News, Winter 2010
- Events
- News About Museums
- Museum Announcements: People
- News About Graduate Students
- Publications by Members
- College and University News
Events
SYMPOSIUM: Case Western Reserve and the Cleveland Museum of Art, Graduate Art History Joint Program, 36th Annual Cleveland Symposium, “The Art of Exchange: Cross-Cultural Ideas in a Visual World”, for Friday, February 26, 2010 at the Cleveland Museum of Art. We invite graduate submissions exploring cross-cultural influences throughout the history of art. The exchange of ideas across local, regional, national, and continental borders has been one of the major vehicles by which art changes over time.
We are seeking papers using all methodologies that explore these convergences. Examples include cases of artists influenced by other artists, places, time, culture, history, and any other relationships that are ultimately expressed in visual and material culture. We welcome submissions from graduate students in all stages of their studies and from all fields of art history including Ancient, Medieval, Early Modern, Contemporary and Non-Western. A monetary prize will be awarded to the speaker who presents the most innovative research in the most successfully delivered paper.
Please send abstracts of no more than 300 words, along with a curriculum vitae, to clevelandsymposium@gmail.com by December 11, 2009. Selected presenters will be notified by January 1, 2010.
CALL FOR PANEL PARTICIPANTS: 1st International Meeting, European Architectural History Network (EAHN), Guimarães, Portugal, June 17–20, 2010, “Medieval Architectural Heritage: What is Real?” 2010 brings the eleven-hundredth anniversary of the Abbey of Cluny’s foundation in 910. This ruined monument of a pan-European medieval institution stands as a model for the exigencies of heritage endeavors. Mostly demolished after the French Revolution, excavated Cluny later became the subject of heated debates about original form and dating. Today, as in the Middle Ages, it supports the economy of the small town in Burgundy through historical tourism. Extrapolating from Cluny’s example stimulates us to reevaluate our current understanding of medieval monuments as cultural patrimony.
How relevant are medieval building sites today and why should modern architects continue to devise ways to restore and maintain them? How do national administrations justify marketing them as “authentic” representatives of culture when so much of what we think we know about their past has been deconstructed as romantic formulae initiated in the 19th century? Who determines popular views of the past in our society today? In two sessions at the July 2009 International Medieval Congress, University of Leeds, an international panel of scholars studied specific medieval sites in order to formulate approaches that will inspire further critical study. This panel continues that dialogue and invites proposals on medieval heritage sites, their reception and commemoration, in order to investigate how we continue to shape notions of their past and value for the future.
Please send proposals for 10-minute presentations/discussion positions and short CVs by email to:
Prof. Janet Marquardt
Eastern Illinois University
Art Department
Charleston, IL 61920
Phone: 217-581-3968
Fax: 217-581-6199
E-mail: jtmarquardt@eiu.edu.
SYMPOSIUM: University of Michigan, Department of the History of Art, 2009 Symposium, “Contemporary Strategies in Documentary Photography,” Saturday, February 6, 2010, 1:00-5:30 pm, University of Michigan Museum of Art (rescheduled from October 3, 2009), 525 S. State Street, Ann Arbor, Michigan. Free; public welcome.
SYMPOSIUM: University of Missouri-Columbia, 43rd Annual Art History and Archaeology 8110 Symposium, Tuesday and Wednesday, November 17 & 18, 2009. Reception: 4:30 pm. Talks begin 5 pm.
LECTURE: Eugene Borza (Pennsylvania State University), “Treasures of the Macedonian Tombs,” November 12, 5 pm reception/5:30 pm talk (Archaeological Institute of America), University of Missouri-Columbia.
