Colin Bailey, Chief Curator of the Frick Collection, will conduct a graduate seminar at the Frickon French painting in Paris during the reign of Louis XV, and Jeff Rosenheim, curator in the Metropolitan Museum Department of Photography, will offer a seminar on Walker Evans. The M.A.

program in Modern Art/Curatorial Studies brings Sylvia Wolf, Sondra Gilman Curator of Photography at the Whitney, to teach a two-semester seminar entitled “Curatorial Foundations: HowExhibitions and Collections are Formed.” The Department also welcomes Okwui Enwezor, Artistic Director for Documenta11 inKassel from 1998–2003; he will offer courses in contemporary art.

2004 UndergraduatePrize Winners

In May the Department awardedprizes to graduating seniors LisaDeeds, Victoria Fedrigotti,and Jack McGrath. Deedsreceived the Benedetto MarraroPrize, which honors the bestGeneral Studies student in thefield of Italian Studies, for herthesis research on the career andactivities of the early 19th-centu-ry Roman artist and collector,Vincenzo Camuccini. Fedrigottiwas the first recipient of theJudith Lee Stronach MemorialPrize, a new award recognizingoutstanding General Studies students in the field of art history,archaeology, and classics, for herthesis on “Goya’s Asylums andthe Personal Aesthetics ofInsanity.” McGrath received thedepartment’s senior thesis prizefor his “Hans Haacke’s DerBevölkerung: The Process fromBlood to Soil.”

Travel Seminar TakesUndergraduates Abroad

A generous gift from PhilipAarons has enabled theDepartment to fund an annualundergraduate travel seminarthrough 2007. This past spring,Professor Cordula Grewe led her seminar, “Berlin Live :German Art and Culture fromRomanticism to Expressionism,”to Berlin, where students examined works firsthand andexplored the role of art in commemorating the past. Inspring 2005, Professor ClementeMarconi will teach “Greek Sicily,”a seminar that will travel to Italy.

Edward N. Luttwak

David Rieff

Zainab Bahrani

Moral and Military Choiceultural Heritage in War

Cultural Heritage in War, the proceedings of the second ColumbiaSeminar on Art in Society, featuringEdward N. Luttwak, David Rieff, Zainab Bahrani, and Vidya Dehejia, has been published. The cost of the journal is $5.00, plus $1.50 for shippingand handling. To purchase a copy, send a check payable to Columbia University,Department of Art History andArchaeology to:

Columbia UniversityDepartment of Art History and ArchaeologyMail Code: 5517Attention: Journal Sales1190 Amsterdam AvenueNew York, NY 10027

DissertationsCompleted May2003–May 2004

Jennifer Ahlfeldt “OnReconstructing and PerformingAncient Maya Architecture:Structure 22, Copán, Honduras(AD 715)”

Evelyn M. Cohen “The Art ofGiovanni da Modena: ACatalogue Raisonné”

Meredith Cohen “The Sainte-Chapelle of Paris: Image ofAuthority and Locus of Identity”

Johanna Fassl “SacredEloquence: Giambattista Tiepolo and the Rhetoric of theAltarpiece”

Hannah Feldman “NationalNegotiations: Art, HistoricalExperience, and the Public inParis, 1945–1962”

Caroline Goodman “TheBasilicas of Pope Paschal I (817–824): Tradition andTransformation in Early Medieval Rome”

Rachel Haidu “MarcelBroodthaers 1963–1972, or The Absence of Work”

Susan Laxton “Paris asGameboard: Ludic Strategies in Surrealism”

Elizabeth Marlowe“‘ThatCustomary Significance which isyour Due’: Constantine and theSymbolic Capital of Rome”

Janice Lynn Robertson “AztecPicture-Writing: A Critical StudyBased on the Codex Mendoza’sPlace Name Signs”

Anne Wollett “The Altarpiecein Antwerp, 1554–1612: Paintingand the Militia Guilds”

Dissertation FellowshipAwards for 2004–2005

American Academy in Rome,Rome PrizeJessica Maier, “Imaging

Rome: the Art and Science ofRenaissance City Views”

