&At the close of the spring 2001semester, we find ourselves in thefinal design phase for the MarquandLibrary expansion and for relatedrenovations to McCormick Hall.The renovated building promisesto be wonderful; we will have morespace, more efficiently used.

We are grateful to the University for puttingthe project on a fast track and for movingforward with it even though all the necessaryfunding has not yet been raised. The patienceof everyone in the building will be tested overthe next two years: Marquand’s books will besplit between the E-Quad and Mudd Library,and the front of McCormick Hall will be envel-oped by a construction site. We are grateful tothe University for putting the project on a fasttrack and for moving forward with it eventhough all the necessary funding has not yetbeen raised.

We have been fortunate this year in havingan unusually large number of visiting faculty.In the fall term Richard Stanley-Baker, professor at Hong KongUniversity (and a 1979 Ph.D.graduate of our department),taught two courses on Japaneseart; and since John Pinto was onsabbatical, Ingrid Steffensen (1994University of Delaware Ph.D.)taught his introduction to thehistory of architecture, a course we liketo offer every year. In the current termElizabeth Pilliod, an associateprofessor at Oregon State

ArtArchaeology

Newsletter

PrincetonUniversity

D E P A R T M E N T O F

S P R I N G

FACULTY NEWS

JOHN RUPERT MARTIN

VISITING FACULTY

GRADUATE STUDENT NEWS

EXCAVATIONS

NOLLI DATABASE

MARQUAND LIBRARY NEWS

SLIDES AND PHOTOGRAPHS

INDEX OF CHRISTIAN ART

PUBLICATIONS

ALUMNI NEWS

‒ART MUSEUM NEWS

Inside

Dear Friends and Colleagues:

VE TTE S E N

NOVTAMTVM

University, is teaching an undergraduate surveyon Italian Renaissance painting; Laura Auricchio,a 2000 Ph.D. from Columbia, is teachingNeoclassicism through Impressionism; RobertHarrist, associate professor at Columbia (and a1989 Princeton Ph.D.), is teaching a graduateseminar on Chinese painting; and yet anotherof our former students, Margaret Vendryes, a1997 Ph.D., is teaching a course on Africanart. Last semester Margaret taught a course onBlack photographers for the Program in African-American Studies.

The department has sponsored or co-sponsored several conferences this year, includ-ing one organized by our graduate students(the subject was “2”); one organized by theIndex of Christian Art on “Objects, Images, andthe Word: Art in the Service of the Liturgy”;and one entitled “Hypothesis 4,” organized bygraduate students of the School of Architecture.In the next academic year we anticipate nofewer than four conferences planned by facultyof the department (Carol Armstrong, Anne-Marie Bouché, Hal Foster, and Thomas DaCostaKaufmann). We are also looking forward to thebiennial Haley Lecture, which will be given by

Pierre Rosenberg.Please stay in touch with us

by e-mail (artnews@princeton.edu) orsnailmail (Newsletter, Departmentof Art and Archaeology,McCormick Hall, PrincetonUniversity, Princeton, NJ 08544-1018). We are grateful for yourcontinued interest and we welcomeyour news and suggestions.

Robert W. BagleyActing Chair (spring 2001)

Hea

ther

Lo

vett

S P R I N G

l Acres’s article on “Rogier van der Weyden’s Painted Texts” appeared in Artibus et Historiae (2000). In September he gave

a paper on “Small Physical History: The TricklingPast of Early Netherlandish Painting” at theInternational Congress of the History of Art inLondon. He lectured on German paintings atthe Allentown Art Museum in January, and inMarch chaired a CAA session in Chicago on“Inferring Time,” which pondered pointedlyexperiential dimensions of time in art rangingfrom late medieval sculpture through contempo-rary painting. His primary research continues tobe toward a book on the imagery of Christ’sPassion in his infancy in the fifteenth and earlysixteenth centuries. Among his new courseofferings this year was “Art of the Print,” whichdraws on the collections of The Art Museumand Firestone Library both for preceptorialmeetings and for a two-part exhibition in TheArt Museum surveying European and Americanprintmaking techniques from the Renaissance tothe present.

Robert W. Bagley is the acting chair of thedepartment for the spring 2001 term. His recentpublications include the chapter “Shang Archae-ology” in The Cambridge History of AncientChina (Cambridge, 1999) and “Percussion” inMusic in the Age of Confucius, ed. J. F. So (Wash-ington, D.C., 2000). He also continued work ona book on the bells from the Zeng Hou Yi tomb,and he has edited the catalogue of an exhibitionof archaeological finds from the People’s Republicof China which is now at the Seattle Art Museumand will move to the Kimbell Art Museum inFort Worth, The Metropolitan Museum of Art,and the Royal Ontario Museum in Toronto.

Slobodan Curcic, with co-author SvetlanaPopovic, has just published Naupara Monastery(Belgrade, 2001), the first volume of the seriesCorpus of Late Medieval Architecture of Serbia,1355–1459. Two of his monographs also appearedthis academic year: Some Observations and Ques-tions Regarding Early Christian Architecture inThessaloniki (Thessaloniki, 2000), and MiddleByzantine Architecture on Cyprus: Provincial orRegional? (Nicosia, 2000), the Thirteenth AnnualLecture on the History and Archaeology ofCyprus sponsored by the Bank of Cyprus Cul-tural Foundation. Among his recent articles are“Late Medieval Fortified Palaces in the Balkans:

Faculty News

Security and Survival,” Minimo kai perivalon 6(2001); “Proskynetaria Icons, Saints’ Tombs, andthe Development of the Iconostasis,” in TheIconostasis: Origins, Evolution, Symbolism, ed.A. Lidov (Moscow, 2000); “The Exonarthex ofHilandar: The Question of Its Function andPatronage,” in Huit siècles du monastère deHilandar, ed. V. Korac (Belgrade, 2000); and“Destruction of Serbian Cultural Patrimony inKosovo: A World-Wide Precedent?” Bulletin ofBritish Byzantine Studies 26 (2000). He alsolectured at the University of Missouri, the Uni-versity of Minnesota, the University of Georgia,and Cornell University, where he presented apaper on Balkan belfries at the conference Con-/De-/Re-/Construction of South Slavic Architecture.

Yoshiaki Shimizu spent his sabbatical leave inthe fall of 2000 in the visiting scholar’s programat the Seattle Art Museum. During his tenure atthe Asian Art Museum at Volunteer Park, heexamined the museum’s Japanese painting collec-tion and gave a series of public lectures. The firstlecture, “Japan in American Art Museums: WhichJapan?,” examined how American museums havepresented Japanese art in the last fifty years, andthe significance of this history of public represen-tation of Japan and Japanese art. This lecture willbe published as an essay in the March 2001 issueof The Art Bulletin. The second lecture, entitled“Three Cases of Copying in Japanese Art: Callig-raphy, Painting, and Architecture,” took up theubiquitous theme of copy and copying in Japa-nese art as a cultural phenomenon essential toperpetuating the “life and afterlife” of works ofart. The final lecture was “Looking and ReadingTogether: Painting and Text in the Early Twelfth-Century Genji Monogatari Scroll”; it explored thetheme of calligraphy as a major form of art in theearliest extant Tale of Genji scroll, examining howthe text transcribed by artfully rendered calligra-phy functions as an effective conveyer of emotionencoded in the painting. Shimizu also gave aweekly reading class to University of Washingtongraduate students in Japanese art, in which theystudied the late sixteenth-century Tohaku Gasetsu(Chats on Painting by Tohaku), a collection ofnotes and commentaries on Chinese and Japanesepaintings exchanged by the painter HasegawaTohaku and his friend, the priest Nittsu. He alsomade two brief research trips to Japan, where heexamined Chinese, Korean, and Japanese ink

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S P R I N G

paintings that are part of his ongoing researchon Korean painting and Japanese art.

John Wilmerding’s latest book, Compass andClock: Defining Moments in American Culture,was awarded the designation “Honor Book2000” by the New Jersey Council of the Humani-ties. He is currently half way through the writingof a new project: Signs of the Artist: Signaturesand Self-Expression in American Painting. Relatedto that work in progress, he has revised andrefocused his American Studies seminar for nextyear, to be called “American Art and Autobiogra-phy.” His other ongoing research projects includeentries on American works in the collections ofthe Williams College Museum of Art and theHarvard University Art Museums. He is alsocollaborating with an advanced graduate student,Mark Mitchell, in the organization and curatingof an exhibition for Berry-Hill Galleries, NewYork, devoted to nineteenth-century Americanmarine painter Francis A. Silva. The exhibitionwill open in the summer of 2002.

After ten years of service, he stepped downfrom the board of the Wendell Gilley Museumin Maine and was named emeritus trustee. Buthe remained active this year on the boards oradvisory committees of the Guggenheim Founda-tion and Museum (New York), the NorthweastHarbor Library (Maine), the College of theAtlantic (Maine), the Wyeth Endowment forAmerican Art, and the Harvard University ArtMuseums. He was particularly involved in thework of the Committee for the Preservation ofthe White House, which during the Clintonadministration completed extensive renovationsof all of the major ground-floor rooms of themansion, most notably the Blue Room, andoversaw numerous important acquisitions forthe collection, including significant paintings byHenry O. Tanner and Georgia O’Keefe.

He continued to be active in lecturingaround the country, speaking at Sotheby’s, thePrinceton Club of New York, the KalamazooMuseum of Art, Western Michigan University,the Chapin School in Princeton, the GilleyMuseum in Maine, and the Seminarians inBoston. In May he gave the Rubin lecture at TheMetropolitan Museum of Art.

Emeriti Faculty

David Coffin published two articles on Englishgardening, “Venus in the Garden of WiltonHouse,” in Source, and “Venus in the Eighteenth-Century English Garden,” in Garden History.His book-length study of the life and activity ofthe sixteenth-century Italian artist and archae-

ologist Pirro Ligorio is under consideration byPennsylvania University State Press. In March helectured at Dumbarton Oaks in Washington,D.C., on “Portraits of English Gardeners.” InFebruary he was a member of a small committeeof teachers of garden history and landscapearchitecture to advise the Bard College of theDecorative Arts on the establishment of a gradu-ate program in the history of gardening andlandscape architecture leading to the master’sand doctoral degrees.

James Marrow returned to Princeton in Septem-ber after two years of residence in Cambridge,England—the first as a visiting fellow at CorpusChristi College and the second as acting keeperof manuscripts and rare books at the FitzwilliamMuseum. He contributed an introductory essayand a number of entries to the catalogue of anexhibition that opened recently at the Philadel-phia Museum of Art: Leaves of Gold: ManuscriptIllumination from Philadelphia Collections. Hisarticle “The Pembroke Psalter-Hours” will ap-pear in a memorial volume for Maurits Smeyers(Louvain), and he is currently writing a commen-tary to accompany a color facsimile of a richlyillustrated Latin Prayer Book from Cologne (ca.1485) in the collection of the Russian NationalLibrary in St. Petersburg. In April, he deliveredthe annual “Julius Held Birthday Lectures” atWilliams College.

Department faculty: (front row) Esther DaCosta Meyer, Carol Armstrong, JohnWilmerding, Yoskiaki Shimizu, T. Leslie Shear, Hugo Meyer, Al Acres; (back row)Thomas DaCosta Kaufmann, Slobodan Curcic, Thomas Leisten, Anne-Marie Bouché,Hal Foster, Robert Bagley (on leave/not pictured: Patricia Brown, Peter Bunnell, JohnPinto, William Childs)

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John Blazejewski

S P R I N G

John Rupert MartinJohn Rupert Martin, Frederick MarquandProfessor of Art and Archaeology emeritus, diedin Princeton on July at the age of

after a long struggle with Alzheimer’s disease.His wife Barbara outlived him by eight months—she died on March . They are survived bytheir daughter, Hilary, and two grandchildren.Martin was born in Hamilton, Ontario, andreceived his bachelor’s degree in fromMacMaster University in Hamilton. He earnedhis master of fine arts degree from Princeton in1941 and taught art history for a year at theState University of Iowa before enlisting in theCanadian army, where he served in the ThirdCanadian Division and attained the rank of major.After the war, Martin returned to Princeton as aWoodrow Wilson Fellow and was awarded hisPh.D. in , the year he joined the Princetonfaculty as an assistant professor in the Depart-ment of Art and Archaeology, where he taughtfor the next forty years. In he was named abicentennial preceptor; in he was promotedto associate professor, and then to full professorin .

Martin began his career in art history as amedievalist, specializing in Byzantine art. Hisfirst monograph, based on his doctoral disserta-tion, was The Illustration of the Heavenly Ladderof John Climacus, a study of medieval manuscriptillumination that was published in . Butonly a year later he made the first of his manyenduring contributions to the study of seven-teenth-century art with a published lectureentitled “The Baroque from the Point of View ofthe Art Historian.” Two decades later, that semi-nal article served (in the persuasive words of thecommissioning publisher) as an “oil sketch” forhis definitive study of that period and style,Baroque, which was published in and whichremains the standard text in the field.

John Martin’s first monograph on seven-teenth-century painting, The Portrait of John Miltonat Princeton and Its Place in Milton Iconography() was followed four years later by a moremonumental book on the dawn of the Baroquein Rome, the Farnese Palace frescoes of theCarracci: The Farnese Gallery, published by thePrinceton University Press. Among the admirersand artistic beneficiaries of those ceiling frescoeswas Peter Paul Rubens; so in hindsight it seemsespecially apropos— and perhaps even providen-tial —that Martin’s next book, suggested to him

by the dean of Rubens scholars, Julius S. Held,was on Rubens’s own first commission for ceilingpaintings: The Ceiling Paintings for the JesuitChurch in Antwerp, which was published in as the first volume of the massive CorpusRubenianum Ludwig Burchard, still in progress.The next year, , Martin’s Rubens: The AntwerpAltarpieces was published in Norton’s series ofcritical anthologies.

In Martin published two more bookson the Flemish master: Rubens before , acollection of articles presented at the symposiumand exhibition he organized and edited atPrinceton, and his second monograph for theCorpus Rubenianum, The Decorations for thePompa Introitus Ferdinandi, for which he re-ceived the Charles Rufus Morey Award of theCollege Art Association, honoring “the mostdistinguished work of scholarship in the historyof art published by an American or Canadianduring .” By this time he was also serving aseditor-in-chief of The Art Bulletin (‒) andhad been elected chairman of the Department ofArt and Archaeology (‒). The conclusionof his chairmanship was aptly marked by anothermajor exhibition he mounted in The Art Mu-seum: Van Dyck as Religious Artist, with a cata-logue he co-authored with his graduate assistantGail Feigenbaum.

Martin’s eminence as a scholar was wellestablished among his fellow members of theComité Internationale d’Histoire de l’Art, theAmerican Philosophical Society, the RenaissanceSociety, and the College Art Association, ofwhich he served as president from to .But his preeminence, above all, was as a lecturerand teacher of undergraduate as well as graduatestudents. By the time of his retirement in ,his famous course on Baroque and Rococo artregularly had enrollments of over three hundredstudents each term—a degree of popularityunprecedented and unmatched in that field. Theundergraduates gave that course the highest ratingof all the courses offered by Princeton University.The personal affection his students had for himwas reflected in his election as an honorarymember of the Ivy Club, the oldest and mostdistinguished of the undergraduate eating clubs.

