GRADUATE PROGRAM IN THE HISTORY OF ART
Williams College/Clark Art Institute
Summer 2001
NEWSLETTER
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The Class of 2001 at their Hooding Ceremony. From left to right: Mark Haxthausen, Jeffrey T. Saletnik, Clare S. Elliott,
Jennifer W. King, Jennifer T. Cabral, Karly Whitaker, Rachel Butt, Elise Barclay, Anna Lee Kamplain, and Marc Simpson
LETTER FROM THE DIRECTOR
CHARLES W. (MARK) HAx'rHAUSEN
Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program
With this issue we are extremely pleased to revive the Graduate Program's ANNuAL NEWSLETTER, in a
format that is greatly expanded from its former incarnation. This publication will appear once a year,
toward the end of the summer, bringing you news about the program, Williams, the Clark, our faculty,
students, and graduates.
The return of the newsletter is a fruit of one of the happy developments of a remarkably successful
year-the creation of the position of AsSOCIATE DIRECTOR of the Graduate Program. In recent years, with
the introduction of the QualifYing Paper and Annual Symposium, the workload in the Graduate Program
had seriously outgrown the capacities of its small staff. With the naming of MARc SIMPSON to the new post,
we have the resources not only to handle existing administrative demands but to expand our activities into
neglected areas, one of which is the publication of this newsletter, for which Marc serves as editor.
We feel especially fortunate to have added Marc to the Program. A leading scholar of American
art, he received his Ph.D. from Yale and served from 1985 to 1994 as Ednah Root Curator of American
Paintings at the Fine Arts Museums of San Francisco. After moving back to New England in 1994, he
joined the staff of the Bibliography of the History of Art (BHA) , a project of the Getty Trust housed at
the Clark. He has also had visiting faculty appointments at Berkeley, Stanford, and in the Graduate
LETTER FROM THE DIRECTOR
PAGE ONE
Program, in which latter capacity he has generously advised a number of students over the past six years.
Marc has a distinguished record as a curator, guest curator, and scholar. He has organized or co-organized
exhibitions on William Michael Harnett, EastmanJohnson, and Winslow Homer, to name but a few; and
while working at BHA he curated Uncanny Spectacle: The Public Career of the YoungJohn Singer Sargent (1997)
for the Clark, which was a tremendous success with both the public and the critics. He has just finished
writing five essays for the catalogue of the forthcoming Thomas Eakins retrospective, which will open at
the Philadelphia Museum of Art this October and subsequently travel to the Musee d'Orsay and the
Metropolitan Museum of Art. In addition to sharing the administrative duties of the director, Marc
teaches one seminar a year and advises students on their Qualifying Papers and Symposium presentations.
Marc's appointment was but one of several salutary events in the Graduate Program during the
2000-2001 academic year. One of the most gratifying developments over the last several years has been a
steady improvement in the Program's FISCAL HEALTH. When I came to Williams eight years ago, the
Graduate Program was a "tub on its own bottom," meaning that it received extremely modest direct
financial support from the College and the Clark, and had to cover its operating costs out of its own
funding, which came entirely from tuition. Consequently, deficits were a way of life, the shortfalls
covered by an ever-shrinking reserve fund. Gradually, this has begun to change: in the coming academic
year the Graduate Program will rely on tuition for less than 45 percent of its annual operating revenues;
it now draws more than 30 percent of its income from two endowment funds and receives an additional
$100,000 from the College in support of financial aid. These encouraging trends gained a dramatic
boost from several developments during the past year.
In the fall we launched an ANNUAL GIVING PROGRAM. In its first year this campaign netted $6,995
from donations by forty-one alumni and alumnae-for a first effort a generous and gratifying result
indeed! These funds will be used in partial support of fellowships during the coming academic year. Our
goal in the coming year will be to raise $10,000, enough to fund our highest fellowship stipend, and we
will be grateful to all of our graduates for their assistance in helping us reach that goal.
In recent years our students have become quite active on the conference circuit, taking
particular advantage of the rapidly proliferating number of graduate student symposia. Obviously, travel
to such events is costly, and in the past, even in deficit years, we have covered transportation expenses for
students delivering papers. Last summer MRS. FRANCES HILL Fox, grandmQther of TOM BEISCHER ('96),
contributed $10,000 for this purpose, augmenting a fund established by Tom's class five years ago as its
class gift, with the understanding that it could be used once it reached a balance of $10,000. As its
graduation gift the Class of 2000 contributed $1,340 to this fund; now, with Mrs. Fox's generous
donation, the balance of the account is almost $17,000 and it becomes available for its designated
purpose. Moreover, thanks to the generous understanding of the Class of '96, we are extending the use
of this fund to cover student expenses-for travel and research-related to the preparation of the
Qualifying Paper and Symposium presentation. At their hooding ceremony, the Class of 2001 announced
a generous gift of $400 for this purpose. The consolidation of these funds to support student scholarship
strengthens the program in a significant way.