Rebecca M. Molholt, “On Stepping Stones: The Historical Experience of Roman Mosaics”

Columbia UniversityFellowshipsEric Anderson, “German Theories

of Domestic Architecture,1871–1900”

Noit Banai, “Hybrid Objects- Specific Sites: The New Order of Things, France 1958-1960”

Susan Beningson, “Shaping Sacred Space: Early BuddhistCaves and their Interaction withRitual Architecture and ArtisticPrograms in Fifth CenturyChina”

Emily Breault, “Mirror and Image in Colonial Peru”

Kristine Juncker, “Honey at the Crossroads: Women and theArts of Afro-Cuban Santeria,1899–1969”

Jessica Marshall, “Architecture and Popular Religion: FrenchPilgrimage Churches of the 19thand 20th Centuries”

Lucy Maulsby, “Architecture and Urbanism in Fascist Italy: Milan1926–1940”

Sarah Roland, “Corinth and the Birth of Figural Representationin Greek MonumentalArchitecture”

Phoebe Segal, “Soaring Votives: Anathemata in Archaic andClassical Greek Sanctuaries”

Andrew Tallon, “Experiments in Early Gothic Structure: TheFlying Buttress”

Departmental LuceFoundation FellowshipsLindsay Koval, “Architectural

Patronage and Liberal Religionat New York’s Riverside Church”

Nadja Rottner, “Claes Oldenburg, 1959–1966: The Violence ofSensation”

Departmental Pierreand Maria-Gaetana MatisseFellowshipMasha Chlenova, “The Swan

Song of the Russian Avant-Garde: The Transformations ofthe Avant-Garde in Soviet PublicCulture, 1928–1932”

Departmental C.V. StarrFoundation FellowshipsEthan Blankenship, “Paris,

Mexico: Désiré Charnay’sPhotographic Spaces”

Alexander Ives Bortolot, “Of Masks and Men: Male Initiationand Associated Arts of theMakonde Peoples, CaboDelgado Province,Mozambique”

Janet Cavallero, “Photography and the Mass Subject in FascistItaly”

Kathryn Chiong, “Lawrence Weiner: Words/Matter”

Susan Kart, “The Pursuit of the Body African in the Sculpture of Sokari Douglas Camp,Moustapha Dimé and RenéeStout”

Andrew Manson, “Architecture, Archaeology, and Urbanism in‘La Grande Roma’: The Viadell’Impero and the Palazzo delLittorio Competition”

Kent Minturn, “Contre-Histoire: The Postwar Art and Writings ofJean Dubuffet”

Christina E. Rilke, “The Consumption of Fine Arts inGermany, 1848-1889: PrivateCollections and PublicInstitutions”

Nadja Rottner, “Claes Oldenburg, 1959–1966: The Violence ofSensation”

Abigail Susik, “Exhibiting the Outmoded: Surrealist CollageNovels by Louis Aragon, MaxErnst and André Breton”

Jillian Taylor, “Encyclopedic Desire: Panoramic Guides toParis, 1840–48”

Departmental RudolfWittkower FellowshipsRenzo Baldasso, “Between Nature

and Mathematics: The Role ofVisual Representation in theEarly Stages of the ScientificRevolution”

Christian K. Kleinbub, “Vision and the Visionary in Raphael”

Obayemi Onafuwa, “Bruegel’s Vernacular Bodies”

German Academic ExchangeService, DAAD, FellowshipChristine Sciacca, “The Gradual

and Sacramentary of HainricusSacrista (Pierpont MorganLibrary, M. 711) and the Liturgyof Weingarten Abbey”

Institute for InternationalEducation, Fulbright GrantRobin L. Thomas II, “Charles

Bourbon’s Naples: Architectureand Politics”

National Gallery of ArtFellowshipsJohn Harwood, “The Redesign

of Design: Multi-NationalCorporations, Computers andDesign Logic, 1945–1976”

Hérica Valladares, “Imago Amoris: The Poetics of Desire in Roman Painting”

Terri Weissman, “Super Sight: The Realisms of BereniceAbbott”