Martin’s lectures were nothing short ofmagical. But as the British playwright SirTerence Rattigan observed, “What makes magicis genius, and what makes genius is an infinite

J. T.

Mill

er

S P R I N G

Visiting FacultyLaura Auricchio joined us for the spring semes-ter as lecturer, teaching the nineteenth-centurysurvey course Neoclassicism through Impression-ism, advising students, and lecturing in Art 101.She received her B.A. summa cum laude fromHarvard, and her Ph.D. with distinction fromColumbia University in 2000. The forthcomingbook based on her dissertation is tentativelyentitled From Scandal to Silence: The Rise andFall of the French Woman Artist, ‒. Shehas published on topics in eighteenth-, nine-teenth-, and twentieth-century art and culture.Her next forthcoming piece, on a contemporaryartist, is scheduled to appear in the fall issue ofArt Journal under the title “Works in Translation:Ghada Amer’s Hybrid Pleasures.” Active ingender studies, Laura has organized the BarnardFeminist Art and Art History Conference, and iscurrently a member of the College Art Associa-tion’s Committee on Women in the Arts. A reci-pient of Fulbright, Whiting, and other awards,she is currently a Whitney Teaching Fellow atthe Whitney Museum of American Art.

Robert Harrist Jr. * was welcomed back tothe department this spring to teach a seminar inChinese painting, with special emphasis oncopying, imitation, and allusion. A graduate alumof the department, he studied with Wen Fongand wrote a dissertation on the Shan-Chuang T’uby Li Kung-Lin. He is now associate professor inthe Department of Art History and Archaeologyat Columbia University. His research interestsinclude Chinese painting, calligraphy, and gar-dens, and he has lectured and published on thephenomenon of copies and replicas in Chineseart. He is currently at work on two projects: ageneral history of Chinese calligraphy and abook titled Reading Chinese Mountains that willexamine the role of language in shaping percep-tions of landscape. He recently published Powerand Virtue: The Horse in Chinese Art.

Elizabeth Pilliod, associate professor in theDepartment of Art History at Oregon StateUniversity, taught Art , Italian RenaissancePainting and Sculpture, during the spring semester.As part of her course she selected a representativegroup of Italian drawings from the permanentcollection of The Art Museum, which was exhib-ited in the main galleries and used throughoutthe term as the basis for papers and preceptorials.Elizabeth is an expert on sixteenth-centuryFlorentine art, and her book Pontormo, Bronzino,and Allori: A Genealogy of Florentine Art will bepublished by Yale University Press. She is current-ly working on a second book, Melancholy andCreativity (University of Chicago Press), thatconnects a Renaissance artist’s diary with his workand self-image. She will also be a co-author, withPer Bjurström and Catherine Loisel, of Drawingsin Swedish Public Collections: Italian Drawings,with responsibility for the Florentine drawings.

Richard Stanley-Baker * returned to Princetonin the fall of to teach seminars on medievalJapanese gardens and Sesshu Toyo (‒).A graduate of New College, Oxford, he did hisgraduate studies at Princeton with Shujiro Shimada,writing a dissertation on mid-Muromachi paintingsof the Eight Views of Xiaoxiang. His publicationsreflect his continued interest in ink painting andart of the Muromachi period. He has also pub-lished on Bunsei, Sesshu Toyo, Sesso Toyo, medi-eval Japanese gardens, the lake landscape tradition,and Zen temples and their gardens, among othertopics. Richard has just completed a manuscriptof a book titled Eight Views of Xiaoxang: Responseand Replay in Muromachi Ink Painting, and iscontributing to and co-editing Readings in theTale of the Genji. His works in progress include abook-length study of gardens in medieval Japan.He teaches in the Department of Fine Arts ofHong Kong University, where he is associateprofessor and chair.

continued on next page

capacity for taking pains.” Anyone who had theprivilege of assisting Professor Martin as a pre-ceptor in his course saw that his special magicwas matched by the infinite pains he took inpreparing every lecture—from choosing andhand-cleaning each slide, to timing his presenta-tion down to the last seconds (the last slide dim-ming as the bell rang out), to the preparation ofhis preceptors for the weekly small classes withthe students. For the students themselves he

always had time, no matter how busy he was. Hehad a unique gift for mentoring, for encourag-ing, and for caring. For those who attended hismemorial service in Princeton on Septemberth, there was ample testimony to the legacy heleft with his former students. In the words ofHenry Adams, “A teacher affects eternity; he cannever tell where his influence stops.”

Charles Scribner III ’ *

Foster Named toEndowed Position

At their November meeting, the

Board of Trustees named Hal

Foster the Townsend Martin,

Class of 1917, Professor of Art

and Archaeology, effective Sep-

tember 1, 2000. Foster joined the

Department of Art and Archaeol-

ogy in 1997. He previously

taught at Cornell University and

served as the director of critical

and curatorial studies for an

independent study program at

the Whitney Museum.

Foster is the author of three

books in the field of modern art

and is the editor of three others.

He has also written numerous

articles for both scholarly and

mainstream publications, and

has served as editor or on the

editorial boards of several art

journals, including October. In1998 he received a Guggenheim

Fellowship.

S P R I N G

Ingrid Steffenson taught Art , Introductionto the History of Architecture, in the fall semes-ter. The author of Marble Palaces, Temples of Art:Art Museums, Architecture, and American Culture,‒ (Bucknell University Press, ),which was based on her University of Dela-ware dissertation, she currently teaches atBrookdale Community College in MonmouthCounty. Ingrid has also published articles onCass Gilbert, on the issues facing women archi-tects during the nineteenth century, and on theMilwaukee Public Library competition and itsrelation to the World’s Columbian Exposition.She recently presented a paper at the University ofVirginia on the influence of George Washington’sMount Vernon on the modern suburban ver-nacular, and she plans further research on thattopic. She is also currently investigating theiconography of American architecture throughreferences to and recreations of influential his-toric buildings. Her other ongoing research topicis the writer, architectural critic, and suffragetteMariana Griswold van Rensselaer. She will chaira session at CAA in Philadelphia next year onthe American mural painting tradition.

Margaret Rose Vendryes * returned to cam-pus as visiting lecturer in the department and inthe Program in African American Studies. Agraduate of Amherst College, with an M.A. fromTulane University, she studied with JohnWilmerding at Princeton and wrote a disserta-tion on the Black-American figurative sculptorRichmond Barthé. She has also been a visitingmember of the Black studies and fine arts facultyat Amherst College, where she designed thesurvey of African art and a seminar in Black-American photography. She taught both coursesat Princeton this year. Margaret has particularinterests in the African Diaspora, photography,and contemporary visual culture, and her publi-cations have dealt with those fields as well aswith topics as diverse as art deco and ThomasEakins. She’s currently completing her book onBarthé, which includes new research on the blackbody in twentieth-century American art and litera-ture. A painter in oil on canvas as well as a sculptorof found objects, she creates works involvingportraiture, feminist identities, and mixed-mediaassemblage. She has accepted a position as assis-tant professor and coordinator of the art historyprogram at York College, City University of NewYork, beginning in September .

Graduate Student News

Nikolas Bakirtzis’s field of study isByzantine and medieval art and archae-ology, particularly late Byzantine archi-

tecture and archaeology in the Balkans. Lastsummer he did research in Greece, Turkey, andthe former Yugoslav Republic of Macedonia,exploring the academic and practical aspects ofhis dissertation topic, “The Monastery of TimiosProdromos near Serres, Greece: The Architectureof the Monastery and Its Environs.” He is currentlyin Greece doing field research in the monastery.Nikolas is participating in the preparation of anexhibition on Byzantine fortifications in north-ern Greece, organized by the Greek Ministry ofCulture, and will contribute to the catalogue.He has also submitted an article on the architec-ture of the Archontariki, the reception hall ofthe monastery of Timios Prodromos, to a publi-cation of the Leventis Foundation on the preser-vation of the eighteenth-century wall paintingsof this reception space. He gave a presentationon “The Concept of House and Household inArchaeology” as a part of a course offered by theDepartment of Architecture at the University ofThessaly, Greece. [bakirtzis@princeton.edu]

Dora C. Y. Ching was awarded a Jane andMorgan Whitney Art History Fellowship at TheMetropolitan Museum of Art. During the fall sheassisted Professor Wen Fong with his forthcomingbook Between Two Cultures: Nineteenth- andTwentieth-Century Paintings from the Robert H.Ellsworth Collection at The Metropolitan Museumof Art. She also contributed to The Art Museum’s1999 catalogue The Embodied Image: ChineseCalligraphy from the John B. Elliott Collection, byRobert E. Harrist Jr. *89 and Wen C. Fong, withcontributions by Qianshen Bai, Dora C. Y. Ching,Chuan-hsing Ho, Cary Y. Liu *97, Amy McNair,Zhixin Sun *96, and Jay Xu *93. With Cary Y.Liu and Judith G. Smith, she was the co-editorof Character and Context in Chinese Calligraphy, asymposium volume which was awarded secondprize for books in the American Association ofMuseums museum publications design competi-tion. Dora was also was the co-editor, with CaryLiu, of Arts of the Sung and Yuan: Ritual, Ethnicity,and Style in Painting, a volume of papers from asymposium held in Princeton in 1996. Currentlyshe is working on her dissertation, “The ChangingImage of Rulership: Chinese Imperial Portraiture

Grad StudentsOrganizeConference

Graduate students in the

Departments of Art and Archae-

ology and English organized a

two-day conference, “Surviving

the Photograph,” focusing on

the enormous variety of critical

work being done under the

rubric of photography studies.

Faculty and graduate students

from a number of departments

at Princeton—including English,

Art and Archaeology, German,

Architecture, History, and

Romance Languages—and a

number of distinguished critics

and photographers discussed a

series of topics loosely grouped

under the category of survival:

the survival of the subject, of

the image, of cultures, and of

photography itself. The keynote

speakers were Molly Nesbit of

Vassar College and Allan Sekula

of the California Institute of the

Arts. The department’s Carol

Armstrong and Hal Foster and

Cotsen Fellow Branden Joseph

presented papers, Esther da

Costa Meyer chaired one of the

sessions, and Margaret Rose

Vendryes *97 took part in the

round-table discussion that

concluded the conference.

Graduate students Andrew

Hershberger *01 and Marta

Weiss organized an exhibition

of photographs at The Art

Museum to accompany the

conference. Ranging from

anonymous daguerreotypes to

large-scale contemporary

works, the images addressed

issues of human survival and

the survival of photography

itself in an era of increasing

visual saturation.

S P R I N G

continued on next page

of the Ming Dynasty (1368–1644).”[dcching@Princeton.edu]

Elena Filipovic is completing her dissertation“The Museum Laid Bare/Marcel Duchamp,” astudy of the connections between MarcelDuchamp’s exhibition installations for the Surre-alist movement and the artist’s larger oeuvre asseen through his sustained interest in question-ing the role of the museum and the institutionsof art. Her study is based on more than twoyears of research in Paris supported by a FrenchChateaubriand grant and a Dedalus Fellowshipfor Modern Art. Elena drew on this research fora recent exhibition at the Zabriskie Gallery inNew York, Marcel Duchamp on Display, whichwas accompanied by a catalogue. She has alsocompleted an article which will appear in Revo-lution by Night: Encounters between Surrealism,Politics, and Culture.

Ludovico Geymonat used Princeton funding toundertake a number of field trips around Greeceand Italy last summer and to conduct research inRome, where he is living at the moment. Hisdissertation research focuses on the pictorialprogram of the baptistery at Parma, Italy. In thefall he attended a three-day conference on medi-eval art organized by the Department of ArtHistory at the University of Parma, and publishedan article, “Un apocrifo bizantino nei dipintiduecenteschi del Battistero di Parma,” in ArchivioStorico per le Province Parmensi 51 (2000). Itexplains the unusual iconography of one specificscene in the Parma paintings as an appropriationof a Byzantine model originating in the HolyLand. He plans to do field research in Israel thissummer and to come back to Princeton in Sep-tember. Ludovico recently prepared for publica-tion two entries on works in The Art Museumwhich will be published in a forthcoming issueof the Record. He’s now researching the decorationof medieval monumental baptisteries and thehistorical context in which the decorative pro-gram of the Parma Baptistery was carried out.

Andrew Hershberger completed and defendedhis dissertation, “Cinema of Stills: Minor White’sTheory of Sequential Photography” and willreceive his degree in June 2001. While writinghis dissertation, he published a feature article inArts of Asia (March/April 2000) entitled “FeliceBeato in Macao? Notes on a Panoramic Photo-graph at Princeton.” He also co-curated, withMarta Weiss, The Art Museum exhibition Sur-viving the Photograph, in conjunction with theconference held in Princeton in October 2000.During the past academic year Andrew taught asthe Senior Thesis Writers’ Group leader. He alsomade a research trip to Modena, Italy, sponsored

by a Spears grant, to view the Minor White retro-spective. He is collaborating with Prof. ThomasLeisten and curator of research photographsShari Kenfield on an exhibition of photographsfrom the collection of Ananda Coomaraswamy.Andrew has accepted a tenure-track assistantprofessorship in contemporary art at BowlingGreen State University in Ohio.

Margaret Laird returned to Princeton after atwo-year Rome Prize Fellowship at the AmericanAcademy in Rome. While in Italy, she researchedthe monuments of the seviri Augustales, mid-levelmagistrates in the towns of the Roman empire,the topic of her dissertation. She presented aportion of her research at the annual meeting ofthe Archeological Institute of America in SanDiego in January, and her article on the “Seat ofthe Augustales” at Ostia Antica will be publishedthis winter in the Memoires of the AmericanAcademy in Rome. In addition, she is collaboratingwith a team of Italian and American archaeolo-gists and architectural historians who are studyingthe architectural and topographical developmentof the Abbey of San Sebastiano near Alatri,outside of Rome. Along with Elizabeth Fentress,past Mellon Professor at the American Academy,she presented the preliminary findings of theproject at the University of Pennsylvania inFebruary, and plans to return to Italy this summerto excavate at the abbey. She represented thedepartment at the Frick Symposium in NewYork in March, where she spoke on the augustalesat Herculaneum. In her spare time, she isprecepting for Professor Hugo Meyer’s Romanart class and finishing her dissertation.

Yukio Lippit is a sixth-year graduate studentstudying Japanese art under Yoshiaki Shimizu.Last month he was awarded an Andrew W.Mellon Fellowship from the Center for theAdvanced Study of the Visual Arts (CASVA) atthe National Gallery, which will be effective fortwo years, from 2001 through 2003.[Ymlippit@aol.com]

Tine L. Meganck is working on a dissertationon artists and antiquarians in the circle ofAbraham Ortelius (1520–1598). In the fall of1999 she was a Frances A. Yates Fellow at theWarburg Institute in London, as well as being arecipient of a Donald and Mary Hyde Fellowshipfor the academic year 1999–2000. She has givenseveral talks on topics related to her research atinternational forums including the Sixteenth-Century Studies Conference, the CAA Conference,the “Thesaurus Brandenburgicus” Colloquiumorganized by the Humboldt University of Berlin,and the “Eendracht en Tweespalt” Conference

In Memoriam

Sandy Kalajian

The Department of Art and

Archaeology received the sad

news that Sandra Kalajian

passed away on July 24, 2000.