The year brought two major developments for the all-iIpportant area of FINANCIAL AID. First, this
spring we learned that the ROBERT LEHMAN FOUNDATION has awarded the Williams/Clark Graduate
Program a grant of $150,000 to endow two fellowships. Moreover, the gift was generously supplemented
by an additional $50,000 from ROBERT A. BERNHARD, a Lehman Foundation board member, to
commemorate the fiftieth anniversary of his graduation from Williams College. The name of Robert
Lehman has long been identified with appreciating and fostering excellence in the visual arts, not only
at the Metropolitan Museum of Art but in many other musC(ums, as well as in colleges and universities,
and we in the Graduate Program feel specially honored to receive this recognition and support.
Beginning with the Class of 2003, entering this fall, there will be one Lehman Fellow in each class.
Then, an already auspicious year ended with a dramatic surprise when, at the Williams alumni
reunion weekend inJune, ROBERT J. GENIESSE (Williams '51) announced that the CLASS OF 1951 had
elected to dedicate to the Graduate Program $1,000,000 of the monies pledged to mark its fiftieth
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LETTER FROM THE DIRECTOR
reunion. This is the largest donation ever made to the Graduate Program, and will be used to establish
its first endowed fellowships. Bob Geniesse has served since 1974 on the Clark's Board of Trustees, from
1987 to 1998 as its President. He was thus as well informed about the Graduate Program's needs as he
was about its reputation for excellence, and it was on his initiative that the Class of 1951 designated us as
one of its gift targets. Thanks to these three new sources of fellowship support-annual giving, the
Lehman grant, and the Class of 1951 fellowship endowment-the program is in its strongest financial
position since its first decade of operation.
Not all good news of the past year was administrative or financial. One of the most exciting
developments of recent years was the inauguration of the Clark's new FELLows PROGRAM in the fall.
Under the auspices of the division of Research and Academic Programs, headed by MICHAEL ANN HOLLY,
seventeen Clark Fellows were in residence over the course of the year, for periods ranging from one to
ten months. These visiting scholars have quickly become an integral part of life at the Clark, decisively
enriching the intellectual mix. Each gives a public lecture on his or her research, so that we have a
diverse and tempting menu of presentations and discussions throughout the academic year. Some of the
fellows generously conferred with graduate students on their research, and Michael Leja, a distinguished
Americanist from the University of Delaware, went even further, reading two student Qualifying Papers
and occasionally participating in rehearsals for the Annual Symposium. Ties to the Graduate Program
were enhanced by two new research assistantships in the Fellows Program. For more on the Clark Fellows
. and the Clark's Academic and Research Programs, as well as a list of lectures from 2000 and 2001, see
Michael Holly'S article later in this newsletter.
In an effort to get out the word about the Graduate Program and to keep the information current,
in October the Graduate Program launched its all-new WEBSITE, designed by PENNY RICHARDSON, our
secretary, with input from Marc, Karen Kowitz, and myself. With detailed information about the faculty,
curriculum, symposium, and winter study itinerary, and with hyperlinks to the Clark, the Clark's library, the
Williams College Museum of Art, Chapin Library, and MASS MoCA, this website effectively conveys a sense
of the Graduate Program and the extraordinary resources at its disposal. Although the link is not the
easiest to locate from the Williams website, we received 151 requests for application materials from the web,
so people seem to be finding it. As we go to press we are preparing to unveil version 2.0, which has a
completely new look and is densely illustrated with objects from the collections of the Clark and the
Williams College Museum of Art. These images will do more than the most evocative words can do to
convey the range and quality of objects available in Williamstown for the advanced study of art history. You
will find the new site at www.williams.edu/gradart/. (The bad news is that Penny, after sixteen remarkably
productive months here, has moved to Oklahoma City, where her husband, Dave, a physicist, has taken a
teaching position. Our website will serve as a monument to her contribution to the Graduate Program, one
that is all the more laudable-indeed, astonishing-considering that she worked only twenty hours per
week.) We will be seeking to fill her position late this summer, so that the amazingly efficient KAREN KoWITZ
will be able to continue fulfilling her administrative responsibilities not only with the warmth and good
cheer that is her special gift to us all, but with secretarial assistance.
Finally, there was impressive news on the academic front. This coming fall nine graduates of the
program will be entering art history PH.D. PROGRAMS, a record number for a single year. Two, JENNIE
KING ('01) and SCOTT.ALLAN ('99), will be studying modern art at Princeton. Another two, ANGELA Ho
('98) and OLIVIA VITALE ('00), will pursue doctorates in Baroque art at Michigan. JENNY GREENHILL ('00)
will specialize in American art at Yale, while classmates KATE BUSSARD will concentrate on photography at
CUNY and ROBIN SCHULDENFREI will study modern architectural history and design at Harvard. ALExIs
GOODIN ('98) will investigate nineteenth-century British art at Brown, and JEFFREY SALETNIK ('01) will
explore twentieth-century art at the University of Chicago.