The Metropolitan Center forFar Eastern Art StudiesFellowshipYasuko Tsuchikane, “Painting

upon Buddhist Temples inModern Japan: Murals andSliding Door Paintings byDômoto Inshô (1891–1975)”

The Metropolitan Museumof Art FellowshipsBrandie Ratliff, “Image and Relic

at Byzantine Pilgrimage Sites”Meredith Hale, “Romeyn de

Hooghe and the Birth ofPolitical Satire”

The Charlotte W. NewcombeDoctoral DissertationFellowship, The WoodrowWilson National FellowshipFoundationAdrienne Baxter Bell, “Painting

Philosophy: George Inness,William James, and theMetaphysical Landscape”

12

Jennifer Ahlfeldt ‘04Ph.D.successfully defended her disserta-tion last year and has accepted atenure-track position as AssistantProfessor of Pre-Columbian ArtHistory in the Department of Artand Art History, University ofNew Mexico (Albuquerque). Sherecently presented papers at theannual meetings of the CollegeArt Association and of the Societyof Architectural Historians.

Anthony Alofsin ‘87Ph.D. was a 2003–2004 Ailsa Mellon BruceSenior Fellow at the Center forAdvanced Study in the VisualArts, National Gallery of Art. Heis curating an exhibition on FrankLloyd Wright’s Price Tower andediting a volume of essays present-ed at a symposium marking the25th anniversary of I.M. Pei’s EastBuilding of the National Galleryof Art.

Drew Armstrong ‘03Ph.D. wasawarded a post-doctoral fellow-ship from the Social Sciences andHumanities Research Council of Canada (SSHRC) for May2003–May 2005, held in theDepartment of Fine Art,University of Toronto.

Lilian Armstrong ‘96Ph.D.,Mildred Lane Kemper Professorof Art, Wellesley College, published her collected essays in Studies of RenaissanceMiniaturists in Venice (PindarPress, 2003).

Kevin Avery ‘95Ph.D.co-organized and co-wrote theexhibition catalogue for “HudsonRiver School Visions: TheLandscapes of Sanford R.Gifford,” which opened at The Metropolitan Museum ofArt. Heidi Applegate ‘04M.Phil.contributed an essay to the catalogue (The MetropolitanMuseum of Art with YaleUniversity Press, 2003).

George Baker ‘01Ph.D. is teach-ing modern and contemporary artat UCLA. He was a 2003–2004Getty Postdoctoral Fellow whilefinishing his book, The Artwork

Caught by the Tail: Francis Picabiaand Dada in Paris and publishingGerard Byrne: Books, Magazines,and Newspapers (Lukas &Sternberg, 2004).

David Christman ‘66M.A.is completing his twelfth year asdirector of the Hofstra Museum,which recently celebrated the fortieth anniversary of its foundingby exhibiting extensively from theMuseum’s permanent collection of over five thousand pieces.

Alessandra Comini ‘69Ph.D.published In Passionate Pursuit: AMemoir, which includes a chapteron her Columbia teaching days(George Braziller, 2004). InOctober 2004, artist RuthWeisburg and art historians LindaNochlin and Mary Garrard willspeak at a symposium of the sametitle, in honor of her retirementfrom forty years of teaching,including ten at Columbia.

Christianne CrasemannCollins ‘54M.A. WernerHegemann and the Search forUniversal Urbanism (W.W.Norton) will be published inJanuary 2005.

Lillian Davies ‘02B.A. finishedthe first year of a two-year M.A.in Curating Contemporary Art atthe Royal College of Art, London.She will graduate in July 2005and hopes to return to New York.

Mary D. Edwards ‘86Ph.D. wasawarded a 2004 Pratt InstituteFaculty Development Award tofund illustrations for forthcomingarticles. Recent publicationsinclude “The Exceptionally LargePerson of Cerne Abbas (Dorset):A Feminist Reading” (MedievalPerspectives, XVII, part 2, 2002)and “Lorenzo Maitani” and“Simone Martini” in MedievalItaly: An Encyclopedia (Routledge,2004).

Hannah Feldman ‘04Ph.D. isVisiting Assistant Professor ofModern and Contemporary Artat Northwestern University.