Sandy was art cataloger and

then senior art cataloger in

Slides and Photographs from

1970 to 1998. That she had

become an institution is a fact

she would have modestly dis-

dained, but it was true all the

same. She went about her work

with a selfless, tireless attitude

that helped sustain those

around her. Anyone who has

been in the department for

more than a few years can

attest to this: her depth of

knowledge of the collections,

her good, common sense, and

her dry sense of humor made

each of our lives a little easier. If

there is such a thing as a spirit

of the place, she was it; we feel

a profound loss.

Ben Kessler

Director, Slides andPhotographs

S P R I N G

held at the Catholic University ofLouvain, Belgium. Tine divides hertime between the U.S. and Bel-gium, where she currently holds agrant from the Fund for ScientificResearch, Flanders.

Todor Petev returned to Princetonin February 2001 after nearly twoyears of research in manuscriptcollections in Belgium and otherEuropean countries. He is currentlywriting his dissertation, “A MiddleDutch Prayer Book on the Life andPassion of Christ (Kortrijk, S.B.Ms. 26): A Study of the Transitionfrom Hand-Produced to PrintedImages in the Late Middle Ages,”under the supervision of JamesMarrow. Todor is also the guestcurator of the exhibition Discover-

ing the Low Countries: Dutch and Flemish Artfrom the Collections of the National Gallery forForeign Art, which will run from 3 Octoberthrough 8 November 2001 at the NationalGallery in Sofia. This exhibition, the first of itskind in Bulgaria, will present the results of newresearch on the national collection and willinclude a number of recently restored works.[todor7@hotmail.com]

Glenda Middleton Swan, a graduate student inancient art and archaeology, gave a series oflectures at The Art Museum at Princeton Univer-sity in October, 2000. These presentations weredesigned to introduce a newly acquired Romanfresco fragment to both the general public andthe docents. The fragment, which depicts anidyllic outdoor sanctuary, was discussed primarilyin terms of how the depiction would have beeninterpreted in its original role as decoration onthe wall of an ancient Roman home. She iscompleting her dissertation, “Meaning in Con-text: Continuous Narrative in Roman PaintedPanels,” under the direction of William Childs.

Jelena Trkulja spent the summer of 2000 doingfield research in Greece, the former YugoslavRepublic of Macedonia, Yugoslavia, and Italy,and is now writing her dissertation: “Articulationand Decoration of Late Byzantine Church Facades:The Case of the ‘Morava Style.’” Next summerand fall she will continue her field work andarchival research in Europe. She is also involved inorganizing the exhibition of late Byzantine art,Byzantium: Faith and Power, scheduled for 2004at the Metropolitan Museum of Art in New York.

Helen Deborah Walberg is currently wrappingup a ten-month Gladys Krieble Delmas researchgrant for study in Venice, Italy. She is finishing

the research for her dissertation, which examinespaintings of miracles of the Virgin in Venice andPadua in the late Counter-Reformation. She alsotaught the art history sector for the University ofWarwick (Coventry, U.K.) Venice Programmelast autumn, comprised of ten weeks of intensivelectures, seminars, and rollicking site visitsthroughout the Veneto. She expects to completeher degree in 2002.

Dissertations of CurrentlyEnrolled Students

Nadja Aksamija“The Villa in the Life of the Sixteenth-CenturyRagusan Patriciate” (Patricia Fortini Brown)

Nikolas Bakirtzis“The Monastery of Timios Prodromos nearSerres: The Architecture of the Monastery and ItsEnvirons” (Slobodan Curcic)

Peter Barberie“Charles Marville’s Photographs of the Bois deBoulogne” (Peter Bunnell)

Kimberly Bowes“Christianity in the Private Sphere: PrivateChapels, Villa-Churches, and Domestic Piety inLate Antiquity” (Slobodan Curcic)

Kevin Gray Carr“Ritual Narrative Art in the Medieval Cult ofPrince Shotoku” (Yoshiaki Shimizu)

Elena Filipovic“Unbuilding: Towards a Surrealist Architecture"(Hal Foster)

Mary Frank“The Woman of a Certain Age in Sixteenth-Cen-tury Secular Venetian Art” (Patricia Fortini Brown)

Ludovico Geymonat“The Pictorial Program of the Parma Baptistery”(Slobodan Curcic)

Carolyn Guile“The Ambulant Life: Art and Theory at LazienkiPark in Warsaw, 1683–1795” (Thomas DaCostaKaufmann)

Eva Havlicova“The Development of the Ink Painting Traditionin the Kamakura Center of Eastern Japan duringthe Later Muromachi Period” (Yoshiaki Shimizu)

Gordon Hughes“Robert Delaunay’s Sensory Abstraction”(Hal Foster)

Lori Johnson“Corot and the Figure in the Landscape”(Carol Armstrong)

´ ˇ ´

Vertumnus and Pomona by ananonymous Flemish master,ca. 1630s, one of the paintingsthat will be restored and shownin an exhibition at the NationalGallery in Sofia curated byTodor Petev

´ ˇ ´

´ ˇ ´

S P R I N G

Kyriaki Karoglou“Early Greek Votive Offerings: The TerracottaPlaques” (William Childs)

Yukio Lippit“The Birth of Japanese Painting History: Authen-tication and Inscription in the SeventeenthCentury” (Yoshiaki Shimizu)

Hui-wen Lu“Calligraphy of Stone Engravings in NorthernWei Luoyang: The Development of Regular Scriptfrom the Fifth to Sixth Century” (Wen Fong)

Heather Minor“Alessandro Galilei and Ferdinando Fuga:Architecture in the Roman Republic of Letters”(John Pinto)

Mark Mitchell“The Artist-Makers: Professional Art Educationin New York City during the Mid-NineteenthCentury” (John Wilmerding)

Kevin Moore“Jacques-Henri Lartigue: Invention of an Artistfor the History of Photography” (Peter Bunnell)

John N. Napoli“The Certosa di San Martino in Naples: Collabo-ration, Decoration, and Illusion” (John Pinto)

Todor Petev“A Middle Dutch Prayer Book on the Life andPassion of Christ (Kortrijk, S.B. Ms. 26): A Studyof the Transition from Hand-Produced to PrintedImages in the Late Middle Ages” (James Marrow)

Christina Stacy“Veri Ritratti: Pietro Longhi and Genre Paintingin Eighteenth-Century Venice” (Patricia FortiniBrown)

Christine Tan“Illustrated Editions of ‘The Peony Pavilion’:Issues of Narrative Illustration in the Late Ming/Early Qing” (Wen Fong)

Hans Thomsen“Ito Jakuchu and the Rokuonji Temple Ensembleof 1759” (Yoshiaki Shimizu)

Francesca Toffolo“Art and the Conventual Life in RenaissanceVenice: The Monastery Church of Santa Caterinade’ Sacchi” (Patricia Fortini Brown)

Jelena Trkulja“Articulation and Decoration of Late ByzantineChurch Facades: The Case of the ‘Morava Style’”(Slobodan Curcic)

Joshua Waterman“The Visual Arts and Poetry in Seventeenth-Century Silesia” (Thomas DaCosta Kaufmann)

Dissertations RecentlyCompleted

April 2000Andrew Sherwood“Roman Architectural Influence in Provincia Asia:Augustus to Severus Alexander”

May 2000Melissa McCormick“Tosa Mitsunobu’s Ko-E: Forms and Functionsof Small-Format Handscrolls in the MuromachiPeriod (1333–1573)”

Madeleine Viljoen“Raphael into Print: The Movement of IdeasAbout the Antique in Engravings by MarcantonioRaimondi and His Shop”

June 2000Jennifer Hardin“The Nude in the Era of the New Movement inAmerican Art: Thomas Eakins, Kenyon Cox,and Augustus Saint-Gaudens”

October 2000Mimi Hellman“The Hôtel de Soubise and the Rohan-SoubiseFamily: Architecture, Interior Decoration, and theArt of Ambition in Eighteenth-Century France”

January 2001Joel Smith“New York Modernism and the Cityscapes ofAlfred Stieglitz, 1927–1937”

April 2001Nicole Fabricand-Person“Filling the Void: The Fugen Jãrasetsunyo Iconog-raphy in Japanese Art”

Andrew Hershberger“Cinema of Stills: Minor White’s Theory ofSequential Photography”

Paul Paret“The Crisis of Sculpture in Weimar Germany:Rudolph Belling, the Bauhaus, Naum Gabo”

Janet Temos“Augusta’s Glittering Spires: Thomas Archer andthe Queen Anne Churches, 1711–1738”

June 2001Anthony Barbieri-Low“The Organization of Imperial Workshops duringthe Han Dynasty”

Fellowships andJobs for 2000–01

Anthony Barbieri-Low: HydeSummer FellowshipKimberly Bowes: PrincetonUniversity Honorific FellowshipMichael Cole: University ofNorth CarolinaAndrew Hershberger: BowlingGreen State UniversityRandon Jerris: United StatesGolf AssociationAsen Kirin: University of GeorgiaHui-wen Lu: Chiang Ching-kuoFoundation FellowshipShane McCausland: Universityof LondonMelissa McCormick: ColumbiaUniversityMark Mitchell: CASVA Sum-mer Fellowship and WinterthurFellowshipKevin Moore: Whiting FellowshipAndrew Sherwood: Universityof TorontoFrancesca Toffolo: GladysKrieble Delmas FellowshipHelen Deborah Walberg:Gladys Krieble Delmas FellowshipJoshua Waterman: Kress TravelFellowship and Dr. GüntherFindel-Stiftung zur Förderungder Wissenschaften

Fellowships for2001–02

Nadja Aksamija: Hyde FellowshipKimberly Bowes: Charlotte W.Newcome FellowshipCarolyn Guile: Fulbright Scho-larship and ACLS FellowshipGordon Hughes: WhitingScholarshipKyriaki Karoglou: Homer A.and Dorothy B. ThompsonFellowship, American School ofClassical Studies in AthensYukio Lippit: CASVA andAndrew Mellon FellowshipsChristina Stacy: Gladys KriebleDelmas FellowshipHans Thomsen: FulbrightScholarshipJoshua Waterman: FulbrightScholarship´ ˇ ´

S P R I N G

ExcavationsExcavations at Polis

Chrysochous, Cyprus

Alarge crew of Princetonians and othersreturned to the village of PolisChrysochous on the northwest coast of

Cyprus in the summer of 2000 to continue theexcavations sponsored by the department anddirected by William Childs. Since 1983 thePrinceton team has worked to excavate anddocument the remains of the city that was thesource of scores of wealthy tombs found in thearea. According to the literary sources, the citycalled Marion, which was the seat of an Archaickingdom, was destroyed in 312 B.C. and wassucceeded by Arsinoe, the town founded byPtolemy II Philadelphos in the 270s.

A major part of this season’s digging wasdone in the area next to the excavation house onthe northern edge of the village. Trenchesopened here in previous years had revealed a

Lusignan complex of the fourteenthand fifteenth centuries lying above aByzantine chapel and a large Romanbuilding, probably a villa, with apaved courtyard and elaboratelypainted Ionic columns. Furtherdigging this year uncovered a mosaicfloor of the fourth century A.D. andrevealed more of the Byzantinechurch. Numerous pieces of paintedwall plaster were recovered from thearea of the church, and preliminaryanalysis suggests that some of themmay be the earliest Byzantine wallpaintings known on Cyprus. Theexcavators also uncovered two rowsof charnel pits that contained lampsand metal belt buckles dating to thesixth century A.D. The buckles are atype particularly associated with theByzantine army and may be relatedto the bronze spear points and arrow-heads that were found to the east of

the church. Remains of rubble walling show thata defensive system was thrown up around thechurch and over the Roman villa. In the north-west corner of this area, large ashlar walls withrubble filling and some mud brick were found.These may belong to the fourth-century B.C. citydefenses, possibly to one of the city gates.

Excavations also continued in the trenchclosest to the center of the village, where a basilicaof the sixth century A.D. has been unearthed. Here

the Princeton team uncovered imported Atticpottery of the fifth and fourth centuries B.C. and abronze jewelry mold, but, curiously, no Hellenisticstrata. The discovery of a large Roman drain builtwith ashlar blocks helps to explain the disruptedstratigraphy: the entire area was churned up by theRoman builders.

The remains of an Archaic ashlar building ofimmense size were discovered in a field beyondthe northeastern edge of the village in 1999. Thepottery found there has now been studied, andmuch of it dates to the first half of the sixthcentury B.C., giving some support to the idea thatthis might have been the “palace” of the Archaiccity. This year a magnetometer survey of the fieldadjacent to this structure was done by HelmutBecker of the Bayerisches Landesamt fürDenkmalpflege. Becker’s survey revealed that arectangular grid of streets lies beneath the entireexpanse of the field, and that the southernmostroad leads directly to the ashlar “palace.” Furtherexcavation may help to identify the nature andfunction of this intriguing building.

Excavations at Balis, Syria

The fifth season of excavations sponsored by thedepartment at the Islamic site of Balis, Syria, tookplace in June and July 2000. Director ThomasLeisten assembled a roster of participants thatincluded fifteen archaeologists and techniciansfrom Syria, the U.S., and Germany. The perma-nent staff was also joined this year by under-graduates Hillary Allard ’03 and Dana Brintz ’03,both veterans of Leisten’s courses on Islamic art.

The work in Balis this year focused onceagain on a large, square building, measuring about200 feet on each side, with towers, gates, and abath. This structure sits on the ridge of the pla-teau of the Arabian desert overlooking theEuphrates valley. Architectural characteristics, aswell as ceramics, glass objects, fragments of carvedstucco decoration, and traces of glass mosaicsdiscovered in previous years indicated an earlyIslamic date for this building, around the lateseventh or early eighth century A.D. This date wasconfirmed by finds made during the last season,including an inscription and datable coins.

This building belongs to a group of struc-tures identified as the “desert palaces” of theUmayyad dynasty. These so-called palaces servedthe caliphs and relatives of their families as plea-sure domes, hunting lodges, and pieds-à-terre intribal areas that cover modern Syria, Jordan,

Nassos Papalexandrou *98excavating one of the charnel

pits discovered during lastsummer’s excavations at Polis

Chrysochous, Cyprus

S P R I N G

Lebanon, and Palestine. They also probablyfunctioned as the administrative centers of vastagricultural domains. Excavations of otherUmayyad palaces of this period have producedscant evidence to support the idea that the caliphsof this era, rulers of a world empire, were alsofarmers and horse breeders. The Princeton teamdiscovered twenty rooms within the mansion atBalis that were clearly used for some kind ofproduction that required the use of large amountsof water, providing undeniable substantiation ofthis theory. Ten of these rooms were built on anelevated level and had concrete floors and splash-proof walls. Drains from these rooms evacuatedwaste water into underground channels cut intothe conglomerate rock outside the building.

continued on next page

The Nolli Database

For many years Professor John Pinto hadseen the frustrations of students attempt-ing to come to grips with the urban con-

text of buildings, which are so often presented inslides as isolated monuments. How does onebuilding or set of buildings relate to others?How did natives, pilgrims, and tourists of theeighteenth century move through the city ofRome and experience it? New digital technolo-gies seemed to offer the means to explore theseand other questions. Six years ago, Pinto receivedsupport from the 250th Anniversary Fund toapply new digital technologies to his courses inthe history of architecture and urbanism. At thetime he never imagined how involved he wouldbecome with this project or the degree to whichit would change the way his students study.