As we begin the 2001-2002 academic year, the thirtieth year of operation for the Graduate Program,
we look with pride on its accomplishments and on the achievements of its alumni and alumnae.
LETTER FROM THE DIRECTOR
PAGE THREE
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"Gegenwart im Riickspiegel: Kunstkritik aIs kunstgeschichtliche
Praxis," at the Deutscher Kunsthistorikertag in Hamburg
in March. At the CAA Annual Meeting in Chicago he co­
chaired a session, ''The Good, the Bad, and the Ugly:
New Perspectives on Art in Central and Northern
Europe," in which he also spoke on "The Peculiarities of
German Art History." In April he presented a gallery talk
for the exhibition Franz Marc and the Blue Rider at the
Walker Art Center in Minneapolis. In the spring he
finished editing the papers from the first Clark
Conference, ''The Two Art Histories: The Museum and
the University," which he organized. The book is
scheduled to be published by the Clark this fall.
FACUL'IY NEWS
MICHAEL CONFORTI
Michael continues to teach in the Graduate Program
("Museums: History and Practice" alternating with
"Studies in Decorative Arts, Material Culture, Design
History, 1700-2000") and serves on the boards of the
Association of Art Museum Directors and the American
Academy in Rome. While he is an accreditor for the
American Association of Museums and is frequently
asked to advise museums on an 'ad hoc' basis, he
reports that he has not done an original lecture or
article this past year except for "Mind and Matter:
Williams College and the Development of the Clark's
Research and Academic Mission" in the latest Clark
Journal (and he says even this work was made possible
only through the exacting research of Adam
Greenhalgh '00). Michael suggests he is becoming like
all other American museum directors as he focuses on
the planning and fundraising associated with the Clark's
expansion project.
S. DESROSIERS
Nicole, who has taught French in the Graduate Program
since 1974, also served this spring as the president of the
Western Massachusetts Chapter of the American
Association of Teachers of French. She presented a
paper called "Understanding Cultural Differences:
Projet Cultura" at the AATF Convention in Paris, inJuly
2000. In the spring issue of The Germ she and poet M.
Gizzi translated Dominique Fourcade's "Compact pour
Claude." She and Isabel K. Roche are at work on a
translation of J. Gaudemet's Le mariage en Occident for
Notre Dame University Press.
NICOLE
SAMUEL Y. EDGERTON JR.
Last fall Sam led a Williams College tour through
Germany and Czechoslovakia, traveling by boat down
the Elbe and Moldau rivers from Potsdam to Prague,
lecturing on the German Renaissance, the Bauhaus at
Dessau, and the Rococo splendor of Dresden. In the
spring he was Gastwissenschaftler at the Zentrum fUr
Literaturforschung in Berlin's Humboldt Universitat.
While in Berlin he delivered two public lectures: "Als
sogar Kiinstler die Todestrafe forderten" at the
Humboldt Zentrum and "Leon Battista Alberti vs.
Quetzalcoatl: Renaissance Art Theory in the Service of
the Christian Conversion of Mexican Indians,
1523-1600" at the Freie Universitat. This latter was the
subject of an article published in Trajecte I, no. 2 (April
2001). In June he gave a talk at the Dallas Museum of
Art, whose title seconds that of his most recent book,
Theaters of Conversion: Religious Architecture and Indian
Artisans in Colonial Mexico (University of New Mexico
Press). The handsome volume, filled with color
photographs by Jorge Perez de Lara, includes drawings
by the author. Moreover, the German translation of his
Renaissance Rediscovery of Linear Perspective (1974) is due
out soon. He has also been reviewing the work of others:
a response to the translation/re-publication of Aby
PAGE FOUR
Warburg's The Renewal ofPagan Antiquity appeared in
The Higher Education Supplement in September 2000. The
next month, his review of Mitchell Merback's The Thief,
the Cross, and the Wheel: Pain and the Spectacle of
Punishment in Medieval and Renaissance Europe came out
in the American Historical Review. For the first time in
many years, this spring Sam missed the Hooding
Ceremony-he and his wife, Dottie, were away
celebrating their fiftieth wedding anniversary.
HOllY EDWARDS
Holly's exhibition and catalogue for the Clark, Noble
GUYHEDREEN
Dreams, Wicked Pleasures: Orientalism in A merica,
1870-1930, toured this year to the Walters Art Gallery in
Guy's second book, Capturing Troy: The Narrative
Baltimore and the Mint Museum of Art in Charlotte,
North Carolina, where it closed in April.