Emily Folpe ‘67M.A., ‘71Ph.D. is the author of It Happened inWashington Square, a history ofthe Square (Johns HopkinsUniversity Press, 2002).

Suzanne Frank ‘70Ph.D.is working on a book on theInstitute for Architecture andUrban Studies.

Rona Goffen ‘74Ph.D. published“Raphael’s Designer Labels”(Artibus et Historiae, 2003) and “Renaissance Rivals” (BBCHistory, 2003). A paperback edition of her book, RenaissanceRivals: Michelangelo, Leonardo,Raphael, Titian, will be publishedin fall 2004 (Yale UniversityPress).

Amy Golahny ‘84Ph.D. isProfessor of Art History,Lycoming College. She hasbeen researching Dutch art and19th-century art in WilliamsportPA, which includes the Europeanand American paintings andsculpture picked up byAmericans abroad. She recently published Rembrandt’s Reading (AmsterdamUniversityPress/University of ChicagoPress, 2003).

Claudia Goldstein ‘03Ph.D.has started her third year asAssistant Professor of Art Historyat William Paterson University.She recently returned fromBelgium, where she was research-ing collecting habits among latesixteenth-century employees ofthe Antwerp Mint, while support-ed by an American PhilosophicalSociety Franklin Research Grant.

Alison Hilton ‘79Ph.D. wasamong several Columbia partici-pants at this year’s CAA, chairingthe two-part session, “Myth andModern Art.”

Jim Hoekema ‘74M.A.,‘77M.Phil. continues as a webdesigner (www.hoekema.com) and historic preservationist. Herecently organized two fundrais-ing concerts for the restoration of

an 1835 Greek Revival buildingby A.J. Davis in his new hometown of Newburgh, NY(www.newburghDRC.org).

Michael Jacobsen ‘76Ph.D.appeared on the television pro-gram “Behind the Headlights” as an authority on historic auto-mobiles. He presented “Hollow,Rolling Sculptures, How Did theAutomobile Become Art?” at the Association of AutomotiveHistorians’ March 2004 bi-annualconference.

Trudy Kawami ‘83Ph.D. wrotethe CD-ROM for the exhibition“Ancient Bronzes of the AsianGrasslands from the Arthur M.Sackler Foundation” (CarnegieMuseum of Natural History). Her publication “Ernst Herzfeldand the Study of Parthian Art”(Freer Gallery of Art & Arthur M. Sackler Gallery, Washington,DC) is in press.

Juliet Koss ‘90B.A. published“Bauhaus Theater of HumanDolls” in The Art Bulletin(December 2003) and gave lectures at Columbia’sCollins/Kaufmann Forum and in Yale’s Street Hall Lecture Series. In April 2004 she received theSAH Scott Opler Annual MeetingFellowship for Emerging Scholarsand presented a paper at theSociety of ArchitecturalHistorians’ annual meeting.

Jonathan Kuhn ‘83M.A., direc-tor, Art & Antiquities, City ofNew York Parks and Recreation,was recently profiled in Time OutNew York. He curated “Central to the City: Manhattan Squares,”and the Citywide MonumentsConservation Program that hedirects received the New YorkLandmarks Conservancy’s 2003Lucy G. Moses PreservationOrganization Award.

Jeffrey Lee ‘01B.A. is director of Manhattan’s Mary RyanGallery on 57th Street, where hehas worked with contemporaryartists and artists’ estates for the

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alumni news

past two years. He is currentlypromoting a new British artistand working on thematic shows.He views his job as a “rewardingand wonderful experience.”

Claire Lindgren ‘76Ph.D.published “The Provincializationof Classical Form in Britannia” in Romanisation und Resistenz(Mainz, December 2003). Shealso presented “The Syncretism of Beliefs as expressed in RomanProvincial Sculpture” at theEighth Colloquium on Problemsof Roman Provincial Art and co-chaired a session discussing aninternet pilot project on Romanprovincial art and archaeology.

Nancy Lynn Falkin ‘96B.A. isdirector for traveling programs,the American Museum of NaturalHistory (AMNH), New York. Sheoversees distribution of AMNHintellectual properties and con-tent, including organization oftours for AMNH exhibitions.