News About Museums
The Chazen Museum of Art at Madison, Wisconsin, is pleased to announce that J. H. Findorff and Son, Inc., has been awarded the contract to build the Chazen Museum of Art expansion. Findorff, a Madison-based company since 1890, counts among its projects the Overture Center for the Arts, as well as major campus buildings, including the Fluno Center, Grainger Hall, and the current Wisconsin Institutes for Discovery. Findorff‘s experience with UW-Madison construction projects, reputation for fine craftsmanship, and dedication to the community are qualities that complement the vision for the new museum. The expanded Chazen will be centrally located at the intersection of the East Campus Mall and University Avenue. It is designed to be an open and inviting public space, with a dynamic outdoor plaza, glass-walled main lobby, and a third-floor gallery plan that unites both buildings with a dramatic bridge. The museum, built on the idea that art should be accessible, will be a centerpiece of the UW-Madison and a greatly enriched cultural resource for the city of Madison and the State of Wisconsin. The $43 million expansion is made possible by a $25 million lead gift from Simona and Jerry Chazen, as well as generous gifts from many private donors. The world-class design by Machado and Silvetti Associates and Continuum Architects + Planners adds approximately 81,000 square feet to the museum, nearly doubling gallery space for the permanent collection and temporary exhibitions. New object study rooms, storage for artwork, a 160-seat auditorium for lectures and films, and a larger Museum Shop are also planned. The museum is expected to open in the fall of 2011.
An installation by the highly respected German artist Wolfgang Laib came to The Nelson-Atkins Museum of Art when Without Place–Without Time–Without Body opened September 26 in the Project Space of the Bloch Building. It closes Jan. 17, 2010. This installation is comprised of hundreds of mounds of rice laid out in a grid, with five mounds of luminous yellow pollen at its center. Leesa Fanning, Associate Curator of Modern and Contemporary Art at The Nelson-Atkins, views the work as a metaphor for transcendence that also acknowledges the presence of the spiritual in contemporary art.
Laib lives and works in seclusion in his native Germany and southern India, which he considers his spiritual home. He has studied philosophy and religion and is drawn to Hindu ritual offerings of flowers, foods and other substances placed on altars, and to milk poured as a form of libation. Laib‘s natural materials of pollen and rice inherently symbolize regeneration and nature‘s infinite cycles. He says that pollen is “a detail of... infinity.” Rice is seed and sustenance, and its symbolic, cultural and religious significance is well-known. As sculpture, Laib‘s organic, living materials represent a field of energy. They convey immediacy and presence. Laib’s art-making process is ritualistic and intensely focused.
For Without Place–Without Time–Without Body, he collected hazelnut pollen. In the gallery, each mound of pollen and rice is carefully distributed by hand. Rice and flowers are ritual offerings in India, and pollen grains are Laib‘s flowers, in the abstract. Like offerings placed on altars in India, the process of creating this work is a kind of ceremonial act. In this context, Without Place–Without Time–Without Body transforms the gallery into a secular shrine. Fanning says that Without Place–Without Time–Without Body “represents a mythical mountain landscape of infinite proportions” and that it is “quiet and still and offers a meditative counterpoint to the difficulties of life, as if it offers healing possibilities.” The exhibition is supported by the Campbell-Calvin Fund and Elizabeth C. Bonner Charitable Trust for exhibitions. Midwest Airlines is the official airline sponsor. An edited transcript of the interview between Wolfgang Laib and Leesa Fanning is available upon request.
Image: Wolfgang Laib. Installation view of Without Place–Without Time–Without Body. Exhibited at Sean Kelly Gallery, Sept. 7–Oct. 13, 2007. Photography: Wit McKay, New York. Images of works by Wolfgang Laib © Wolfgang Laib
The Joslyn Art Museum opened and dedicated the new Peter Kiewit Foundation Sculpture Garden on June 6, 2009. The new sculpture garden – its artists, artwork, landscaping, and design – will be the inspiration and location for many events, programs, classes, and other fun and educational opportunities and activities in the coming months and beyond. Docent-led tours of the garden and special daytime and nighttime family events will be offered; new art classes and workshops will be possible in the open air; transitory, seasonal outdoor nature and video artworks will enliven the evolving space; and musical performances, will surround the sculptures with sound. The garden is named in honor of the late Peter Kiewit and the private philanthropic trust he created at the time of his death in 1979. It consists of 1.2 acres featuring four garden galleries and is surrounded by a low, defining wall of Lake Superior Green granite.