Working with Kirk Alexander and the staffof the Educational Technologies Center, as wellas with Ben Kessler of Slides and Photographs,Pinto has developed an interactive database oftexts and images relating to the city of Rome asan artistic center. Giovanni Battista Nolli’s eigh-teenth-century plan functions as the front end ofthe database (www.princeton.edu/almagest/nollimap.html). The user clicks on buildingsand urban spaces on the map to gain access to arich collection of data, including over 1,500digitized slides as well as thumbnail buildinghistories, literary quotations, and bibliographicalreferences. The Nolli database is sophisticatedand flexible enough to support a variety of appli-cations. These have included a freshman semi-nar, two undergraduate lecture courses, and anon-line course which integrates multimedia and

has an enrollment of nearly 1,000 alumni (www.princeton.edu/almagest/princeton_rome). Thedigital technology allows students and teachersto approach instruction and learning in new waysthat emphasize the emphatically contextualnature of architecture and urban form.

Students can virtually walk along an eigh-teenth-century street: by clicking right and lefton monuments they can pull up images showingthe buildings as they appear today and—empha-sizing printed views by Nolli’s contemporariesPiranesi and Vasi—as they appeared in the past.Or, to cite another example, they can display allof the sites mentioned in Nathaniel Hawthorne’snovel The Marble Faun, experiencing the citythrough a literary lens. The on-lineversion of Nolli’s plan not onlylends itself to exploring thehorizontal dimension of urbanform—linked sequences ofstreets and squares—butalso vertically layered sitessuch as San Clementeand St. Peter’s.

Students can nowengage with architectureand its urban setting innew and exciting ways.One interested in papalpatronage, for example, cancall up all of the buildingserected under Julius II orAlexander VII. Others can search byarchitects and building types: fountains,

Leisten’s team was able to clear thischannel system for a length of morethan ninety feet, when the work wasstopped for reasons of safety. Sincethese drains were used as wastedumps by the inhabitants of thepalace, the large amounts of boneand plant material recovered willhelp us reconstruct the diet of theseroyal farmers.

John Pinto (center) discussesthe Nolli database project withKirk Alexander, director of theEducational Technologies Cen-ter, and instructional designerJanet Temos *2001 (Art andArchaeology)

Jon Roemer

Excavations atop the city wall ofBalis, showing some of the

houses that were built there,rendering the city defenseless

before the Mongol invaderswho arrived in 1263

S P R I N G

churches, and villas, for example. It is also pos-sible to trace and partially reconstruct importantprocessional routes, such as the Papal Way. Byhighlighting street systems and groups of build-ings experienced sequentially on the Nolli plan,students can escape the tyranny of the traditionalart-historical emphasis on individual monumentsand establish a more contextual approach thatemphasizes the city as an organic totality. Pre-sented in this way, the city starts to come alive;students begin to explore Rome on their own,asking and answering questions as they movethrough it.

Over several years, Pinto has observed manyways in which the new technology permits a far

Marquand Library News

Librarian Janice Powell reports that for thelast eleven years department faculty andthe staff of the Marquand Library have

been planning toward the renovation and limitedexpansion of the current building. Several planswere put forth over the years, but the final mas-ter plan, worked on by the Boston firm Shepley,Bulfinch, Richardson, and Abbot (SBRA), wasunanimously adopted by the faculty and subse-quently by the department’s advisory council lastspring. Fund-raising began immediately thereaf-ter, and the kickoff meeting for the design phasewas held in February. SBRA was awarded the

contract for the renovation; ground-breakingis planned for the spring of 2002.The expansion will include an undergroundwing beneath the current McCormickentrance courtyard, approximately doublingthe size of the A floor, and a third story willbe added to the roof. Study space will beexpanded and greatly enhanced, the collec-tions will be reorganized in new sequences,and a state-of-the-art facility for reproduc-ing text and images will be added. Lessvisible improvements will include the re-moval of asbestos and the upgrading of allof the air-handling, electrical, and cablingsystems. Simultaneously, the University’splanning office will undertake further reno-vations to other parts of McCormick Halland The Art Museum. The final phase ofthe project will include improvements tothe landscaping around McCormick.As early as this summer, Marquand’s collec-tions will be moved to two other campus

libraries—Engineering and Mudd. All of thecollections should remain accessible to usersduring the renovation, except during the actualmoving process of one to two weeks. Planningfor the complex moving process is well underway,as is the design for the new library. Janice Powellis coordinating the move and is actively involvedin the design phase.

The University Library has introduced anew integrated computer system, Voyager (http://libweb.princeton.edu), that allows users toview the on-line catalogue as well as items thathave been recently acquired but not yet cata-logued. Nearly all of the records for materialcatalogued before 1980 have also been convertedand are included in the new catalogue. Thisintegrated catalogue joins the many electronicdatabases now available to researchers usingMarquand, radically changing the way in whichart-historical research is conducted.

The library continues to buy extensively inall of the traditional fields of Western art andarchitectural history, as well as classical, medieval,Islamic, pre-Columbian, and Far Eastern art andarchaeology. In the last several years special em-phasis has been given to a significant expansionof the modern collections, including photography.The number of Web resources for locating articlesand images has also increased. Marquand contin-ues to acquire facsimiles and rare materials. Lastyear the library acquired facsimile editions of theLorsch Gospels, Das Lorscher Evangeliar (Lucerneand Vatican City, 2000); the Morgan CrusaderBible, Das Kreuzritterbibel (Lucerne and NewYork, 1998); and Melchior Lorich’s 1559 pan-

greater degree of involvement on the part ofstudents with the urban structure in which his-torical buildings are embedded. This occurs atmultiple levels, ranging from formal lecturepresentations to preceptorial discussions, to theprocess of on-line review and problem solving.He has found that the database also facilitates amore interactive kind of teaching, one whichmoves away from the passive reception of knowl-edge by the students to the more active give-and-take of discussions and collaborative projects.Finally, it allows him to ask more challengingquestions, and the students to take on moreambitious assignments.

The frontispiece of volume threeof Jonathon Friedrich Penther’s

Erster Theil einer ausfürlichenAnleitung zur bürgerlichen Bau-Kunst (Augsburg, 1746), one ofthe rare books acquired by the

Marquand Library this year

S P R I N G

continued on next page

orama of Istanbul (Istanbul, 1999). We were alsofortunate to be able to purchase original firsteditions of Karl Robert Schindelmayer’s three-volume Description des principaux parcs et jardinsde l’Europe (Vienna, 1812), Alain Bosquet’s LesAméricains, with photographs by Robert Frank(Paris, 1958), Jonathon Friedrich Penther’s four-volume Erster Theil einer ausfürlichen Anleitungzur bürgerlichen Bau-Kunst (Augsburg, 1744–48),and Johann Jacob Schübler’s five-volume Synopsis

Slides & Photographs

It is not an exaggeration to say that the slideand photograph collections form the lifeblood of the department. Departmental

curriculum and research are now supported bysome 330,000 slides and countless photographs.In recent years, 17,000 digitized images havebeen added to these materials. Production ofthese resources depends on photographic skill,and access to them depends on accurate catalog-ing and classification. A database that keepstrack of artists, places, works of art and architec-ture, and bibliographical sources has now accu-mulated records pertaining to 100,000 slides.

None of this would be possible without thewide-ranging skills and knowledge of an ableand dedicated staff, directed by Ben Kessler:

Shari Kenfield, curator of research photographs,marked her thirtieth year at Princeton thisspring. Holder of an M.A. in art history fromRutgers, Shari has maintained and preserved aphotographic archive that includes the results ofover one hundred years of Princeton’s archaeo-logical activity. Much of this material is uniqueand serves researchers from around the world.This past year, Shari helped organize and mountan exhibition of rare photographs of the earlyIslamic palace at Mshatta in Jordan.

David Connelly, photographer, came to Prince-ton in 1973. He studied photography at theRochester Institute of Technology. Few art his-tory departments have a photographer withDavid’s level of skill and professionalism. Inrecent years, David has made a leap of interestfrom the analog to the digital world, and he hasbecome an enthusiastic participant in our digitalprojects. He also periodically provides instruc-tional workshops on photographic methods tograduate students.

Marilyn Gazzillo, media specialist/art cataloger,received a B.A. in studio art/art history atMillersville University and is in her nineteenthyear in Slides and Photographs. Marilyn is re-sponsible for projecting slides in departmentclasses that are taught in McCormick Hall—approximately 8,200 classes as of this spring. Asaudio-visual technology has become more com-plex, she has taken on a greater range of videoand digital applications in her capacity as projec-tionist. Marilyn has also contributed to the slidecataloging effort, working primarily on Islamicdecorative arts and architecture.

JoAnn Boscarino, imaging specialist/art cata-loger, joined the Slides and Photographs staff in1992 and holds a B.A. in studio art from DrewUniversity. She has applied her versatile skills toboth the research photograph and the slidecollections. For research photos she has helpeddevelop automated finding aids to specializedholdings. In the slide collection she has cataloged

Architecturae Civilis Eclecticae (Nürnberg, 1732–35).

Marquand has also acquired a scanner, andstudents can now scan and e-mail images tothemselves. Three staff members joined thelibrary this year: Steven Brown, Robert Gross,and Yili Fan, replacing Pat Vizzoni, CarrieSwanson, and Guangmei Li. Photocopying hoursduring the academic term have been extended,so that photocopying is now possible wheneverthe library is open.

Slides and Photographs staff:(left to right) Shari Kenfield,Marilyn Gazzillo, JoAnnBoscarino, Lisa Troy, VirginiaFrench, Xia Wei (not pictured:David Connelly)

Joh

n B

laze

jesw

ki

S P R I N G

Index of Christian Art

material ranging from Islamic architecture totwentieth-century photography. JoAnn serves aspecial function as a digitized imaging specialist,handling the scanning of slides and the post-processing of photo-CD images. JoAnn has alsocontributed her photographic and design skillsto a number of projects.

Xia Wei, curator of Far Eastern slides and pho-tographs, came to the Department of Art andArchaeology in 1993. A graduate of BeijingUniversity, Xia Wei has a broad knowledge ofChinese art and has gained a strong understand-ing of Japanese art. Her extensive knowledge ofboth Eastern and Western languages providesPrinceton with a rare talent, and allows her tooversee her portion of the collections in anautonomous way. She has independently devel-oped a slide cataloging database that helps pro-vide access to a complex classification system.

Virginia French, in her third year at Princeton,was recently promoted to assistant to the directorof Slides and Photographs. She received an M.A.in European history from Columbia and as anundergraduate studied classical archaeology atHunter College. As a slide cataloger, Virginia isresponsible for works from the ancient world, anoften recondite area that she has negotiated well.As assistant to the director, she manages the dailywork-flow of slide production; she has improvedefficiency by instituting a number of work-savingprocedures in our operation.

Lisa Troy, art cataloger, joined the Slides andPhotographs staff in 1999. She earned an M.A.in art history from the University of Pittsburgh,specializing in Renaissance and Baroque art. Lisais responsible for cataloging a wide range of slides,from the Renaissance to the modern period, andhas contributed her knowledge in particular areassuch as frescoes and old master prints.

The Index of Christian Art continues toexpand and develop under the directionof Colum Hourihane. The Index re-

cently completed the first year of a long-termproject to catalogue the Morgan Library’s entirecollection of Western manuscripts. Full-colorimages, most of which have never before beenpublished, and accompanying iconographicalanalysis are posted on the Index’s World WideWeb site as soon as the manuscripts are cata-logued. Over one hundred Morgan manuscriptsare already accessible via the Internet, and theproject is being praised as a model of collabora-tion within the library and art world.

The Internet database of the Index, whichis now available from Israel to Los Angeles, hasalso attracted considerable attention. It is thelargest database available to the medieval iconog-rapher via the Internet, with records for overtwenty thousand works of art and some fortythousand images. The Index is also making itsresources available in more traditional forms: lastsummer saw the release of the first extract fromthe Index files to be published in book format.Focusing on the personifications of virtue andvice in the Index, this volume is expected to bethe first of many such extracts.

This summer the Index of Christian Artreceived a grant to explore the development of aprototype Index of Islamic art. In the 1960s the

Index provided the model and inspiration for thecreation of the Index of Jewish Art, which isbased at the Hebrew University of Jerusalem.With the current interest in Islamic art at Prince-ton, it is hoped that an index of Islamic art willbe undertaken in the near future, filling thevacuum that exists for the study of images relat-ing to this third major world religion. In themeantime, with the assistance of Mika Nativ, adoctoral student at New York University, andOleg Grabar of the Institute for Advanced Study,a start was made in the Index of Christian Artduring the summer months. Over four hundredworks of art representing Christian motifs inIslamic art were catalogued and entered into thedatabase; they are currently available on theIndex’s Web site. Some of these motifs, such asMohammad, are subjects which were not previ-ously represented in the Index, while others, suchas Christ’s death, broaden pre-existing subjects:in Islamic art Christ is never shown crucified.This project continues on a limited basis as partof the Index of Christian Art, but we hope that itwill soon develop a life of its own.

Work on converting the Index’s sculpturerecords to an electronic format was given a consid-erable boost this year when it received permissionto digitize the entire photographic archives ofJames Austin, fine arts photographer of Cam-bridge, England. Austin is recognized as one of the

Departmentto ExhibitCoomaraswamyPhotographs

Ananda Kentish Coomaraswamy

(1877–1947), the pioneer histo-

rian of Indian art and one of the

leading interpreters of Indian

culture to the West, was also a

great collector of photographs

documenting the culture and

peoples of southeast Asia. His

archive of black-and-white

prints—which is particularly

rich in images of dance drama

in Thailand, Sri Lanka, Cambo-

dia, Indonesia, and China—

came to the department in the

1970s and is now part of the

research photographs collec-

tion. Curator of research photo-

graphs Shari Kenfield and

graduate student Andrew

Hershberger *01 have selected

thirty-four photographs from

this fascinating collection,

which has never before been

exhibited, for the exhibition

“Glimpses of the East: Photo-

graphs from the Ananda

Coomaraswamy Collection.”

Most of these photographs

date from the late nineteenth

and early twentieth centuries,

and many of them document

the elaborate costumes and

highly ritualized performances

of southeast Asian dance

drama. The exhibition also

includes striking portraits and

atmospheric genre scenes. The

value of these images is more

than just documentary—they

also provide a vivid illustration

of Coomaraswamy’s apprecia-

tion of the aesthetics of photog-

raphy. The exhibition, which

will include a biographical

sketch of Coomaraswamy by

Professor Thomas Leisten, will

be on display in McCormick

Hall from June through Decem-

ber 2001.

S P R I N G

world’s finest photographers of medieval sculptureand architecture, and a copy of his archive ishoused in the Slides and Photographs collectionin the department. Digitization of Austin’s archivehas already begun, and several hundred black-and-white images of Moissac, Arles, Chartres, andAuxerre, among other sites, are now available onthe Index’s Internet site. The focus of the collectionis mainly French Romanesque and Gothic sculp-ture and architecture, and its quality and coverageare unparalleled.