Maxine Maisels (Ziva Amishai-Maisels) ‘62M.A., Full Professor,Department of Art History,Hebrew University (Jerusalem,Israel), has been awarded theIsrael prize for Art History, whichis Israel’s highest accolade, givenfor a life of work in art history.

Judy Oliver ‘76Ph.D. isChairman of the Department of Art and Art History at ColgateUniversity.

Judith Ostrowitz ‘96Ph.D. isserving as a consultant to theNewark Museum on its collec-tions of Native American art. She worked on the MetropolitanMuseum of Art exhibition “TheResponsive Eye: Ralph T. Coe andthe Collecting of American IndianArt” and contributed “NativeAmerican Art” to Microsoft’sEncarta Reference Library 2003.She is finishing her second book,about strategic intervention of Native American artists andadvisors in world-systems.

Richard A. Pegg ‘01Ph.D.has relocated to Chicago, wherehe is curator of Asian art for theMacLean Collection. He was

guest curator for “Scrolling Lotus:500 Years of Chinese Blue andWhite Porcelain,” (San AntonioMuseum of Art) and “A WalkThrough the Ages: ChineseArchaic Art from the SondraLandy Gross Collection,”(Hillwood Art Museum, LongIsland University).

Steven Pulimood ‘03B.A.completed his Master’s thesis on Renaissance antiquities withProfessor Martin Kemp at OxfordUniversity, History of ArtDepartment. He spent summer2004 at the GuggenheimMuseum, Venice.

Mary Nooter Roberts ‘91Ph.D.and her spouse, Dr. Allen F.Roberts, were awarded the ArnoldRubin Outstanding PublicationAward in April 2004 by the ArtsCouncil of the African StudiesAssociation for their recent book,A Saint in the City: Sufi Arts ofUrban Senegal (University ofWashington Press, 2003). Shecurated an NEH-funded exhibi-tion of the same title, which theNew York Times recognized as oneof the ten best exhibitions of2003 (December 28, 2003).

Roger Rothman ‘00Ph.D.has left Agnes Scott College inAtlanta and is now the Samuel H. Kress Professor of Art Historyat Bucknell University inLewisburg, PA.

Maria Ruvoldt ‘99Ph.D. is an Andrew Mellon PostdoctoralFellow at the Penn HumanitiesForum, University ofPennsylvania, for academic year 2004–2005. She recentlypublished The Italian RenaissanceImagery of Inspiration: Metaphorsof Sex, Sleep and Dreams(Cambridge University Press,2004).

Andy Schultz ‘96Ph.D., director of Seattle University’sHonors Programs, was visitingassociate professor of 19th-centuryart, University of Oregon in2002–2003. His book Goya’sCaprichos: Aesthetics, Perception,and the Body is forthcoming(Cambridge University Press,2005).

David Shapiro ‘01B.A., doctoralcandidate in Art History at TheGraduate Center, CUNY, teachesat Kean University, Pratt Institute,and The Dahesh Museum of Art,where he also recently delivered apaper on Delacroix. He is also atwork on an epic psyche of historypaintings.

William Stargard ‘95Ph.D.has been awarded tenure and promoted to the rank of associateprofessor at Pine Manor Collegein Chestnut Hill, MA.

Mary Vaccaro ‘94Ph.D. gave a lecture on Parmigianino at the Frick Art Collection in April2004. She also reviewed the exhibition for The BurlingtonMagazine (April 2004).

Elizabeth Valdez Del Alamo‘86Ph.D. published “El capitelcenotafio de Santo Domingo,” inArte (vol. IV, Silos: Un milenio,Actas del Congreso Internacionalsobre la Abadía de SantoDomingo de Silos (October 1–12,2001), Stvdia Silensia XXVIII(Santo Domingo de Silos: AbadíaBenedictina, 2003)) and present-ed papers at the meeting of

the College Art Association, thesymposium “Art for the Dead,”and Florida State University.