The museum adds work by Tom Otterness (American, born 1952) to its Sculpture Garden. Lovable for kids and satirical for adults, Otterness‘s figures have an appeal that crosses generations. Large Covered Wagon (2004), a gift to Joslyn from the Willis A. Strauss Family, is the first Otterness sculpture in Omaha. The nine-foot-tall bronze depicts a pipe-puffing pioneer woman steering a bull-drawn Conestoga wagon with two children hanging out the back. The sculpture has been displayed across the country, most recently, in the DUMBO (Down Under the Manhattan Bridge Overpass) neighborhood in Brooklyn, New York. Otterness‘s cartoonlike figures often allude to fairy tales and politics, and his works are imbued with multiple meanings. Otterness grew up in Wichita, Kansas. He graduated from the Whitney Museum of American Art’s independent study program in 1973. In Italy he studied traditional techniques of bronze casting and developed his signature style of using cones, spheres, cubes, and cylinders as building blocks for his figures. His installations can be found in parks, plazas, courthouses, and other venues worldwide.
On October 31, the museum completed the third phase of its campus redevelopment project with the opening of the new Discovery Garden, a whimsical place for children to learn, grow, and play. At the northwest corner of the campus, it provides an innovative, interactive outdoor space, granting children their ever-present wish to be outdoors exploring new environments. Fun and fanciful sculptures by nationally and internationally recognized artists dot the space, delighting the child in everyone. Joslyn‘s campus redevelopment project, including the Discovery Garden, is a collaboration between the Museum; HDR, Inc.; and Kiewit Construction Company.
The museum received a $20,000 second-quarter grant from the Iowa West Foundation for Thursdays for Teachers, a program of Joslyn‘s Museum to the Classroom initiative. The funds will be used to expand the program to include teachers from southwest Iowa. “This generous grant from the Iowa West Foundation will expand the reach of this thriving program to include our neighboring schools in Council Bluffs and other areas in southwest Iowa,” said Anne El-Omami, deputy director for Museum collections and programs at Joslyn Art Museum. As the largest fine arts museum between Denver and Chicago, Joslyn is a resource not only for the city of Omaha, but for our region. We are thrilled that the Iowa West Foundation is making it possible for us to do more for a broader community.
In September and early October, artist Patrick Dougherty of Chapel Hill, North Carolina, was in residence at the museum, creating a signature installation in the northeast corner of the Museum‘s Discovery Garden. An internationally known sculptor of large-scale, site-specific, temporary sculptures made from indigenous materials, Dougherty combines his carpentry skills with his love for nature, creating monumental environments requiring saplings by the truckloads. Dougherty‘s works allude to nests, cocoons, hives, and lairs built by animals, as well as the manmade forms of huts, haystacks, and baskets. He intentionally creates each work of art to look “found” rather than made. For Joslyn‘s installation, a story hut, the Museum has partnered with Fontenelle Forest Nature Center in Bellevue, Neale Woods in Omaha, and the Nebraska Game and Parks Commission. Dougherty selected indigenous materials from these locations for his sculpture: roughleaf dogwood saplings, willow saplings, and American hophornbeam, ironwood saplings. Larger trees were selected to form the natural armature of each piece, with the smaller saplings woven together to complete the structure. Dougherty‘s pieces range from 16-20 feet in height. Each work takes several weeks to construct and gradually disintegrates over a period of 18 to 24 months. When it has reached a point of near collapse, it‘s removed for compost. “Mine is an art of the ephemeral,” he says.
Museum Announcements: People
Greg Aukerman has been hired as the new Assistant Director of Communications at The Cincinnati Art Museum. Since joining the Art Museum‘s staff in 2006, Aukerman has developed a spate of innovative ideas and initiatives both internally and externally. Working closely with several departments in the Art Museum, Aukerman has produced large scale programs, managed external partners and conducted a successful fundraising campaign. In his new role, Aukerman will work closely with members of the media to enhance the Art Museum‘s presence in news and online publications. Aukerman will also be focusing on external marketing initiatives to increase the Art Museum’s attendance and diversity.
Don Bacigalupi is leaving as director of the Toledo Museum of Art, as he has accepted the directorship at the Crystal Bridges Museum of Art in Bentonville, Arkansas.