Functions of Landscape in Archaic and Early Classical Greek
Art, was published this spring by the University of
Michigan Press. Mter serving three years as Chair of the
Art Department, he will take a yearlong sabbatical as a
Fellow at the National Humanities Center in North
Carolina. During his sabbatical he will be working on a
new project entitled "Myths of Ritual in Ancient Greek
Dionysiac Art."
ZIRKA F1LIPCZAK
Zirka has recently answered a long-standing question in
her article "Why Are There No Old Women in Heaven,"
in the Jaarboek of the Koninklijk Museum voor Schone
Kunsten (2000). She also reviewed Hans Vlieghe's
Flemish Art and Architecture 1585-1700 for Art Bulletin 82
(June 2000) and Kristin L. Belkin and Carl Depauw's
Images ofDeath: Rubens Copies Holhein in Visual Resources.
In 2000 she ran a two-day lecture and discussion session
at the Folger Institute, Washington, D.C., on "Mapping
the Early Modem Passions."
MICHAEL ANN HOllY
In her second year as Head of the Clark's Research and
Academic Programs and her first as a member of the
Graduate Program's faculty, Michael was extraordinarily
active on the lecture and conference circuit, even after
declining the Ernst Cassirer Professorship at the University
of Hamburg for the spring of 2000. Since then she has
presented "Reading and Writing Art History" and ''The
Monograph and Critical Theory" at the College Art
Association Annual Meeting (New York, February 2000);
"Mourning, Method, and the Millennium" (Bucknell
University, March 2000); "Melancholy, Art History, and
the Fin-de-Siecle in Vienna" (International Congress of
the History of Art, London, September 2000); "Visual
Culture" (University of New York at Stony Brook,
December 2000); "Vienna, 1900" (Soros Center for
Contemporary Art, Bratislava, Slovakia, January 2001);
"Mourning and Method" (New Europe College,
Bucharest, Romania, January 2001); a commentary on
"Style" at the CAA (Chicago, 2001); "Iconology's
Nachleben" (Hamburg, Germany, March 2001); and
"Finders Keepers, Losers Weepers" (National Gallery of
Art, Washington, D.C., March 2001). She is the chair of
the Association of Research Institutes in Art History
(ARIAH) through 2003 and holds a place on the Board
of Directors of the College Art Association until 2004.
JAMES GANZ
Jim completed and successfully defended his dissertation
at Yale University last December, "Robert Robinson
(1651-1706): Painter Stainer and Peintre-Graveur." His
recent publications include "Cross-currents in Painting
and Photography," for the new Journal of the Clark Art
Institute 1 (Spring 2000), and "A Thousand Words on
the Panoramas of Lincoln Russell," in Lincoln Russell:
Portraits of Seiji Ozawa and Other Photographs, 1978-1998,
an exhibition at the Berkshire Museum in Pittsfield
(1999). Jim's exhibitions last year at the Clark included
Victorian Photography from the Collection of the Clark Art
Institute (winter 2001) and Piece lJy Piece: Putting Art
Together, Taking Art Apart (autumn 2000).
CHARLES W. IIAxrnAUSEN
In his eighth year as Director of the Graduate Program,
Mark published two articles: "Zwischen Darstellung und
Parodie: Klees 'auratische' Bilder," in the collection Paul
Klee: Kunst und Karriere: Beitriige des intemationalen
Symposiums inBem (Stampfli Verlag, 2000); and '''Wenn
JU-Yu SCARLETT JANG
Welten zusammenstoBen': Sigmar Polkes Frau Herbst
und ihre zwei Tochter," in Jenseits der Grenzen:
Scarlett is at work on three book projects: Art and Politics
in Ming China (1368-1644), which examines how art was
used by the Ming imperial court to disseminate its political
ideology, demonstrating the ties between art-making and
political power at court; The Popularization ofImages,
which studies the woodblock-printed and illustrated
materials of the Ming dynasty; and Painting and Political
Rhetoric in Imperial China, which investigates the role of
Franzosische und deutsche Kunst von Ancien Regime bis zur
Gegenwart: Thomas w: Gaehtgens zum 60. Geburtstag
(DuMont, 2000) He also gave the Lovis Corinth Lecture
at Emory University in October ("Aura as Parody: Paul
Klee and Walter Benjamin"), lectured on the problem of
style in Klee's art at Munich's Zentralinstitut fUr
Kunstgeschichte in January, and delivered a paper,
FACULlY NEWS
FACULlY NEWS
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court paintings in the expression of political ideology and
how these paintings functioned as rhetoric ClCroSS a range
of dynasties. Scarlett's most recent publication was an
essay, "Representations of Exemplary Scholar-Qfficials,
Past and Present," in the catalogue accompanying Arts of
the Sung and Yiian: Ritual, Ethnicity, and Style in Painting
(Princeton University Art Gallery, 1999). From 1998 to
2000, she was a fellow at the Oakley Center for the
Humanities and Social Sciences; she presented two
lectures there, as well as, in the spring of 2000, a series of
three for the Berkshire Insti tution of Lifelong Learning.