As part of its ongoing program of confer-ences and lectures, the Index worked closelywith the Program in Medieval Studies during thelast year to organize a number of public lectures.Among the speakers were Katrin Kogman Appelof Ben-Gurion University of the Negev, whospoke on Jewish iconography, and Mat Immerzaland Karel Innemée, both from the NetherlandsInstitute for Near Eastern Studies in Leiden,who brought us up to date on recent discoveriesof Coptic wall painting. The focus of the mostrecent Index conference, which attracted a near-

capacity audience, was the close relationshipbetween art and the liturgy. Entitled “Objects,Images, and the Word: Art in the Service of theLiturgy,” it brought together a number of speak-ers from the U.S. and abroad to present theirresearch on this subject.

Leslie Bussis Tait left the Index to join theNational Museum of Catholic Art and History,which is soon to open in New York. Leslie takesup the post of curator at the museum, and wewish her well in her new position. Her replace-ment, Aharon (Rick) Wright, is a graduate ofPrinceton who completed his doctoral studiesunder Michael Curschmann.

It is with sadness that we report the death ofElizabeth Beatson. Elizabeth was one of thoserare characters who, once met, would never beforgotten. She worked in the Index for a numberof years and maintained a parental interest in itsdevelopment right up to the moment of herdeath. She will be sorely missed by all of hercolleagues and many friends in Princeton.

In Memoriam: Elizabeth Beatson

When I first arrived in Princeton in 1981, one ofthe first people I met was Elizabeth Beatson,who shared my interest in Italian trecento paint-ing. We spent many hours in animated discus-sions of various aspects of early Italian paintingand other topics. Highly intelligent, she wascritical of any new idea for analyzing paintings.Lectures by prominent scholars came under herwithering analysis if their ideas were illogical ornot well presented. She did not suffer fools gladly,though it was beneath her to humiliate anyonein public.

For a long time I tried to convinceElizabeth that punch tool analysiscould tell us much more aboutthe interactions of workshopsthan stylistic analysis alone.We argued at length aboutthis, she criticizing thevalidity of the entire meth-odology, while I tried toshow how it could be usedproperly. She could be exas-perating at times, and I amnot sure that she ever acceptedmy ideas on the matter.

Lacking a formal degree in art history,she seemed reluctant to step out on her own, eventhough her knowledge of languages, iconography,and the history of early Italian painting was out-standing. She felt more comfortable working with

Saint Nicasius and Saint Eutropia on the northtransept portal of Reims cathedral, one of thephotos from the James Austin archive that isbeing added to the Index of Christian Art’sdatabase

Elizabeth Beatson

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S P R I N G

Publications

The highlight of the department’s publi-cations program this year was the inau-guration of a new series from the Index

of Christian Art, Index of Christian Art Resources,which will make selected subjects of the Index’svast catalogue of Christian iconography availableto a much broader audience.

The first volume in this series, Virtue andVice: The Personifications in the Index of ChristianArt (Princeton, 2000), publishes the Index’sholdings of 227 Virtues and Vices. Ranging fromAbstinence to Wisdom and from Ambition toWrath, and including depictions of the Tree ofVirtues, the Tree of Vices, and the Conflict ofVirtues and Vices, this is the most comprehensivelist of such personifications in existence. Thecatalogue documents the occurrence of these

Virtues and Vices in nearly a thousand of worksof art produced between the fifth and the fifteenthcenturies. The entries include objects in twelvedifferent media and give detailed information ontheir current location, date, and subject.

Accompanying the catalogue are six essaysdevoted to the theme of virtue and vice. Theyinvestigate topics such as the didactic function ofthe bestiaries and the Physiologus, female personi-fications in the Psychomachia of Prudentius, theVirtues in the Floreffe Bible frontispiece, andgood and evil in the architectural sculpture ofGerman sacramentary houses. Colum Hourihane,director of the Index of Christian Art, edited thevolume and contributed one of the essays.

The department also published From IrelandComing: Irish Art from the Early Christian to the

or for others, and for many years she was MillardMeiss’s primary researcher.

My fondest memory of Elizabeth was work-ing with her on the Saint Victor altarpiece inSiena cathedral. Henk van Os had suggested that

the center panel of this long-missing paint-ing was in the Fogg Museum, and

that the two side panels were inCopenhagen. I approached

the problem from a techni-cal point of view, whileElizabeth, a researcher parexcellence, focused on thehistory of the altarpieceand the cathedral. Judith

Steinhoff *90, then agraduate student in the

department, fortuitouslylocated a sixteenth-century

cathedral inventory which men-tioned the altarpiece, its subject, and

the artist, Bartolomeo Bulgarini, whose workshad not yet been firmly identified. The three ofus published our findings in The Art Bulletin in1986. It was a wonderful collaborative effort,made possible by Elizabeth’s creative and excit-ing leadership.

I can still see Elizabeth—tall, slim, elegantlydressed, often wearing a stylish hat and lookingsomewhat like Virginia Woolf—striding purpose-fully to a date with one of her numerous friends.She would sometimes disappear for weeks ormonths on end, only to reappear suddenly toregale me with stories about caring for a friend

in Italy. She was always caring for others, rarelyfor herself. And then one day she was gone, neverto return.

Norman E. MullerConservator, The Art Museum

Janet Strohl

The computerization of the Index of ChristianArt has made many demands on the skills andexpertise of its staff since it was first begun in theearly 1990s. The database is now used on a dailybasis and has in many ways replaced the tradition-al paper files for which the Index was renowned.The photographic files continue to be maintained,but in the last few years the text files have beenentered only in electronic format. With thistransfer have come many advantages and, under-standably, many problems! Only a calm and coolperson could take responsibility for the Index’sdatabase, and we are fortunate in having hadJanet Strohl assume these duties for the past twoyears. A native of Princeton, Janet has over tenyears’ experience in computer training and cus-tomer support skills, and came to us from thecommercial world, where she developed particu-lar expertise as an analyst. With a far-reachingbackground in database structures, as well as adegree in computer science from Rutgers Univer-sity, she has been a valuable asset in this period ofchange in the Index. Answering queries andsolving problems for students and staff alike, sheundertakes all of her duties in a particularlycapable and efficient manner.

Janet Strohl

S P R I N G

Late Gothic Period and Its European Context, theproceedings of a conference sponsored by theIndex of Christian Art and edited by ColumHourihane. Focusing on Irish art from theeighth century A.D. to the end of the Normanperiod, this volume challenges the idea that thebest-known Irish monuments of that period —the high crosses, the Book of Kells, the TaraBrooch, the round towers — reflect isolatedInsular traditions. Seventeen scholars examinethe iconography, history, and structure of thesefamiliar works and a number of previously un-published pieces, demonstrating that they do havea place in the main currents of contemporaryEuropean art. Its emphasis on later monumentsmakes this one of the first volumes to deal exten-sively with Irish art after the Norman invasion.

Other recent department publicationsinclude Medieval Cyprus: Studies in Art, Architec-ture, and History in Memory of Doula Mouriki[*70], edited by Nancy Patterson Sevcenko and

Christopher Moss, a tribute to the well-knownByzantine scholar, the first woman to earn aPh.D. in the department; and The ByzantineOctateuchs, by Kurt Weitzmann and MassimoBernabò, the long-awaited corpus of Byzantinemanuscript illuminations. Image and Belief:Studies in Celebration of the Eightieth Anniversaryof the Index of Christian Art, which the depart-ment published in 1999, received the FranklinAward for educational books in the Neographics2000 competition.

Current projects include the second volumeof Index of Christian Art Resources, this one onrepresentations of King David. The department’spublications program is directed by Editor ofPublications Christopher Moss *88. All of ourbooks are distributed by Princeton UniversityPress (http://pup.princeton.edu, select Browseby Series, then Publications of the Departmentof Art and Archaeology, Princeton University).

Alumni NewsUndergraduates

Alison Sharpe Avram ’91 married anotherPrinceton alum, Mathew Avram ’89, in 1993.She then attended medical school at ThomasJefferson University Hospital in Philadelphia,graduating in 1996. She completed her resi-dency in dermatology at the Hospital of theUniversity of Pennsylvania in June 2000, ap-proximately three weeks after she had her firstchild, daughter Rachel. She is currently practic-ing dermatology in New York, but in June 2001will move to Boston, where her husband willcomplete his dermatology training at Massachu-setts General Hospital. [ASADerm@aol.com]

Jessica Ahnert ’00, who wrote her thesis onmodern domestic architecture and urban design,is now working at the production office of thetelevision series Bob Vila’s Home Again in Cam-bridge, Massachusetts. As a research assistant shehelps develop ideas for the show, includingdesign concepts, products, locations, architects,builders, and developers. Jessica recently at-tended the National Association of Home Build-ers Trade Show in Atlanta, where she met AndresDuany and Sarah Susanka, both of whose workprovided valuable information for her thesis. Inthe coming year, along with her research at BobVila’s Home Again, she will be helping SarahSusanka with a PBS series about her books The

Not So Big House and Creating The Not So BigHouse. She is interested in hearing about newproducts or ideas related to this field.[jdahnert@alumni.princeton.edu]

Kirsten Kessler Beronio ’90 earned a master’sdegree in art history at Northwestern University,then attended law school at Georgetown Universityin Washington, D.C. She and college sweetheartGeorge Beronio ’90 (School of Engineering)were married in the Princeton Chapel in June of1996. They still live in Washington, where shespent several years working as a legislative aide inthe U.S. Senate. Kirsten is currently doing advo-cacy work on Capitol Hill for the NationalMental Health Association, working to improveawareness, prevention, and treatment of mentalillness. [kberonio@nmha.org]

Marina Birch ’98 is living in Chicago, where sheis working on a degree in interior design. She hasalso started her own interior design company,Birch Design Studio, Ltd., and is involved inseveral projects at the moment. Most of herclients also have an interest in art, so she intendsto add art consultation to her services. She andher boyfriend, a fellow Tiger from the economicsdepartment, recently acquired a house in Chicago,but they hope to return to New York in abouttwo years, after she graduates.[Mabstudio@aol.com]

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S P R I N G

Natasha Bult ’91, after studying with EmmetGowin in the Visual Arts Department, workedwith photographer Frederick Sommer and thenfounded The School of Black and White Pho-

tography, based on her studies with Emmetat Princeton. The school is now accreditedand has wonderful premises in London’scenter. It also offers photographic trips toParis, London, and New York.[Natbult@aol.com]

Katherine Healy Burrows ’90 danced as aprincipal ballerina with Les Ballets deMonte Carlo for a full season, and thenwith the Vienna State Opera Ballet for sixyears, also as principal ballerina. She alsoguested with different companies through-out Europe and in various gala perfor-mances. In late 1997 she returned to theUnited States and to professional figureskating. Katherine has skated in severaltelevision specials, does exhibitions, and iscoaching and choreographing eligible-trackcompetitive figure skaters. In January she

went to the United States National Figure Skat-ing Championships in Boston, this time as acoach. She was married in September 1997. Sheand her husband live on Long Island, where theyrun two figure skating schools, and a third atMonsey, New York, which is a high-level train-ing center. [pomrenoir@email.msn.com]

Sara Bush ’94 is working as the developmentcoordinator for the Timken Museum of Art inSan Diego. She completed her law degree at theUniversity of San Diego in May.[sarabush@cts.com]

Isabella Califano ’95 lives in San Francisco,where she has started a company, Chickabiddy,with her former advertising boss. Chickabiddymanufactures women’s surf and snowboardclothing, selling wholesale to about 90 stores—surf/snow shops and high-end Palm Beach bou-tiques—as well as through their Web site atwww.chickabiddy.com. This June she and TimEhrlich ’95 (Classics) will be married.[izzy@chickabiddy.com]

Brooke Collier ’99 continues to enjoy coveringbeautiful works of art, gorgeous gardens, andfabulous homes—not as a student, but as aneditorial assistant at House and Garden magazine.She also writes for Cooking Light magazine andlives in New York City with two fellow classmates.[Brooke_Collier@condenast.com]

Jamie Crapanzano ’00 is currently working as ananalyst in the Technology Group of BlackRockFinancial Management, a portfolio management

and risk assessment company located in midtownManhattan. [Jamie.Crapanzano@blackrock.com]

Rowena Houghton Dasch ’97 is in the secondyear of the master’s program in art history at theUniversity of Texas at Austin; she plans to gradu-ate in December of 2001. Last fall she married afellow Princetonian, Kevin Dasch ’97.[houghton@mail.utexas.edu]

Jessica Dheere ’93 interned at The Art Museumin Princeton after graduation, then moved backto her hometown, Memphis, where she did somegraduate work in art history. She wrote art reviewsfor Memphis’s alternative weekly, the MemphisFlyer, and in 1997, building on the architecturalhistory she studied at Princeton, began workingin the communications department of theAmerican Institute of Architects in Washington,D.C. Her job involved writing and editing forthe Institute’s monthly newspaper and for theirWeb site. In April 1999 Jessica moved to NewYork, where she took a position with Architec-tural Record. She’s now the managing editor ofARTnews magazine, which covers the art worldfrom a journalistic perspective. Under her direc-tion, ARTnews does investigative features (forexample, on disputes surrounding artist’s estates),profiles contemporary artists moving into thepublic eye, identifies trends and reports on devel-opments in scholarly research, and, as the namesuggests, focuses on what’s news in the art world.[jdheere@artnewsonline.com]

Todd Felix ’00 traveled with Professor ThomasLeisten to the Middle East to work on Princeton’sarchaeological excavation of Kharab Sayaar. Afterreturning to the U.S. he worked as a “professionalpet-care technician,” then as a ski instructor inColorado, later travelling in New Zealand (withAbi Ochs), Australia, and southeast Asia. Toddcurrently lives in Los Angeles, where he is ac-tively pursuing an acting career in film and tele-vision. He is very busy as a caterer and withrestaurant work, but has signed with agenciesand a manager and booked a few small roles ontelevision. He also works as a freelance writer.[toddfelix@hotmail.com]

Emily Finkelstein ’96 graduated from medicalschool at Yale this May, and has applied forresidency in internal medicine. She’s enjoyedspending much of her free time during the lastfour years in New York City visiting museumsand art galleries.