Alan P. Darr has been promoted to the Head of the European Paintings, Sculpture and Decorative Arts Department at the Detroit Institute of Arts. Alan P. Darr has been the DIA‘s Curator of European Sculpture and Decorative Arts since 1980, where he is responsible for over 12,000 medieval through early modern works of art. He completed his doctorate at the Institute of Fine Arts, New York University, specializing in Italian Renaissance and Baroque art and European sculpture. As a Ford Foundation Fellow, he worked in European curatorial departments at the Metropolitan Museum of Art and the Victoria and Albert Museum. Since joining the DIA, he has been a post-doctoral Fellow at Harvard University’s Center for Italian Renaissance Studies at Villa I Tatti in Florence, and a Fellow at the Center for Advanced Study at the National Gallery of Art, Washington D.C. He has published widely in Europe and the U.S. and has taught at Northwestern University, New York University, and Wayne State University. The major international exhibitions Darr has organized, developed, and co-authored catalogs for include: The Romantics to Rodin, Italian Renaissance Sculpture in the Time of Donatello; and The Medici, Michelangelo, and the Art of Late Renaissance Florence. Other publications Darr has organized and co-authored include the two-volume Catalogue of Italian Sculpture in the Detroit Institute of Arts. Darr was also lead curator for the museum‘s reinstallation of the European art galleries, which opened in 2007. In 2007 Darr also received the Knight of the Order of the Star of Italian Fellowship from the Italian government, for 25 years of contributions to Italian art and culture.
The Indiana University Art Museum is happy to announce that Issa Lampe (Ph.D. Harvard) has been appointed the museum‘s senior academic officer, a new position in the museum‘s education department that is funded by the Andrew W. Mellon Foundation. This three-year appointment supports an essential component of the museum‘s mission - to utilize the museum‘s galleries as a laboratory for academic interdisciplinary and multicultural purposes. Working with the museum‘s exemplary collection of over forty thousand works of art, Issa Lampe will oversee the museum‘s existing college tour program, consisting of over five hundred curriculum-structured tours annually. Moreover, she will identify and develop new gallery-based programming as well as coordinate a new team-taught course on artists‘ materials and techniques and another new course for the MBA students of IU‘s Kelley School of Business. This Fall the museum will begin its search for an interdisciplinary programs coordinator, another new position which will assist the education department in reaching their academic goals. Both positions will report to Ed Maxedon, the museum‘s curator of education.
Kenneth J. Myers has been named the Chief Curator at the Detroit Institute of Arts. Since joining the DIA in 2005, Kenneth Myers has served as curator of American art and Head of the American Art department. He came to the DIA from the Smithsonian Institution, where he was curator of American art at the Freer Gallery of Art. At the Freer, he organized numerous exhibitions focusing on the work of James McNeill Whistler, co-curated the exhibition Mr. Whistler‘s Galleries: Avant-Garde in Victorian London, and wrote the related book, Mr. Whistler‘s Gallery: Pictures at an 1884 Exhibition (2003). From 1985 to 1995, Myers taught at Middlebury College, during which time he wrote the catalog and organized the path-breaking exhibition The Catskills: Painters, Writers, and Tourists in the Mountains, 1820-1895 (1988). After leaving Middlebury, Myers served as assistant director for Research and Publications at the New Jersey Historical Society before joining the Freer Gallery of Art in 1999. Myers received his Bachelor of Arts from Cornell University, and his doctorate from Yale University. A cultural historian specializing in American landscape painting and the history of arts patronage, Myers is the author of numerous articles including “Frederic Church‘s Memorials to Thomas Cole” (2008), “Thomas Cole and the Popularization of Landscape Experience in the United States: 1825-1829” (2007), “Art and Commerce in Jacksonian America: The Steamboat Albany Collection” (2000), and “On the Cultural Construction of Landscape Experience: Contact to 1830” (1993). Among many awards, Myers has received major fellowships from the Smithsonian Institution, the J. Paul Getty Trust, the National Endowment for the Humanities, and the Metropolitan Museum of Art.