LIBBY
KIEFFER
Libby succeeded Dustin Wees (see Beth Carver Wees's
update in "Graduates' News") as Slide Librarian at the
Clark Art Institute. One might predict a slight enhancement
of the German-Austrian slide holdings, as she has many
years of the Anglophile Dustin's Stubbs and John Martins
to counterbalance! This is fortunate given the Clark's
summer 2002 exhibitions focusing on Austria, which will
in turn provide interesting texts for German 509.
EUGENEJ. JOHNSON
EJ. served as the exhibition curator for ON SITE, Travel
Sketches by Architects at the Leubsdorf Art Gallery, Hunter
College of The City University of New York, contributing
an essay to the catalogue, In the Eye of the Architect. His
article 'Jacopo Sansovino, Giacomo Torelli, and the
Theatricality of the Piazzetta in Venice" was published in
the Journal of the Society ofArchitectural Historians 59, no. 4
(December 2000).
MICHAEL
J. LEwIs
Mike spent the 2000-2001 year as a scholar at the
Institute for Advanced Study, Princeton University,
where he has been researching the architecture of
communal societies. Most recently he has published
Frank Furness: Architecture and the Violent Mind (W.W.
Norton, 2001), the first biography of America's most
original Victorian architect (http://wwnorton.com/
NPB/nparch/ffurness.htm). Recent articles include
"Mumbling Moments" in Commentary (February 2001)
on the architecture of the modern memorials on the
Mall in Washington, D.C.; an essay on the architectural
history of Hamburg, Germany, in the exhibition
catalogue Alexis de Chateauneuf, 1790-1853 (Hamburg
Museum fUr Kunst und Gewerbe); and several book
reviews in the Wall Street Journal.
PETERD. Low
Havingjoined the Art Department as its medievalist in
1999, in the fall of 2000 Peter completed his dissertation
with distinction at the Johns Hopkins University, writing
on "Envisioning Faith and Structuring Lay Experience:
The Narthex Portal Sculptures of Sainte-Madeleine de
Vezelay." Peter's recently delivered papers include "All
Roads Lead to Cluny: Anselm of Canterbury and the
Triune Deity at Sainte-Madeleine de Vezelay" at the
Thirty-sixth International Congress on Medieval Studies,
Kalamazoo, Michigan (May 2001), and "Cluniac
Monasticism and the Challenge of Popular Pilgrimage:
PAGE FIVE
A
An Early Twelfth-Century Burgundian Response" at a
conference at Princeton University called "Encounters
Between Elites and Non-Elites in the Middle Ages,
400-1400: The Challenge of New Methodologies" (April
2000). Current research interests include further work
on Vezelay, questions concerning Joan of Arc and
fifteenth-century image theory, and the use in medieval
art of the text from Ephesians 2: 11-22.
NANCY MOWll MATHEWS
Nancy is bringing two enterprises to fruition this fall.
First, she served as project manager, editor, and
contributor for American Dreams: American Art to 1950 in
the Williams College Museum ofArt (Hudson Hills Press,
2001), which will include a book of essays on highlights
of the collection written by 47 different authors, along
with an on-line searchable listing of approximately 3,000
objects with full cataloguing information and reproductions.
Second, her text Paul Gauguin: An Erotic Life, which
examines the artist's use of sexuality and violence as a
strategy in his life and art, is due out from Yale University
Press in October. These were underway, of course, while
her work on the Prendergast brothers continued-the
most recent major project being The Art ofLeisure:
Maurice Prendergast in the Williams College Museum ofArt, a
series of essays on aspects of turn-of-the-century
American leisure as represented by ten of the artist's works.
EUZABETH MCGOWAN
Liz, along with Guy, Rosie, and George, is headed off to
North Carolina for sabbatical.
CHARLES PALERMO
In his first year in the Art Department, where he is
teaching late-nineteenth- and twentieth-century art,
Charles published two articles: "Tactile Translucence:
Mira, Leiris, Einstein," in October97 (summer 2001); and
an exhibition review of Daumierin Nineteenth Century
French Studies (2001). He is in the process of preparing a
book that grows from his dissertation, "Fixed Ecstasy:
The Early Artistic Maturity ofJoan Mira and Michel
Leiris," which was passed with distinction at the Johns
Hopkins University in 2000. Automatism as a theme in
modern painting and writing and the early career of
Pablo Picasso are other areas of current research.