Blair Fowlkes ’98 is currently a second-yearstudent pursuing a Ph.D. in classical archaeologyat New York University’s Institute of Fine Arts.[ibf201@nyu.edu]

Alyson Goodner ’00 atgraduation 2000

S P R I N G

Carrington Nelson Fox ’93 returned to Nash-ville after working in London and Prague aftergraduation. She worked as a business reporterfor The Tennessean newspaper for two years andreceived her M.B.A. this spring from VanderbiltUniversity’s Owen Graduate School of Manage-ment. She writes a monthly food column for alocal magazine and has worked as a field reporterin South Africa for the International Red Cross.In November, she married David Fox (Univer-sity of Virginia ’83).[Carrington.Nelson@owen2001.vanderbilt.edu]

Lucia Cudemo Franke ’99 is teaching U.S.history and world history to seventh- and eighth-grade students at Earl Warren Middle School inSolana Beach, California. She plans to begin amasters’ program in education this summer inthe San Diego area. [lfranke@sduhsd.k12.ca.us]

Susie Gelbron ’95 has started a design andletterpress business, Carrot & Stick Press, withbusiness partner Julie Walker, whom she met inthe graduate program at the California Collegeof Arts and Crafts. Their business is located inOakland, California, but they work with clientsnationally as well as locally. Carrot & Stickspecializes in custom-designed wedding invita-tions and business and social stationery. TheirWeb site is www.carrotandstickpress.com.[susie@carrotandstickpress.com]

Margaret (Megan) Wellford Grinder ’95 hasbeen married for four years to Brett Grinder(Georgia Tech ’95). They live in Memphis,Tennessee, which is their hometown. Their firstchild, daughter Anne Stewart Grinder, was bornin October 2000. Megan spends most of hertime raising her daughter, but also paints oilportraits, mostly of children.[mgrinder@midsouth.rr.com]

Christiane Gruber ’98 is in the Ph.D. programin Islamic art history at the University of Penn-sylvania in Philadelphia. She also works on aregular basis at the Philadelphia Museum of Art,where she researches objects in the Islamic artcollections, gives public tours, and has taught acourse entitled “An Introduction to Islamic Art.”Last fall she was in Iran on an American Insti-tute for Iranian Studies fellowship, taking ad-vanced Persian language classes at the Universityof Tehran, as well as doing research in museumsand traveling around the country. Christianeplans to write a dissertation on the depictions ofsaints and martyrs in medieval Islamic manu-scripts, particularly in cycles which represent the“mi’raj” (or Muhammad’s mythical ascension toheaven), and how medieval and modern theories

of martyrdom and representation are visualized,codified, and revised. She is working on a broadrange of related topics, including the depictionof martyrs and the establishing of martyrs’ muse-ums and monuments after the Iran-Iraq War(1980–88). She currently has three articles inpress. [cjgruber@sas.upenn.edu]

Jacqui Hall ’95 is working as an interior designintern at the Hillier Group in New York andstudying interior design at the Parsons School ofDesign. [JHall@hillier.com]

Gregory Harlan ’95 recently graduated from theUniversity of Southern California School ofMedicine. While in medical school he spenteight months working on an infant growthresearch project in Guatemala, and he’s now apediatric resident at the University of California,San Francisco. He is recently engaged.[gharlan@itsa.ucsf.edu]

Cynthia Harris ’90 is living in New York Cityand has a career in graphic design. She is cur-rently associate design director of MORE maga-zine, a national women’s fashion and beautymagazine targeting women over forty, where shehas worked since the magazine was launched twoand a half years ago. [charris@mdp.com]

Alex Heilner ’93 has been living in New Yorksince 1996. He received his M.F.A. in photogra-phy and related media from the School of VisualArts in 1998 and has been teaching photography,digital imaging, and video production since. He’scurrently teaching in the Department of Photog-raphy and Imaging at NYU’s Tisch School of theArts. Since leaving Princeton, Alex has shown hiswork in galleries, museums, and at video festi-vals. His work continues to build upon themesdeveloped in his undergraduate thesis: investiga-tions into the nature of “natural” and “human-made” environments in the landscape, as well asthe societal constructs of our world. Recently hehas been collaborating with directors and per-formers to create original multimedia theater.“47 FRAMES,” a show developed as part of theCypher Collective, premiered in Amherst, Mas-sachusetts, in July 2000. [ajh5@nyu.edu]

Frederick Ilchman ’90 is finishing his ColumbiaUniversity Ph.D. on Venetian painting (specifi-cally Tintoretto), a field he first explored withPatricia Fortini Brown in 1987. He lived inVenice for more than four years, enjoying thesupport of a Fulbright and two grants from theMetropolitan Museum. He has also worked forSave Venice Inc., the largest non-profit organiza-tion dedicated to preserving the artistic patri-mony of the Serenissima. His recent publications

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Art MuseumNews

New Curator of Printsand Drawings

Laura M. Giles has joined The

Art Museum as associate curator

of prints and drawings, succeed-

ing Barbara Ross, who retired in

1999. Laura comes to Princeton

from The Art Institute of Chi-

cago, where she was research

curator for Italian drawings. She

has also held positions at the

Spencer Museum of Art at the

University of Kansas at

Lawrence, the Musée du Louvre,

and the Fogg Art Museum at

Harvard. While at The Art Insti-

tute, Laura co-authored, with

Suzanne Folds McCullagh, Ital-ian Drawings before 1600 in theArt Institute of Chicago(Princeton University Press,

1997). She also coordinated a

major documentation project,

researched and recommended

drawings for purchase, and

worked on publications. Laura

received her B.A. degree from

Swarthmore College, her M.A.

from Williams College, and her

Ph.D. in art history from

Harvard.

S P R I N G

include an article on Venetian painting for theTime Out Venice guidebook and an article onTitian for Rembrandt and the Venetian Influence(Salander-O’Reilly Galleries, New York, 2000).He stays in touch with a number of faculty andconcentrators from his Princeton years and isclose friends with a number of Princeton gradu-ate students now working on Venetian topics.[Ilchman@aol.com]

Jamye Fe Michele Jamison ’96 spent three anda half years as an assistant in the Department ofModern and Contemporary Art at the Philadel-phia Museum of Art. Last fall she returned toschool and is currently at the University of Texasat Austin working on her master’s degree in thePreservation and Conservation Studies Program.She expects to graduate in 2003 with a special-ization in book and paper conservation.[jamyejamison@yahoo.com]

Tim Johnston ’97 is currently clerking for afederal judge in Worcester, Massachusetts. Nextfall, he’ll join the law firm Nutter, McClennenand Fish, LLP, in Boston.[Timothy_Johnston@mad.uscourts.gov]

Mark Jones ’94 graduated from Stanford LawSchool in 1999 and has since been living in NewYork, where he practices tax and securities law.He continues to be involved with PrincetonProject 55 and is helping to plan a public serviceprogram to celebrate the tenth anniversary of theNew York City Project 55 program.[mjones@pillsburywinthrop.com]

Jacob Lauinger ’99 will receive his M.A. inMesopotamian history from the University ofChicago’s Department of Near Eastern Lan-guages and Civilizations this summer. He plansto continue his studies toward a Ph.D. inAssyriology. [jlauinge@midway.uchicago.edu]

Sarah Hermanson Meister ’94 is currentlyworking as an assistant curator in the Depart-ment of Photography at The Museum of Mod-ern Art in New York. In addition to hercollection and acquisition responsibilities, sherecently organized a small exhibition of HenriCartier-Bresson’s work after World War II as partof the end-of-century MoMA2000 program.She’s now working with German photographerMichael Wesely on a project documenting thenew building and expansion.[Sarah_Hermanson@moma.org]

Alison Poe ’94 is writing her dissertation in theDepartment of Art History at Rutgers. She spent1999–2000 in Rome on a Fulbright grant doingresearch for her dissertation on a third-century

tomb. This year she has been teaching surveyclasses at Rutgers and in the Paul McGhee Divi-sion of N.Y.U. [alisonpoe@hotmail.com]

Matthew Robb ’94 completed a one-year ap-pointment as assistant curator of pre-Columbianart at The Art Museum in Princeton and hastaken a position as visiting assistant curator ofancient American art at the Walters Art Museumin Baltimore. He will begin course work on hisPh.D. at Yale University in the fall of 2001,studying with Mary Miller ’75. He also serves asa researcher for the Metropolitan Museum ofArt’s “Timeline of Art History” Web site.[mhrobb@tollan.net]

Clare Rogan ’90 is living in Boston and writinga Ph.D. dissertation at Brown University in thehistory of art. The title is “Desiring Women:Constructing the Lesbian in German Art andVisual Culture, 1900–1933.”[clarerogan@earthlink.net]

Tara Weiscarger Seidel ’94 graduated fromDuke Law School in May of 2000. Last Augustshe and her husband Peter Seidel ’94 moved toNorth Carolina, where she works as a health careattorney at Womble Carlyle Sandridge & RiceLLC in Research Triangle Park.[twseidel@alumni.princeton.edu]

Darcey Shaiman ’97 lives in Jerusalem with herhusband Shani and their nine-month-old sonShmuel Yovel. She continues to paint, both herown works and on commission. Most recently,she and her husband started an artists’ printingbusiness, Giclee Images. The company specializesin low-cost printing for artists working in Israel,and the response has been very good. Darcey’s(not very up-to-date) Web site is at www.ajp.com, then choose “Sheva Chaya Shaiman” in thelist of artists. [sheva18@actcom.co.il]

Cecilia Silver ’00 is a candidate for an M.St.degree in the history of art and visual culture atOxford University and is enjoying both Englandand the program, which she finds particularlyexciting. She is currently focusing on the historyof collecting in Europe, with an emphasis oncultural property, and is pleased to report thather assigned readings have included severalauthored by current Princeton faculty members.[cecilia.silver@linacre.oxford.ac.uk]

Nicole Silver ’96 is completing her first year atVanderbilt Law School. Prior to beginning lawschool she worked in the legal department ofSotheby’s in New York and London for threeyears. This summer she will intern in the legaldepartment of the Smithsonian.[silver_nicole@hotmail.com]

Art MuseumNews

Le CorbusierExhibition

When French modernist archi-

tect Le Corbusier came to

America for the first time in

1935 he gave a series of three

lectures in Princeton. As he

discussed his theories of archi-

tecture and urban planning, he

drew with colored chalk on long

sheets of paper tacked to the

wall. Two vibrant drawings,

each approximately sixteen feet

long, survived from those lec-

tures. Rarely seen and never

exhibited, these drawings were

the centerpiece of an exhibition

organized by The Art Museum

and the School of Architecture.

The installation by Jesse A.

Reiser, a partner at RUR Archi-

tecture PC, reflected the espritnouveau of Le Corbusier’s lec-

tures. Models and photographs

of the projects represented in

the drawings were also on dis-

play, along with the film

L’architecture aujourd’hui, made

by the architect in 1931. The

Museum also organized a series

of lectures and gallery talks that

examined Le Corbusier’s impact

and the reception of modernism

in America.

S P R I N G

Elliott Smith ’99 worked for curator DebraSinger at the Whitney Museum, then for Italianartist Vanessa Beecroft, coordinating VB-42, alive performance involving the U.S. Navy onboard the USS Intrepid as part of the 2000biennial. He is currently working at the Archi-tecture Research Office (ARO), an architecturefirm in New York City that specializes in re-search on process and material use. Elliott plansto attend architecture graduate school in the fallof 2002. [ze29c6b@verizon.net]

Suzy Tompkins ’96 was the executive directorof Habitat for Humanity in her home town ofLaurinburg, North Carolina. During her tenureHabitat acquired a significant private donationof land and received a grant from the state ofNorth Carolina to build a subdivision with morethan thirty homes and a community park. She iscurrently assistant to the president at the SanFrancisco Art Institute, a fine arts college thatoffers B.F.A. and M.F.A. degrees. The Institutehas two galleries and is the first fine arts collegeto offer a major in digital studies. It hasmounted its own cutting-edge digital exhibitionsand contributed to digital exhibitions elsewhere,including 010101 at the San Francisco Museumof Modern Art and BitStreams at the WhitneyMuseum of American Art. Suzy is currentlytraining for the San Francisco Marathon in July,where she’ll run to support the Leukemia andLymphoma Society in their fight against blood-related cancers. [suzytompkins@yahoo.com]

Meilin Brigitte Yeh ’91 is presently researchingand training in Asian painting conservation at theUsami Shokakudo Studio and the Kyoto NationalMuseum’s Conservation Center in Kyoto, Japan.She has just been awarded a Research Fulbrightgrant to continue her studies. Located inside theKyoto National Museum, the Usami studio is oneof only three sanctioned to work on artworkdesignated as National Treasures and ImportantCultural Properties. As a member of this studio,she has been observing and participating in theconservation of significant pieces of Asian art. Shewill also be collaborating with Chinese conserva-tors as a result of a recently inaugurated exchangeprogram with the Beijing Palace Museum. Sheintends to specialize in Japanese scroll mounting.[mbyeh@onebox.com]

Graduates

Linda Aleci *91 is chair of the Art Departmentat Franklin and Marshall College in Lancaster,Pennsylvania, where she is associate professor ofart history. She’s recently contributed to CulturalCenters of the Renaissance: Milan and Lombardy

(Cambridge University Press, forthcoming) andis working on a book on the relationship be-tween portraiture and historical discourse. Her“Images of Identity: Italian Portrait Collectionsof the Fifteenth and Sixteenth Centuries” waspublished in The Image of the Individual: Por-traits in the Renaissance (British Museum Press,1998), and her article “Portraits and Historians”will appear shortly in a festschrift for JohnShearman (Harvard University Art Museum).Linda is also active in regional planning initia-tives and has given papers at national and inter-national conferences on the role of historians inurban development and land-use planning. Forseveral years she has been a historical consultantto the Planning Commission of LancasterCounty and was recently part of a team thatcreated a cultural resources management plan forthe Lancaster-York Heritage Region. At therequest of the Library of Congress, she under-took documentation of Lancaster’s Central Mar-ket, the nation’s oldest operating public market;her colleague Richard Kent *94 assisted with thephotographic work. In May 2000 their work wasofficially presented to the Archives of AmericanFolklife of the Library of Congress, where it isnow part of the permanent collection.[l_aleci@fandm.edu]

Carla Antonaccio *87 has taught classical ar-chaeology at Wesleyan University since 1988. InJanuary of this year she began a three-year termas dean of arts and humanities at Wesleyan[cantonaccio@mail.wesleyan.edu]

Andrea Bayer *91 is an assistant curator in theDepartment of European Paintings at the Metro-politan Museum of Art, working on ItalianRenaissance and Baroque painting. She was thecurator of the exhibition The Still Lifes of EvaristoBaschenis: The Music of Silence, which was shownin the Lehman wing from November 2000through March 2001, and was one of the princi-pal authors of the accompanying catalogue.[Andrea.Bayer@metmuseum.org]

Marina Belovic-Hodge *96 gave a lecture spon-sored by the Njegosh Endowment at ColumbiaUniversity on the pictorial heritage of medievalSerbia Sacra and its destruction. She also pre-sented a paper on the destruction of Serbia’sartistic heritage in Kosovo at the annual meetingof the American Association for the Advance-ment of Slavic Studies held in Boulder, Colorado.The Yugoslav Ministries of Culture and Sciencerecently announced that her book on the historyand painting of Ravanica monastery, publishedin Belgrade in 1999, has been named as one of

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Art MuseumNews

New African Gallery

In October The Art Museum

celebrated the opening of the

newly installed gallery of Afri-

can art. The new installation

allows the Museum to exhibit

several important works for the

first time. Now on view is a rare

Ngbe-society emblem which

served as a screen for an area

where important ritual para-

phernalia was stored. Many

objects from the bequest of

John B. Elliott *51 are also on

view, including a group of

shields from central and eastern

Africa, gold pieces from the

Akan peoples of Ghana, and

virtuoso examples of headrests,

metalwork, and baskets. The

new installation, which included

the conservation of objects, the

gallery design, and remounting

the entire collection, was sup-

ported by a grant from the

Andrew W. Mellon Foundation.

The newly displayed objects

were the focus of a gallery talk,

“Dressing Up/Bedding Down:

Personal Artifacts from Sub-

Saharan Africa,” by Margaret

Rose Vendryes *97, a visiting

professor in the department.

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the ten most significant new contributions tothe study of the culture and art of Serbia.