Salvador Salort-Pons has been appointed the Associate Curator of European Paintings at the Detroit Institute of Arts. Salvador Salort-Pons was hired in 2008 as assistant curator of European Paintings. Since his arrival, he has been deeply involved in the research and documentation of the Early Italian Paintings collection and continues to work on an updated catalogue of the 14th-, 15th- and 16th- century Italian paintings collection. He is currently co-organizing (in collaboration with other DIA curatorial departments) an in-house forgeries exhibition. Prior to coming to the DIA, Salort-Pons served as senior curator at the Meadows Museum Southern Methodist University in Dallas. He was also assistant professor at the University Complutense of Madrid and exhibition curator at the Memmo Foundation/Palazzo Ruspoli in Rome, where he co-curated Il trionfo del colore, Collezione Carmen Thyssen-Bornemisza (2002) and Velázquez (2001), the first monographic exhibition on the painter ever organized in Italy. He has been a research fellow at University Complutense of Madrid, the Spanish Academy in Rome, the Royal College of Spain in Bologna, the Medici Archive Project in Florence and the Getty Grant Program. In addition to numerous scientific articles published in exhibition catalogues and art journals, Salort-Pons is the author of two books: Velázquez en Italia, Madrid 2002; and Velázquez, Madrid 2008. Salort-Pons was born and raised in Madrid, and is fluent in Spanish, Italian, French and English. He holds a Master of Arts in Geography and History (University Complutense of Madrid, Spain), a Master of Business Administration (Cox School of Business, SMU, Dallas) and a doctorate in art history (University of Bologna, Italy).
Miranda L. Templeman has been promoted to Deputy Director, Finance and Operations of the Joslyn Art Museum. Previously, Templeman had served as Joslyn‘s controller from 2000 to 2007 and chief financial officer from December 2007 to the present.
News About Graduate Students
Matthew Averett (PhD 2006, University of Missouri) and Erin Walcek Averett (PhD 2007, University of Missouri) are teaching at Creighton University.
Allison Choate and Kristin Choate (BA 2009, University of Missouri) are both in the Museum Studies program at the University of Missouri-St. Louis.
Danya Crites (doctoral student at the University of Iowa) published an article, “Churches Made Fit for a King: Alfonso X and Meaning in the Religious Architecture of Post-Conquest Seville” in Al-Andalus: Cultural Diffusion and Hybridity in Iberia (1000-1600), (Brill, 2009).
Nathan Elkins (doctoral candidate in late Roman archaeology, University of Missouri) holds a two-year fellowship at the Yale University Art Gallery (2009-2011).
Roberta Gray Katz received her Ph.D. in art history form the University of Illinois at Chicago in May, 2009. Her speciality is American Art and her dissertation focused on “The Literary Paintings of Thomas Cole: Image and Text.”
Mark Hammond (doctoral candidate in late Roman and Byzantine archaeology, University of Missouri) holds the Dorothy and Homer Thompson Fellowship from the American School of Classical Studies in Athens, 2009-2010.
Kate Kocyba (doctoral candidate in architectural history, University of Missouri) holds the Charles E. Peterson Fellowship of the Buildings of the United States and the Athenaeum of Philadelphia, Society of Architectural Historians, 2009-2010.
Erin Nixon (BA 2009, University of Missouri) is in the graduate program at the School of the Art Institute of Chicago.
Kurt Rahmlow (former doctoral student at the University of Iowa), completed his dissertation “Anterior Decorators: Van Gogh, Gauguin, and Avante-Garde Environments at Arles and Le Pouldu,” and then he became an assistant teaching professor at the University of Missouri, Columbia.
Danielle Smotherman (BA 2009, University of Missouri) is in the graduate program in Classical and Near Eastern Archaeology at Bryn Mawr College.
Elizabeth Sutton (former doctoral student at the University of Iowa), completed her dissertation “The Art of Ethnology: Competition, Collaboration, and Classification in the Illustrated Travel Series of Cornelis Claesz,” which was recognized with the UI Dean‘s Distinguished Dissertation Award, and then she took on a new position as assistant professor of Art History at the University of Northern Iowa.
Publications by Members
The revised edition of ABOUT ART, a succinct art appreciation textbook by Andrew Arbury, was published in August 2009, by Kendall-Hunt Publishers.
Judith A. Barter (Field McCormick Curator of American Arts at The Art Institute of Chicago) edited and contributed to Apostles of Beauty: Arts and Crafts from Britain to Chicago, with essays by Judith A. Barter, Sarah E. Kelly, Ellen E. Roberts, Brandon K. Ruud, and Monica Obniski (Art Institute of Chicago in association with Yale University Press, 2009).