RICHARD RAND
Richard, Senior Curator and Curator of Paintings and
Sculpture at the Clark, has regularly taught seminars in
the Graduate Program devoted to eighteenth-eentury
French art topics, as well as leading portions of the
Winter Study trips in 2000 and 2001. Richard has several
works in press: "Fragonard dans Ie jardin d'amour," in
the journal of the Centre allemand d'histoire de I'art,
Paris; a~ well as entries for the collection catalogues of
the Sammlung Oskar Reinhart "Am Romerholz,"
Winterthur, Switzerland, and the National Gallery of Art,
Washington, D.C. He has recently published a review of
Mark Ledbury's Sedaine, Greuze and the Boundaries of Genre
in The Burlington Magazine. He served this past year as
PAGE SIX
coordinating curator at the Clark for both Impression:
Painting Quickly in France, 1860--1890 and Rossetti in the
1860s: The Blue Bower. He presented a paper, "Painted in
an Hour: Fragonard's Portraits defantaisi£ and Impressionism,"
at a symposium accompanying the former exhibition at
the National Gallery, London, in 2000.
HARTLEY SHEARER
Hartley has just completed an interactive CD-ROM
related to the graduate seminar, "Contemporary Art and
Film," that he and Linda Shearer teach.
LINDA SHEARER
Linda remains extremely engaged in the responsibilities
of seeing the Williams College Museum of Art through
its 75th anniversary year. Especially exciting is the
project to install a Louise Bourgeois outdoor sculpture
in front ofWCMA.
MARc SIMPSON
Marc has lectured at several institutions in the past year:
"Pure Tact of Vision: The Early Paintings ofJohn Singer
Sargent," at the New Orleans Museum of Art in April
2000; "Brilliancy, Verve, Subtlety, Truth: John Singer
Sargent and the Painting of Rooms" at the Museum of
Fine Arts, Houston, in March 2001; and "Winslow
Homer: Early Paintings 'Full of Significance'" at the
Newark Museum in May 2001. An article,
"Offenbarungen fur das Auge: Winslow Homers
'Milkmaids,'" appeared in the Belvedere: Zeitschrift fur
bildende Kunst 6, no.' 1 (May 2000). He also had a review
of the Eastman Johnson exhibition, organized by the
Brooklyn Museum, published on-line at CAA Reviews.
His principal professional energies-outside the
graduate program-have been devoted toward five
essays for the catalogue accompanying the Thomas
Eakins exhibition being organized for this fall by the
Philadelphia Museum of Art.
STEFANIE SoLUM
Stefanie joins the Williams art history faculty as an
assistant professor this fall. She comes from the
University of California, Berkeley, where she recently
completed her doctorate in Italian Renaissance art. Her
dissertation, "Lucrezia's Saint: The Child Baptist and
Medici Redemption in Fifteenth-Century Florence,"
argues that Lucrezia Tornabuoni de' Medici prompted
an innovation in the visual tradition of the young St.
John the Baptist that changed the face of devotional art
in Quattrocento Florence. The dissertation provides new
evidence for profound female influence on the art of the
period, while questioning the conceptions of power and
patronage that have shaped Medici historiography. Other
projects in progress include article-length studies on
Botticelli's Birth of Venus and Peruzzi's Sala delle Prospettive
in the Villa Farnesina. Devotional culture and domestic
art, and the representation oflandscape in religious art,
are among her areas of interest for future research.
FACULIY NEWS
CLARK VISITING PROFESSORS IN THE HISTORY OF ART
The academic life of the community was enriched greatly this year through the presence of two scholars
brought to campus under the auspices of the Robert Sterling Clark Visiting Professorship: HARRy FRANCIS
MALLGRAVE (fall 2000) and KErrn MOXEY (spring 2001).
Harry has served as editor of the Architecture and Aesthetics series of the Getty Research
Institute, as well as having edited and translated specific volumes within the Getty's Texts and Documents
series, including Otto Wagner's Modern Architecture (1988) and the collection Empathy, Form, and Space:
Problems in German Aesthetics, 1873-1893 (1994). He has recently completed a translation of].].
Winckelmann's History of the Art ofAntiquity (1764), along with one of Gottfried Semper's Style in the
Technical and Tectonic Arts (1860-1863) and a collection of essays on historicism. Harry was also a
practicing architect for nine years; he taught at the University of North Carolina at Charlotte, the
Eidgenossische Technische Hochschule in Zurich, the University of Minnesota, and from 1993 to 1997
he was Willard K. Martin Visiting Professor at the University of Oregon. He is widely recognized as a
distinguished historian of architecture and architectural theory; his monograph Gottfried Semper: Architect
of the Nineteenth Century, published by Yale in 1996, won the prestigious Alice Davis Hi tchcock Award from
the Society of Architectural Historians as the best book on architecture for the year.