Virginia Bower *77 taught three courses inAsian art at Franklin and Marshall College inLancaster, Pennsylvania, filling in for anotherdepartment alum, Richard Kent *94, who wason leave. The chair of the art department at thecollege is Linda Klinger Aleci *91, another De-partment of Art and Archaeology graduate alum.[virginiabower@hotmail.com]

Neil A. Chassman *71 is currently engaged inthe development of an institute for arts andideas in Charlottesville, Virginia, where he hasbeen lecturing and writing about his endeavor.The institute is conceived as a venue for thebringing together of enterprising thinking in thearts, individually or collectively. Theory of thearts will be the underpinning for publications,exhibitions, and colloquia, with an emphasis onthe experimental. He has also been studyingchildhood thoughts, experiences, and percep-tions, partially due to his continued absorptionwith Proust, Fitzgerald, and Hemingway. Neil isalso re-examining the thinking about the artsand the interaction of personalities in Parisbetween the wars. He lives in the Blue RidgeMountains with his wife Lana and the youngestof their three daughters, Molly.

Gregory Clark *88 published a commentary onthe Hours of Isabel la Católica, a luxuriouslyillustrated manuscript painted by Willem Vrelantin Bruges, Belgium, around 1455; the Germanedition appeared in 1997 and the English versionwas published in 1999 by Bibliotheca Rara ofMünster, Germany. His comprehensive mono-graph on another fifteenth-century Flemishmanuscript illuminator, the Master of the GhentPrivileges, was published by Brepols of Turnhout,Belgium, in the spring of 2000. He is currentlywriting a commentary on the Spitz Hours, aParisian codex of about 1420, for the Getty Mu-seum Studies on Art series. [gclark@sewanee.edu]

Michael Cole *99 is assistant professor at theUniversity of North Carolina at Chapel Hill. Atthe 2000 CAA meeting, his 1999 article“Cellini’s Blood” was awarded the ArthurKingsley Porter Prize for the best article pub-lished in The Art Bulletin by a young scholar; thearticle was also reviewed in March 2000 in theFrankfurter Allgemeine Zeitung. He presentedpapers at the 2000 Renaissance Society ofAmerica conference in Florence, at the BardCenter for Graduate Studies in the DecorativeArts in New York, at the Johann WolfgangGoethe-Universität in Frankfurt, and at theUniversity of Georgia. Among Michael’s forth-

coming articles are pieces in Art History, theMitteilungen des kunsthistorischen Institutes inFlorenz, and Studies in the History of Art; his firstbook, Cellini and Principles of Sculpture, is forth-coming from Cambridge University Press. Nextyear he will be the Donald and Maria Cox Post-Doctoral Rome Prize Fellow at the AmericanAcademy in Rome. [mwcole@email.unc.edu]

Laura Coyle *92 became curator of European artat the Corcoran Gallery of Art in January. Shealready has two publications at the Corcoran:“Double Entendre: David Reed’s Project for theSalon Doré,” which was published on theCorcoran’s Web site (www.corcoran.org) in con-junction with Media/Metaphor, the Corcoran’sforty-sixth biennial exhibition; and “ConnectingWorlds: A Selection of Contemporary EuropeanSculpture,” which appears in the catalogue of anexhibition of sculptures and projects by artistsfrom the European Union. The exhibitionopened on 3 April 2001 on the Kennedy CenterTerrace in Washington, D.C. Laura is also orga-nizing two exhibitions: Turning Copper into Gold:The Seventy-fifth Anniversary of the William A.Clark Collection, which opens in October 2001;and, with William Jeffett, The Shape of Color:Joan Miró’s Painted Sculpture, opening in Sep-tember 2002. She is also supervising a projectwhich will culminate in a scholarly catalogue ofseventy-five of the most important Europeanpaintings in the Clark Collection at the CorcoranGallery. [lcoyle@corcoran.org]

Margaret D’Evelyn *94 spent most of this yearand last studying in Cambridge, England, as anassociate at Clare Hall, completing her bookVenice and Vitruvius: A Prehistory of DanieleBarbaro’s Commentaries, a revision of her Ph.D.dissertation. A grant from the Gladys KriebleDelmas Foundation provided the means for threeweeks’ work in Venice in July. Her article“Varietà and the Caryatid Portico in DanieleBarbaro’s Commentaries” appeared in the 1998–99 volume of the Annali di Architettura. Duringthe fall term she supervised (TA-ed) for DeborahHoward’s new lecture course on medieval andRenaissance architecture in Venice, 1300–1600;and this winter she attended Patricia FortiniBrown’s lively and innovative Slade Lectures onVenice. [MMDevelyn@cs.com]

Sabine Eiche *83 since 1988 has been a seniorresearch associate at CASVA, National Gallery ofArt, but is based in Florence, working part-timeon the Center’s architectural drawings project.She continues to research and publish in her twomain areas of interest: the art and architecture ofthe dukes of Urbino, and Italian Renaissance and

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Baroque architectural drawings. Among herrecent publications is an essay in Ordine et offitijde casa de lo illustrissimo signor duca de Urbino(Urbino, 1999), the transcription of a Renais-sance court manual which was formerly in thelibrary of the dukes of Urbino. In Apollo forNovember 1998 she published the long-lostproject plan by Costantino de’ Servi for Henrythe Prince of Wales’s palace and garden at Rich-mond, Surrey, which she identified in the StateArchives of Florence. Most recently, she pub-lished an unknown drawing by Andrea Palladio,which she discovered in Westminster AbbeyLibrary (Apollo, June 2000). Sabine is also veryinvolved with the activities of the AccademiaRaffaello in Urbino and of the Biblioteca Civicaof Urbania. She helped to organize the interna-tional conference on the Della Rovere dukes ofUrbino held in Urbania in September 1999; theproceedings of the conference are in press.[eichesabine@hotmail.com]

J. David Farmer *81 has been director of theDahesh Museum of Art in New York since 1993.The Dahesh is the only museum in the U.S.devoted to nineteenth-century European aca-demic art, with a permanent collection of about2500 works of art (http://daheshmuseum.org).The museum presents three major exhibitionseach year, one based on its own holdings andtwo loan exhibitions. David originally worked innorthern Renaissance, which he still enjoys, butnow specializes in art of the nineteenth century.He recently organized the exhibition A VictorianSalon: Paintings from the Russell-Cotes Art Galleryand Museum, Bournemouth, England; it wasshown at the Dahesh Museum and later traveledto Pittsburgh and Helsinki, Finland. Another ofhis recent projects was the international loanexhibition Overcoming All Obstacles: The Womenof the Acádemie Julian, which was accompaniedby a fully illustrated catalogue. He’s currentlyputting together loan exhibitions focusing onGérôme and Goupil (collaborating with GeraldAckermann *60), P.-A.-J. Dagnan-Bouveret,J.-J.-A. Lecomte de Nouy, and the students ofCharles Gleyre, as well as a survey of EuropeanOrientalism. David is on the adjunct faculty ofthe Pratt Institute and New York University’smuseum studies program and sits on the advi-sory boards of the journal Nineteenth-CenturyArt Worldwide and Christie’s M.A. program inconnoisseurship and the art market. He has alsobeen involved in the Dahesh’s campaign to saveand acquire 2 Columbus Circle, the EdwardDurrel Stone building that formerly housed theHuntington Hartford art gallery.

Marcy B. Freedman *81 exhibited seven ex-amples of her work at the Denise Bibro Galleryin Chelsea. This year she will exhibit in LosAngeles and Sacramento, California.

Ruth Gais *74 taught courseson the ancient world at a varietyof institutions, then changedcareers and is now a rabbi. Sheis the director of the New YorkKollel, The Center for AdultJewish Study at Hebrew UnionCollege-Jewish Institute ofReligion in New York City. Herhusband, Paul Needham, iscurator of the Scheide Libraryat Princeton. They have threechildren. [rgais@huc.edu]

R. R. Holloway *60 continues to publish activelyin the fields of archaeology and numismatics.His recent works include “The Mutilation ofStatuary in Classical Greece,” in MiscellaneaMediterranea, Archaeologia Transatlantica 18, ed.R. R. Holloway (Providence, 2000); “TheParthenon Frieze Again,” Quaderni Ticinesi diNumismatica e Antichità Classiche 29 (2000),1–20; “A Group of Argive Coins at BrownUniversity,” in Pour Denyse: DivertissementsNumismatiques, ed. S. Herter and C. Arnold-Biucchi (Bern, 2000); “Remarks on the TarantoHoard of 1911,” Revue belge de numismatique146 (2000); “The Classical Mediterranean, ItsPrehistoric Past and the Formation of Europe,” atwww.brown.edu/Departments/Old_World_Archaeology_and_Art/Publications (February2000); and “Ustica: Preliminary Report on theExcavations of the Bronze Age Site of Faraglioni,1999,” with Susan S. Lukesh, at www.brown.edu/ Departments/Old_World_Archaeology_and_Art/Publications (February 2000).[R_Holloway@Brown.edu]

Chu Hui-liang *90 worked at the NationalPalace Museum and lectured at National TaiwanUniversity in the years following her graduation.Since 1995 she has been a member of the legisla-tive Yuan of Taiwan. She is the first art historianto serve as a legislator, the equivalent to a senatorin the U.S. In the new millennium she ran anelection campaign for the vice president of Taiwan.In her role as legislator she has worked persis-tently on behalf of human rights and to improvethe educational and cultural environment inTaiwan. She has revised and proposed the ArtEducation Law, the Cultural Heritage Act, theCinema Law, and the Museum Law, amongothers. [lym018a@ly.gov.tw]

continued on next page

Rand Jerris *99, MadeleineViljoen *00, and Michael Cole

*99 at graduation 2000

S P R I N G

Robert J. H. Janson-La Palme *60 *76, retiredchairman of art at Washington College inChestertown, Maryland, did most of his researchand writing on locally-relevant eighteenth-cen-tury American art. Lately, after many trips toFlorence, he has returned to his first love: art ofthe Italian Renaissance. He acted as a sessionchair at last year’s meeting of the RenaissanceSociety, held in Florence. He is also writing forthe society’s Quarterly, including a forthcomingreview essay, “Painting and Sculpture for theTuscan Household.” Long active in Princetonalumni affairs, Robert has served on the alumnicouncil of the University and is presently amember of the department’s advisory council.

Vojtech Jirat-Wasiutynski *75, who teaches inthe Department of Art at Queen’s University inKingston, Ontario, recently published, with co-author H. Travers Newton Jr., Technique andMeaning in the Paintings of Paul Gauguin (Cam-bridge University Press, 2000).[vj@post.queensu.ca]

Martin Kramer *96 exhibited and presented acomputer installation entitled “Automatic Col-lage” at the international symposium “Feedback:Perception and Interaction in the ElectronicArts,” organized by the Center of Arts and Tech-nology at Connecticut College in March 2001.The installation consisted of a computer programthat allowed users to interactively create digitalcollages composed of image and text fragmentsfound for the most part on the Internet. Theprocess was controlled by user input, random-ness, and a numerical code derived from the titleof the collage. His presentation addressed ques-tions of authorship, interaction, and meaning.Martin also had an exhibition of photographs ofthe Connecticut College Faculty Dance Concert2000. The exhibition, entitled “Moments inMovement,” ran from February 16 through March9, 2001, and is also posted at www.princeton.edu/~mokramer/dc2000.[mokramer@princeton.edu]

Evonne Levy *93 is assistant professor in theDepartment of Fine Art at the University ofToronto; she is currently up for tenure review.Several of her long-standing projects are reachingcompletion: her book Propaganda and the JesuitBaroque is to be published by the University ofCalifornia Press, and her dissertation will bepublished by the press of the Jesuit HistoricalInstitute in Rome. Most recently, she curated asmall exhibition of graphic works, entitled AMatter of Form: Heinrich Wölfflin’s Principles ofArt History, at the Art Gallery of Ontario andorganized a conference on “Bernini’s Biographies”(Toronto, December 2000). Evonne has several

other book-length projects in the works, includ-ing one on the historiography of the Jesuit style,the Jesuit reception of Galileo, and “The Archi-tecture of Confession: St. Carlo Borromeo toFreud and Beyond.” [elevy@credit.erin.utoronto.ca]

Hayden B. J. Maginnis *75 has recently pub-lished The World of the Early Sienese Painter (Penn-sylvania State University Press, 2001). The secondvolume of a trilogy that began with Painting in theAge of Giotto (Pennsylvania State University Press,1997), this new volume places early Italian paint-ers in the context of their society and culture; it isa case study of how fourteenth-century painters’careers were shaped by the city in which theylived. Hayden is also the editor of Jane Satkowski,Duccio di Buoninsegna: The Documents and EarlySources (The Georgia Museum of Art, 2000). Atpresent, he is the associate director of the Schoolof the Arts, McMaster University.[maginnis@mcmail.cis.mcmaster.ca]

Robert S. Mattison *85 is professor of art his-tory at Lafayette College. His most recent bookis Masterworks in the Robert and Jane MeyerhoffCollection: Jasper Johns, Robert Rauschenberg, RoyLichtenstein, Ellsworth Kelly, and Frank Stella(New York, 1995). The manuscript of his fourth,book, “Breaking Boundaries: Robert RauschenbergStudies,” has just been completed and sent out topublishers. Among his recent articles is “FrankStella: Vortices, Turbulence, and Chaos Theory”for the exhibition Frank Stella: Imaginary Places.He recently returned from lecturing at the CairoBiennial. [mattisor@mail.lafayette.edu]

Shane McCausland *00 is currently PercivalDavid Visiting Scholar at the Percival DavidFoundation of Chinese Art, University of Lon-don, and is also visiting lecturer in the Depart-ment of Art and Archaeology at the School ofOriental and African Studies. At the DavidFoundation, he is organizing a three-day interna-tional conference entitled “The ‘Admonitions’Scroll: Ideals of Etiquette, Art, and Empire fromEarly China,” a joint venture with the BritishMuseum (18–20 June 2001; www.soas.ac.uk/PDF/colloquies.html). The conference will takeplace in conjunction with a rare exhibition of theiconic “Admonitions” scroll, attributed to theearly master Gu Kaizhi (about 345–406 C.E.), atthe British Museum. [sm80@soas.ac.uk]

Melissa McCormick *00 defended her disserta-tion on “miniature” Japanese narrative handscrollsof the fifteenth and sixteenth centuries last Mayand began teaching as the Atsumi AssistantProfessor of Japanese Art at Columbia Universityin September. She was recently awarded a GettyPostdoctoral Fellowship and will spend the next

DepartmentLecture Series

Fall Term

September 27, 2000

Emilio MarinArchaeological Museum, Split,and University of SplitEarly Christian Salona andNarona: Recent Research, Excava-tions, and Discoveries in RomanDalmatia

October 2, 2000

David FrisbyUniversity of GlasgowOld Vienna–New Vienna: Param-eters of Resistance to Modernity

October 16, 2000

Richard J. PowellDuke UniversitySartor Africanus

October 25, 2000

Kostas KotsakisAristotle University, ThessalonikiAway From Mycenae: Bronze AgeSocieties in the Periphery of theMycenaean World

November 9, 2000

Svetlana AlpersUniversity of California-Berkeley,Emerita, and Visiting ResearchProfessor, Department of FineArts, NYUThe Painter’s Museum: Velázquezand The Spinners