Judith A. Barter has also published American Modernism at the Art Institute of Chicago: From World War I to 1955, with Sarah E. Kelly, Denise Mahoney, Ellen E. Roberts, and Brandon K. Ruud, with contributions by Jennifer M. Downs. (Art Institute of Chicago in association with Yale University Press, 2009).
Stephen Bertman (The University of Windsor) published “The Antisemitic Origin of Michelangelo‘s Horned Moses,” in Shofar: An Interdisciplinary Journal of Jewish Studies (Purdue University Press), 27.4 (Summer 2009), 95-106.
Catherine C. Bock-Weiss (School of the Art Institute of Chicago) published Henri Matisse, Modernism Against the Grain (Penn State University Press, 2009).
Robert Bork (The University of Iowa) published Gotische Türme in Mitteleuropa (Imhof, 2008), and he worked with his former doctoral Andrea Kann (Coe College) to edit The Art, Science, and Technology of Medieval Travel (Ashgate, 2008).
MAHS board member Patricia J. Graham (independent scholar, Lawrence, Kansas) authored the foreword to ' Gyahtei ': Manabu Yamanaka Photographs (Tokyo: POT Publishing Co., 2009). Graham also authored the foreword, “Notes to Readers, and Bibliography of the Writings of Tsuda Noritake,” in a new edition of the 1935 Handbook of Japanese Art by Noritake Tsuda, published with the new title: A History of Japanese Art, From Prehistory to the Taisho Period (Rutland, Vermont: Tuttle, 2009). In addition, Patricia J. Graham‘s essay, “Dissention in the World of Tea: The Fashion for Sencha and Chinese Culture in Early Modern Japan,” appeared in the exhibition catalogue, Steeped in History: The Art of Tea, edited by Beatrice Hohenegger (Los Angeles: Fowler Museum at UCLA, 2009).
Carol Grove (Adjunct Professor, University of Missouri-Columbia) published Houses of Missouri 1870-1940 (Suburban Domestic Architecture Series, Acanthus Press, 2008) with Cydney Millstein.
Andrew E. Hershberger, (Associate Professor of Contemporary Art History, Bowling Green State University), has recently co-authored two peer-reviewed journal articles. The first is entitled “The Currency of Practice: Reclaiming Autonomy for the MFA,” Art Journal 68, 1 (Spring 2009), 40-57. Joining a group of international co-authors including Senam Okudzeto, Susette Min, Martin Beck, Lucy Soutter, Gareth James, Odili Donald Odita, and Jon Rubin, Hershberger developed his portion of the article in response to a 2007 CAA conference panel devoted to analyzing MFA programs in light of the new studio-based Ph.D. For the second article, “The Ripple Effect: Lessons from a Research and Teaching Faculty Learning Community,” Journal on Excellence in College Teaching 20, 3 (2009), 145-173, Hershberger acted as the lead author along with co-authors Maria Spence, Paul Cesarini, Andy Mara, Kathleen Jorissen, David Albrecht, Jeff Gordon, and Canchu Lin.
Julie Hochstrasser (The University of Iowa) published Still Life and Trade in the Dutch Golden Age (Yale University Press, 2007).
MAHS board member Heidi Hornik (Baylor University) has just published her study on Michele Tosini: The Ghirlandaio Workshop in Cinquecento Florence (Sussex Academic Press, 2009).
Susan Langdon (Associate Professor, University of Missouri) published Art and Identity in Dark Age Greece, 1100-700 BC (Cambridge University Press, 2008).
Barbara Burlison Mooney (The University of Iowa) published Prodigy Houses of Virginia: Architecture and the Native Elite (Virginia, 2008).
Julia R. Myers (Eastern Michigan University) published Energy: Charles McGee at Eighty-Five (Art Gallery Program, Eastern Michigan University, 2009, distributed by Wayne State University Press).
Shelly Perlove (University of Michigan-Dearborn) with Larry Silver, published Rembrandt‘s Faith: Church and Temple in the Dutch Golden Age (Penn State University Press, 2009).