Keith has had a distinguished teaching career at the University of Virginia and, since 1988, at
Columbia University and Barnard College, where he is the Ann Whitney Olin Professor. He seemed an
ideal person to hold the Clark Professorship for at least two reasons. First is his distinguished record of
scholarship in his period specialty, Northern Renaissance art. Since completing his dissertation at the
University of Chicago in 1974, Keith has been an extremely productive and important scholar in the
field, in which he has published numerous articles and two books: Pieter Aertsen, Joachim Beuckelaer and the
Rise of Secular Painting in the Context of the Reformation (1977), based on his dissertation, and, in 1989,
Peasants, Warriors and Wives: Popular Imagery in the Reformation. A second reason is because Keith has been
one of the major voices in the methodological and theoretical debates within the discipline of art history.
His publications in recent years have favored that area, having co-edited three books- Visual Theory:
Painting and Interpretation, with Michael Ann Holly and Norman Bryson (1991); Visual Culture: Images and
Interpretation, again with Holly and Bryson (1994); and The Subjects of Art History: Historical Objects in
Contemporary Perspective, with Holly and Mark Cheetham (1998)-and written two others-The Practice of
Theory: Poststructuralism, Cultural Politics, and Art History (1994) and The Practice ofPersuasion: Politics and
Paradox in Art History (2000).
The two recipients of the Robert Sterling Clark Visiting Professorships for the academic year
2001-2002 have been named. During the fall semester, MICHAEL ZIMMERMANN, co-director of the
Zentralinstitut fUr Kunstgeschichte, Munich, will be on campus, teaching an undergraduate course
centered on Marcel Duchamp ("Against Sense: Marcel Duchamp's Critique of Modernist Culture") and a
graduate seminar called "Alienation: Searching for the Self, Manet-Duchamp." Michael has written and
lectured widely on questions in nineteenth- and twentieth-century French art: his books include Seurat
and the Art Theory ofHis Time (1991), Bilder der Macht, Macht der Bilder: Zeitgeschichte in Darstellungen des 19.
Jahrhunderts (co-editor, 1997), Barbizon: Malerei der Natur-Natur der Malerei (co-editor, 1999), and Jenseits
der Grenzen: Franzosische und deutsche Kunst vom Ancien Regime bis zur Gegenwart (co-editor, 2000). He is
scheduled to deliver a public lecture-titled "The Public Body of Pipilotti Rist"-on 11 October.
During the spring semester, DAVID PERLMUITER will serve as the Clark Visiting Professor. David,
who is an Associate Professor at the Louisiana State University'S Manship School of Mass Communication
in Baton Rouge, will teach "War and Images: From the Stone Age to the Internet Age" as his
undergraduate offering, and "Pictures and Politics in the Twentieth Century" as a graduate seminar. His
books include Photojournalism and Foreign Policy: Framing Icons of Outrage in International Crises (1998),
Visions of War: Picturing Warfare from the Stone Age to the Cyberage (1999), and Policing the Media: Street Cops
and Public Perceptions of Law Enforcement (2000). His interests in mass media and political culture link
directly to issues studied in political science, history, and journalism. David will deliver a public lecture,
"Can Pictures Save the World?" on 12 March 2002.
VISITING PROFESSORS
PAGE SEVEN
J
THE STERLING & FRANCINE CIARK ART INSTITUTE
ExPANDS ITS SCHOLARLY PROFILE
MICHAEL ANN HOLLY
LECTURES BY THE CIARK FELLOWS
GRADUATE PROGRAM
SPONSORED LECTURES
2000-2001
Head, Division of Research and Academic Programs
The Clark Art Institute, for a long time home both to a major graduate program and a major library
collection, also now hosts a complex of other research and academic activities. The new Research and
Academic Programs division at the Clark is officially only a year old, but much has already transpired.
This academic year we have seventeen international scholars in residence, from both academia and the
museum world. We have also organized a number of intellectual events, ranging from a spring
Conference to smaller invitational colloquia. Let me tell you a bit about each enterprise.
Each year, the Clark now offers between twelve and eighteen Clark Fellowships to visiting
scholars, mostly art historians. These generous stipends enable the fellows to take up residence in
Williamstown and work on projects that make use of the vast resources of the Institute and the Williams
community at large. Fellows are provided with well-equipped offices in the library, and they are housed
in a wonderfully refurbished Victorian house across the road. Their stays with us range from one to nine
months, and they eagerly join the intellectual life of Williamstown. Applications are due in November for
the following academic year; this past winter-with the help of an outside advisory committee-we
selected a handful of scholars of the large number who applied for 2001-2002. National and
international scholars, critics, and museum professionals are welcome to propose projects that extend
and enhance the understanding of the visual arts and their role in culture. We have been encouraging in
particular studies that promise to deepen, transform, or challenge those methods currently practiced
within art history or that have the prospect of enhancing an underst anding of the role of images in
other disciplines in the humanities. Subjects of investigation represent many periods, places, and genres.