November 29, 2000

Cecil Lee StrikerUniversity of PennsylvaniaRecovering Byzantium: Explora-tions at Kalenderhane in Istanbul

January 11, 2001

Elena PischikovaMetropolitan Museum of ArtReliefs from the Tomb of the VizierNespakashut in American Museums

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academic year completing a book manuscriptbased on her dissertation and tentatively titledVisualities of Scale: Tosa Mitsunobu and theSmall-Format Handscroll in Medieval Japan.Melissa’s other current projects include an articleon warrior patronage and the pictorial canoniza-tion of the Tale of Genji, and a paper to be deliv-ered this summer on the subject of “whitedrawing,” a genre of Japanese narrative paintingwhich does not apply color pigments but usesonly a monochromatic palette. This presentationwill be the core of a second book-length studylinking the “white drawing” genre to amateurfemale artists at the imperial court in medievalJapan. [mm1704@columbia.edu]

Nancy Moore *84 was until recently the super-visor of the editorial department of Evans New-ton, Inc., an educational consulting firm inScottsdale, Arizona. She is now a grant writer atEvans Newton, where she is involved in re-searching and writing grants to fund kindergar-ten though twelfth-grade student achievementprograms throughout the country.[nminaz@yahoo.com]

Tina Najbjerg *97 will join the Digital FormaUrbis Romae Project at Stanford University forthe 2001–2002 academic year as a postdoctoralresearch fellow in classical archaeology. Theproject focuses on the Severan Marble Plan, afundamental but fragmentary resource for study-ing the ancient city of Rome. A team fromStanford’s Department of Computer Scienceshas assembled high-resolution three-dimensionalscans and digital color photographs of everyfragment. They plan to develop computer algo-rithms that will generate matches among thefragments and reconstruct additional portions ofthe map. For more on the project, see the Website www.graphics.stanford.edu/projects/forma-urbis/. Tina will work to develop thedatabase of digital photographs and 3-D modelsas an archaeological research tool, review andsynthesize bibliography on the Severan MarblePlan and Roman topography, oversee studentwork on the project, work on new fragmentmatches generated by the Computer Sciencesteam, and act as a general liaison for the project.[najbjerg@alumni.princeton.edu]

Paul F. Norton *52 has just published RhodeIsland Stained Glass: An Historical Guide (WilliamBauhan Publisher, Dublin, N.H., 2001) and ispreparing a new edition of Amherst: A Guide toIts Architecture. He also had a successful tennisseason, winning three tournaments and reachingthe finals in his age group (80s) in two others.[pnorton@arthist.umass.edu]

Amy Ogata *96 has been teaching at the BardGraduate Center for Studies in the DecorativeArts, Design, and Culture in New York Citysince 1998. Cambridge University Press willpublish her book Art Nouveau and the SocialVision of Modern Living this fall. Her currentprojects involve the theory of decoration at theturn of the century and a study of the toy com-pany Creative Playthings (which was based inPrinceton). She and her husband, JamesGoldwasser, had a baby boy last May.[ogata@bgc.bard.edu]

Roberta J. M. Olson *76 taught in the ArtDepartment at Wheaton College in Norton,Massachusetts, for twenty-five years, serving aschair for two terms and achieving the rank ofprofessor. She also held two honorary chairs—the A. Howard Meneely Chair (1990–92) andthe Mary L. Heuser Chair in the Arts (1997–2000). With seminar students, she organized anexhibition of drawings from Wheaton’s collectionfor the Watson Art Gallery; it was accompaniedby a catalogue, The Art of Drawing: Selectionsfrom the Wheaton College Collection (1997),which she edited. In late 2000 she resigned fromWheaton College and accepted the position ofassociate curator of drawings in the MuseumDivision of the New-York Historical Society,where she had guest-curated an exhibition in1990. Roberta is currently addressing the rehous-ing of nearly 5,000 drawings in the N-YHS’srecently opened Henry Luce III Center for theStudy of American Culture, is involved withseveral exhibitions, and is organizing quarterly,rotating mini-exhibitions in the Luce Center.Her recent publications include The FlorentineTondo (Oxford University Press, 2000) and, withJay M. Pasachoff, Fire in the Sky: Comets andMeteors. The Decisive Centuries in British Art andScience (Cambridge University Press, 1998;second edition, 1999). Her book Italian Renais-sance Sculpture, which was published by Thamesand Hudson in 1992, has just been updated andwill be republished shortly. During the last fewyears she has received a number of grants andfellowships, including a Getty Senior ResearchGrant (1994–95) and two Samuel H. KressGrants (1997, 1999). The Samuel H. KressFoundation has also given an Art in Contextgrant to support an exhibition she is currentlycurating for the New-York Historical Society:Seat of Empire, a loan exhibition which will placea consulate fauteuil used by Napoleon atMalmaison in its historical context.

Steven F. Ostrow *87 is associate professor of arthistory at the University of California, Riverside,

continued on next page

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where he served as chair for six years. His recentpublications include Art and Spirituality inCounter-Reformation Rome: The Sistine andPauline Chapels in S. Maria Maggiore (Cam-bridge, 1996), which was supported by a grantfrom the Samuel H. Kress Foundation and willappear in an Italian edition later this year. Healso contributed to and co-edited Dosso’s Fate:Painting and Court Culture in Renaissance Italy(Getty Research Institute, 1998) and wrote anumber of essays for La Basilica di San Pietro inVaticano (Modena, 2000). His articles haveappeared in The Art Bulletin (1996), Storiadell’arte (1998), and Art History (forthcoming).His current project is a book-length study of theart, theory, and biographies of GianlorenzoBernini, for which he has received the NEHPost-Doctoral Fellowship in the History of Artfrom the American Academy in Rome for 2001–2002. He lives in Los Angeles with his wife, anart programs consultant, and their five-year-olddaughter. [steveo@mail.ucr.edu]

Nassos Papalexandrou *98 spent the last twoyears as a visiting assistant professor in the De-partment of Classical Studies at the University ofMichigan in Ann Arbor. He has just accepted atenure-track position at the University of Texasin Austin. He’s currently revising his dissertationfor publication and has been awarded a post-doctoral fellowship at the Center for HellenicStudies in Washington, D.C., for the academicyear 2001–2002. The last few summers he par-ticipated in the Princeton-Cyprus ArchaeologicalExpedition at Polis, Cyprus, with his wife, Amy*98, and their daughter Christina.

Véronique Plesch *94 was awarded tenure atColby College in Waterville, Maine, last Decem-ber. [vbplesch@colby.edu]

Ulrike Meyer Stump *96 has been teachingcourses on the history of photography at theUniversity of Zürich. She presented a paper onthe reception of the plant photographs of Ger-man photographer Karl Blossfeldt (1865–1932)in the late 1920s at the third Swiss GraduateStudent Symposium (Nachwuchskolloquium fürKunstgeschichte in der Schweiz). The paper willbe published in the Georges-Bloch-Jahrbuch. Shealso spoke on the reception of Blossfeldt today ata conference at the Akademie der Künste in Berlinand the Fotomuseum in Winterthur. This willbe published as “Natur im Raster: Blossfeldt-Rezeption heute,” in Konstruktionen der Natur(Verlag der Kunst, 2001). Ulrike participated ina panel discussion with photographer RobertFrank and Swiss photography and film historiansat the Kunsthaus in Zürich, and has even com-mented on Blossfeldt on the evening news on

Swiss national television. Her other publicationsinclude an introductory essay in Karl Blossfeldt:Arbeitscollagen/Working Collages (Schirmer/Moseland MIT Press, 2000) and an essay on Blossfeldt’sbronze sculptures which will appear in the cata-logue of the exhibition A Natural History ofArchitecture: Herzog and de Meuron on the Bound-aries of Art (CCA Montreal, 2002).[umeyerstump@access.ch]

Shelley Rice *76 curated, with Lynn Gumpert,an exhibition titled Inverted Odysseys: ClaudeCahun, Maya Deren, Cindy Sherman, which wasshown at the Grey Art Gallery in New York andlater traveled to Miami. The International Asso-ciation of Critics of Art, American Section,selected it as the best photography exhibition of1999–2000. She also edited the book that ac-companied the show, which was published byMIT Press. Her earlier book Parisian Views, alsopublished by MIT Press, has been reissued inpaperback. In the spring of 1999 Shelley was onsabbatical in Istanbul, teaching at BosphorusUniversity and helping to start a media centerthat will be linked with public television in aneffort to improve public communications andthe quality of mass media in Turkey. She wasrecently in Australia, where she lectured at theArt Gallery of New South Wales.[shelley.rice@nuy.edu]

Demetrius U. Schilardi *77 taught art andarchaeology at the Universities of Ottawa, Lecce(Italy), and Tor Vergata (Rome). In 1995 hejoined the Greek Archaeological Service and hassince supervised numerous digs in northernAthens. He has been particularly busy with exca-vations and preservation work necessitated byconstruction for the Olympic Games of 2004.He recently supervised the moving of the largestancient structure ever moved in Greece—a hugecistern—and has unearthed a number of ancienttombs, roads, and large wells. At Kephissia, hisstaff brought to light two important Classicalcemeteries and the remains of what is probably aGeometric cemetery. Demetrius is also presidentof the Paros and Cyclades Institute of Archaeol-ogy, which has offices, library, and study facilitiesin the capital of Paros. The institute publishesscholarly and guide books on the Cyclades andthe Aegean, and has begun the conversion of agroup of nineteenth-century buildings at Marathiinto a cultural center with museum, library, andlecture hall. The PCIA is privately supported andis in need of book donations. Demetrius’s excava-tions on Paros began in 1974, and for the lastfive years he and seven assistants have beenpreparing the final publication of finds fromKoukounaries. He is also heading the efforts to

DepartmentLecture Series

Spring Term

February 8, 2001

Renata HolodUniversity of PennsylvaniaLandscape and Ideaology: Lookingfor Medieval Jerba

February 23, 2001

Michael NorthErnst Moritz University,Greifswald, GermanyFrom Luxury Collecting to MassCollecting

March 8, 2001

Maria GeorgopoulouYale UniversityImaging the Colonial Space: ThePiazza San Marco in Venice andthe Levant

March 12, 2001

Helen PhilonIndependant ScholarThe Earliest Surviving Paintingsfrom the Islamic Period in India:The Tomb of the Ahmad Shah inBidar

March 29, 2001

Ewa Lajer-BurcharthHarvard UniversityFragonard’s Seduction: Eros andModernity

April 9, 2001

Alexei LidovCenter for Eastern EuropeanCulture, MoscowMiraculous Icons and CulturalIdentity in Byzantium and Russia

April 24, 2001

Matthew SimmsEmory UniversitySeeing Cézanne: Vision, Move-ment, and Painting

S P R I N G

investigate and preserve the ancient marblequarries of Paros, which are associated with theemergence of sculpture in the Aegean. In 1997his group organized the First International Con-ference on the Archaeology of Paros and theCyclades. The proceedings of the conference willbe published shortly, and the dates of the secondconference, dedicated to Archilochos of Parosand his age, will be announced in the near fu-ture. Schilardi is also involved in the campaignto protect the battlefield of Marathon frommodern development.[parospcia@par.forthnet.gr]

Charles Scribner III ’73 *75 *77 has a freshmanson now at Princeton, also a Charlie (the sixth ina row to attend—perhaps a family record forredundancy), and he now aspires to become aPietro Bernini.[Charles.Scribner@Simonandschuster.com]

Andrew Shanken *99 is teaching architecturalhistory in the Department of Art at OberlinCollege. [andrew.shanken@oberlin.edu]

Alan Shapiro *77 was recently named W. H.Collins Vickers Professor of Archaeology in theDepartment of Classics at Johns Hopkins Uni-versity. [ashapiro@jhu.edu]

Harry Titus *84 will be in France this summerconducting preliminary excavations in the cryptand nave at Auxerre Cathedral. In 1997 his teamcarried out radar and electrostatic surveys in thecathedral, looking for evidence of structuresbeneath the existing building; the results arescheduled to be published in Gesta this year.Based on those findings, his group will besearching for remains of a Romanesque facadeand for eleventh-century entrances into thecrypt in areas that were “restored” by Viollet-le-Duc. He has also applied for a grant to workwith the French surveying firm Progeo on aphotogrammetric map of the cathedral’s vaults.These projects should be underway in later Junethrough early July. [titus@wfu.edu]

Barbara Tsakirgis *84 is associate professor ofclassics and archaeology at Vanderbilt University.She was recently elected an academic trustee ofthe American Institute of Archaeology, and shespent the academic year 2000–2001 in Athens asKress Agora Fellow, working on the final publi-cation of the Agora houses. She is married toJerry Spinrad *82 (Computer Science); theyhave two daughters.[barbara.tsakirgis@vanderbilt.edu]

Gary Vikan *76 has been director of the WaltersArt Museum in Baltimore since 1994. He recentlyconcluded a $36 million capital campaign at the

Walters and a $24 million renovation of theirCentre Street building. In 1999 he was ap-pointed to the President’s Cultural PropertyAdvisory Committee, and this January he wasknighted in France, receiving the Order of theChevalier des Arts et Lettres. Gary serves on theboard of directors of the Association of ArtMuseum Directors. He recently hired Eik Kahng’85 as associate curator of nineteenth-centurypainting. [gvikan@thewalters.org]

Robert Weir *98 has been awarded a three-yearresearch grant from the Social Sciences andHumanities Research Council of Canada(SSHRCC), the only source of public money forhumanities research in Canada. His research willcenter on the study of the coins found in theCanadian excavations at the Greek sitesStymphalos and Mytilene, and he will attempt towrite the respective histories of the two citiesfrom an economic point of view. His disserta-tion, “Roman Delphi and Its Pythian Games,”has been accepted for publication by BritishArchaeological Reports of Oxford, and his articleon the Herakles frieze at Delphi appeared in theBulletin de correspondance hellénique for 1999.He and his wife Mary Grace *96 have a daugh-ter, Elissa, now almost 14 months old.

Jay Xu *93 is Foster Foundation Curator ofChinese Art at the Seattle Art Museum and wasrecently named the Seattle Art Museum’s 2001–2002 Patterson Sims Fellow. He has designed ayear-long celebration of Chinese art and culturewhich will be inaugurated by the Seattle showingof The Embodied Image: Chinese Calligraphy fromthe John B. Elliott Collection, an exhibition orga-nized by The Art Museum at Princeton. A sym-posium, “Writing Culture: A Symposium onChinese Calligraphy,” will bring together leadingscholars in the field of Chinese calligraphy, withProfessor Emeritus Wen Fong presenting thekeynote address. Jay has also curated a majorloan exhibition of ancient artifacts from Sichuanprovince, Treasures from a Lost Civilization:Ancient Chinese Art from Sichuan, which will beon view from May 10 through August 12, 2001.A 400-page, heavily illustrated catalogue willaccompany the exhibition, which will travel tothe Kimbell Art Museum and The MetropolitanMuseum of Art. A two-day international sympo-sium is being planned for August 3–4,2001; Jay will be one of the speakers.A second exhibition organized by Jay,Harmonizing with the Infinite: SeattleCollects Chinese Art, opening on July5, 2001, will display the finest ex-amples of Chinese painting and callig-raphy from Seattle area collections.

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