Alan Wallach ‘73Ph.D. is RalphH. Wark Professor of Art and Art History and Professor ofAmerican Studies, The College of William and Mary. Recentpublications include “ThomasCole’s River in the Catskills asAntipastoral” in (The Art Bulletin,June 2002) and “NormanRockwell at the Guggenheim,”(Art and Its Publics: MuseumStudies at the Millenium, Oxford:Basil Blackwell, 2003).

Carter Wiseman ‘72M.A. hastaken on a new role as critic at the Yale University School ofArchitecture, and is working on a biography of Louis Kahn.

Susan Wood ‘79Ph.D., chair of the Department of Art and Art History, Oakland University,married Barney Bauer of ShelbyTownship, Michigan, in May2004. She presented “An ObscureFamily without AncestralPortraits,” a study of Flavian’spropaganda, in a symposiumorganized by Professor Richard Brilliant, and her entry“Sarcophagus” appeared in theEncyclopedia of Sculpture.

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Philip E. Aarons, ChairmanArmand Bartos Jr.Frances BeattyAnnette BlaugrundCatherine Woodard and Nelson Blitz Jr.

Jean Magnano BollingerFiona DonovanLee MacCormick EdwardsLinda S. FerberKate GanzMarian GoodmanMichael and Georgia de Havenon

Frederick David HillJeffrey M. HoffeldSteve KossakCarol F. Lewine

Glenn D. LowryMary A. LublinPhilippa Feigen MalkinPhilippe de MontebelloAmy D. NewmanAmy Greenberg PosterTerez RowleySteven and Lauren SchwartzBernard T. and Lisa SelzRobert B. SimonLeopold and Jane SwergoldDale C. TurzaMiriam WallachMark S. WeilMarie-Helene WeillAdam WeinbergH. Barbara WeinbergGertrude Wilmers

Columbia Art History and Archaeology Advisory Council

We are deeply grateful to the following individuals, foundations, and corporationswho have given most generouslyin fiscal year 2003–2004:

Philip E. AaronsStanford AndersonEloise AngiolaRosemary ArgentDieter ArnoldKevin AveryRoger BagnallStephanie BarronElizabeth BartmanArmand BartosNancy S. BernardEstate of Linda BettmanJudith E. BerstockAnnette BlaugrandLarissa BonfanteSue Erpf Van de BovenkampGrace G. BowmanPhyliss BraffSusan BraunsteinRichard BrilliantNancy A. Houghton BrownWalter BurkeNorman CanedyMaria Ann CanelliChrest FoundationDavid ChristmanSusanna ColeChristiane CollinsJoseph ConnorsGeorge V. CookValerie CookNancy CorbinLillian CraigDavid A. DetrichDanna DunnLee MacCormick EdwardsMary D. Edwards

Armand G. Erpf FundRaymond C. EwingDr. Linda S. FerberNatalie FieldingBarbara FieldsTeresa Wang FinlaySharon FlescherLisa C. FlormanEmily Kies FolpeHeather FolsomSuzanne S. FrankBryna M. FreyerJoanne W. GarveyAna R. GenenderEdward G. GilbertGrace GliedmanAmy GolahnyLeo and Karen Gutmann

FoundationPiri HalaszRichard HamiltonJennifer Lynn HammondPrudence O. HarperEvelyn B. HarrisonAndrea HerbstEllen HershcerFrederick D. HillMr. and Mrs. Antony HudekIBMLewis C. KachurLeon KachurinDawson KiangCaroline A. KingDr. & Mrs. Robert C. Knapp Alice KramerJane KristofJack Henry KuninLindsay LeardAnn LeibowitzAriel LeiferLevy Hermanos Foundation Carol LewineVirginia Rembert LilesVanessa A Chase Lilly

Carla LordJane LorsenReed LorsenMary LublinMaxine MaiselsDavid MarPeter MarucaAmihai MazasAndrew W. Mellon FoundationHelen Meltzer-KrimDiana H. MelvinKatherine Janszky MichaelsonMillburn CorporationJulia MillerMaria Gabriela MizesRagen MossNational Endowment for

the HumanitiesOtto NaumannOtto Naumann LimitedJune NessAmy NewmanMichael E. NewmarkRuth NordenLucy A. OakleyEllen C. OpplerOrion General ContractorsPamela J. ParryFrancesco PassantiLynne PerdueSarah Whitaker PetersJeanette PetersonDoralynn PinesHenry PinkhamBarbara A. PorterElisabeth PorterAmy G. PosterFrances PrestonAllison PriceM. L. RandolphRichard RaphaelDonald ReynoldsLouise Rice