MAHS Board member Rachel Berenson Perry, (Fine Art Curator at the Indiana State Museum), had her book, T. C. Steele and the Society of Western Artists, 1896-1914 published by Indiana University Press in June, 2009.
Christopher Roy (The University of Iowa) published Land of the Flying Masks: Art and Culture of Burkina Faso (Prestel, 2007).
David Wilkins (Professor Emeritus, University of Pittsburgh), announces that the 7th edition of Hartt and Wilkins, History of Italian Renaissance Art, will be published by Prentice-Hall in early 2010. There are a number of new illustrations and changes and, of course, comments and criticisms on the new edition and suggestions for the future (should there be an 8th edition) are always welcome.
Carolyn C. Wilson (independent scholar, Houston) authored five entries in Edward J. Olszewski, A Corpus of Drawings in Midwestern Collections: Sixteenth-Century Italian Drawings, 2 vols. (Turnhout, 2008). The entries covered drawings by the Bassano family (attributed), Cesare Franchi (il Pollino), and Bartolomeo Passarotti.
Carolyn C. Wilson also had her essay, “Giovanni Bellini e il dipinto d‘altare. Solennità dell‘intento, ‘pièta’ necessaria e devozione assoluta: la Natività e la Trasfigurazione,” published in the exhibition catalogue, Giovanni Bellini, ed. Mauro Lucco and Giovanni C. F. Villa (Rome, Scuderie del Quirinale, 30 September 2008 – 11 January 2009, Cinisello Balsamo, Milan, 2008).
College and University News
Robert Bork, associate professor at the University of Iowa, has taken on a new role as head of the UI Art History division.
Dr. Elizabeth C. Childs, Chair and Associate Professor for the Department of Art History and Archaeology received a Distinguished Faculty Award at Washington University in St. Louis.
For his first research sabbatical during academic year 2008-2009, Andrew E. Hershberger, Associate Professor of Contemporary Art History, Bowling Green State University, won the inaugural Teti Library Fellowship at the New Hampshire Institute of Art for Fall 2008. He researched in NHIA‘s newly donated Teti Collection of rare history of photography books with its exclusively photographic Special Collections including 2,000 rare books dating from the earliest 19th century publications with original prints tipped-in through to contemporary digital editions. During the late Spring 2009 (Trinity Term), he continued his sabbatical in England as a Visiting Fellow at St. Hilda‘s College, University of Oxford. While at Oxford he joined the very first group of male Visiting Fellows since St. Hilda‘s turned coeducational. During the summer of 2009, Hershberger was invited back to the University of Arizona‘s Senior Academy for a third summer as a Visiting Scholar. While in Arizona, he researched in the UofA‘s Center for Creative Photography.
Dorothy Johnson, Roy J. Carver Professor of Art History at the University of Iowa, delivered the Bettie Allison Rand Lecture Series at the University of North Carolina, Chapel Hill, in September 2008, presenting four talks on “Myth and Mind: Mythological Consciousness in French Art from David to Delacroix.”
During this bicentennial year of Abraham Lincoln‘s birth, Mark Pohlad, Associate Professor of Art History at DePaul University, has been giving lectures about Lincoln in art and photography at public venues around the state of Illinois. He is a “Road Scholar” for the Illinois Humanities Council, which sponsors these events.
Kristin Schwain (University of Missouri, Columbia) received a Mellon Foundation Fellowship for the summer of 2009.
John Beldon Scott, Elizabeth M. Stanley Professor of the Arts at the University of Iowa, has taken on a new role as director of the UI School of Art and Art History.
Caroyln C. Wilson, independent scholar, Houston, has organized six panels devoted to Giovanni Bellini for the Renaissance Society of America annual meeting to be held in Venice, April 8-10, 2010. She will also be presenting a paper, “St. Joseph in Early Cinquecento Emilia: New “Readings” of Two Drawings by Parmigianino and a Little-known Panel by Girolamo Mazzola Bedoli,” in one of the sessions organized in honor of Colin Eisler.
Carolyn C. Wilson also presented a talk, “Sanctus Joseph Nutritor Domini: A Triptych Attributed to Jan Gossaert Considered as Evidence of Early Hapsburg Embrace of St. Joseph‘s Cult,” at the International Saint Joseph Symposium, September 30, 2009, Kalisz.