Mary Nooter RobertsBarbara Robinson c/o

Beinecke FoundationKaren RobinsonDavid RosandAnna RooseveltDonald RosenthalLucille A. RoussinAlex RossKhau Ming RubinKaren S. RubinsonJeremy B. RutterArthur SacklerJames SaslowCharles SavageMarie SchmitzJohn F. ScottCatherine SeaseBernard SelzRebecca SenderJeanne S. SiegelLynn Catterson SilverAllen StaleyStarr FoundationDeborah StottEstate of Judith StronachVirginia Bush SuttmanSilvia TennenbaumAnne M. TorneyMichael K. ToumazouDale TurzaCatherine D. VanderpoolGisella WalberIra & Miriam WallachJohn WalshJ. Dustin WeesBarbara E. WhiteRon WiedenhoeftMalcolm WienerGertrude De G. WilmersKathryn YatrakisMark J. Zucker

15

With Thanks

The strength and renown of Columbia’s Department of Art History and Archaeologyderive not only from the expertise and dedication of the faculty, but also from alumniand friends who carry forward the intellectual mission of the department and who provide financial support for professorships, fellowships, symposia, and an array of programs and projects that enhance our core offerings.

We regret any errors in or omissions from this list. Contributions from the above-named individuals help fund the following programs: Wallach Art Gallery exhibitions, Bettman Hall renovation, Media Center for Art History,Archaeology and Historic Preservation projects and resources, the Phlamoudi Archaeology Project in Cyprus, and fellowships as well as various student project.

COLUMBIA UNIVERSITY

DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY

826 SCHERMERHORN, MC 5517

NEW YORK, NY 10027

schermerhorn826

For a complete listing of departmental events, visitwww.columbia.edu/cu/arthistory,or call (212) 854-4505.

September 14Exhibition OpeningThe Troubled Search: The Work of Max Abramovitz,Wallach Art Gallery5:00–7:00 P.M.

September 27 Inauguration of The Bettman LecturesThe Legacy of Meyer SchapiroA screening of La Leçon de MeyerSchapiro (English and French,1996) introduced by directorBarbara Rose followed by a discussion between ThomasCrow, Hubert Damisch, David Rosand

8:00 P.M.October 25The Bettman Lectures‘The various writings of humanity’: A Sermon byJohannes Tauler on Hildegard of Bingen’s ‘Liber Scivias’ Jeffrey Hamburger, Professor ofHistory of Art and Architecture,Harvard University

November 29 The Bettman LecturesThe Sabine Women and Lévi-StraussT.J. Clark, Professor and GeorgeC. And Helen N. Pardee Chair,University of California atBerkeley

January 20–22 SymposiumSettlement and Sanctuary onCyprus from the Bronze Age to the Middle Ages: Views from the Columbia UniversityExcavations at PhlamoudhiFor the full program and registration information, please visithttp://www.learn.columbia.edu/phlamoudhi/html/symposium.html

January 31The Bettman LecturesThe Presence of PhotographsMargaret Olin, Professor of ArtHistory, Theory and Criticism,School of the Art Institute ofChicago

February 28The Bettman LecturesBosch’s EnmityJoseph Koerner, Professor,Courtauld Institute of Art

March 24–26SymposiumThe Tale of Genji in Japan andthe World: Cultural Authority,Gender, Media, and PopularCulture

March 28 The Bettman LecturesThe philosopher and the art historian: an impossible dialogue?Meyer Schapiro’s response toHeidegger’s text on Van GoghJacqueline Lichtenstein, Professor of Philosophy of Art,Department of Philosophy, Paris IV—Sorbonne

calendar highlights

FALL 2004

www.columbia.edu/cu/arthistory

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Permit No. 3593

Dogon dancers in the capital, Mali. Still from “Living Memory.” Camera, Susan Vogel