Museum professionals can pursue independent research or such institutional projects as exhibitions.
While scholars might be invited by Williams faculty to teach an individual class or two during the term,
they are primarily free to pursue their own reading and writing. Each Clark Fellow delivers a public
lecture during his or her stay. For a list of current fellows and their topics, we encourage you to meet
them at our website at www.clarkart.edu.
This spring (4 and 5 May) we held our third Clark Conference, "Art History, Aesthetics, Visual
Studies." Conferences are designed to encourage noted scholars to deliberate on major themes and
issues in the history of art over the course of a two-day stay in Williamstown. Proceedings from the
previous two conferences, "The Two Art Histories" and "Compression vs. Expression: Containing and
Explaining the World's Art," will be published this year. Daylong Symposia are smaller gatherings of
thinkers who present papers and discuss issues around more focused themes. This past fall, we presented
"Institutionalizing the Aesthetic: Museum Practices and Museum Personalities between the Two World
Wars." Already in the works for this year are a symposium organized in conjunction with the exhibition
Impression: Painting Quickly in France, 1860-1890 this summer and one in the fall on "Culture, Criticism,
and the Art of Norman Rockwell." Invitational Colloquia bring together between six and eight scholars
who come to the Clark to discuss common interests in a particular genre, artist, or period. Consisting
mostly of private discussion, they can have a public component as well. Numerous other intellectual
events punctuate our year, from Clark/Getty Workshops to guest lectures to Clark Conversations. Each is
listed in the Clark calendar and most are open to all. Especially welcome, of course, would be graduates
of Williams's distinguished M.A. program.
(Note: As mentioned above, to keep abreast of all the lectures by the Clark Fellows, as well as other programs
held at the Clark, including Graduate Program-sponsored lectures, check out the website page
www.clarkart.edu/make_a_visit/calendar_oCevents_category.cfm?nav=3&category=Public%20Lectures.-M.S.)
PAGE EIGHT
RESEARCH AND ACADEMIC PROGRAMS
2000-2001
12 September MICHAEL LEJA (University of Delaware), "Eakins
and Icons"
4 October 2000
29 September MA'ITHIAS BRUHN (Warburg-Haus), "On Stock
Photography"
Clark Visiting Professor Lecture
17 October
"The 'Rediscovery' of Greece: Le
Roy, Piranesi, and
Winckelmann"
MARK CHEETHAM and EuzABETH HARVEY
(University of Toronto), "Imagining Interiority:
Anil's Ghost and the Anatomy of Caves"
12 December
HOWARD COUITS (Bowes Museum), "The Bowes
Collection"
24-25 October 2000
23 January
MIEKE BAL (University of Amsterdam), "Second­
Person Art: Response to Thierry de Duve's
Exhibition Voici"
13 February
TODD PORTERFIELD (Rice University), "On
Narration and the Resacralization of Art after
the French Revolution"
20 February
SANJA CVETNIC (Strossmayer Gallery of Old
Masters, Zagreb), '''Inter Arma Silent Musae':
But What about Museums?"
6 March
STEPHEN BANN (University of Kent), "Like
Father, Like Son? The Ironic Paintings of
U~onor Mhimee"
13 March
LAURE DE MARGERIE (Musee d'Orsay), "The
Sculpture of Charles Cordier: Ethnography
or Art?"
3 April
OLIVIER MESlAY (Musee du Louvre), "Henri­
Pierre Danloux: Emigre Artist During the
French Revolution"
12 April
MICHAEL LEJA (University of Delaware) ,
"Touching Illusions: The Paintings of William
Harnett"
17 April
DEBRA BRICKER BALKEN (independent scholar),
"Philip Guston's Poor Richard"
8 May
GARY SHAPIRO (University of Richmond), "Two
Stories of the Eye: Nietzsche, Foucault, and Art"
15 May
MARIET WESTERMANN (Rutgers University),
"'Costly and Curious, Full of Pleasure and
Home Contentment': Desire and Distinction in
the Dutch Interior"
HARRy FRANCIS MAu.GRAVE
Hamilton Lectures
PETER SCHJELDAHL, art critic for
The New Yorker
"Painting" followed by "Beauty"
18-19 April 2001
Held Lectures
JAMES MARRow, Professor
Emeritus of Art History,
Princeton University, and
Honorary Keeper of Manuscripts
and Rare Books, The Fitzwilliam
Museum, Cambridge University,
presented two lectures in a series
called "Pictorial Invention in
Netherlandish Painting of the
Late Middle Ages: Case Studies
in the Shape of Meaning": "The
Shape of Meaning in Two
Illustrated Dutch Manuscripts of
the Turn of the Fifteenth
Century" followed by "Illusion
and Meaning in the Art ofJan
van Eyck"
24 April 2001
Clark Visiting Professor Lecture
KEIlH MOXEY
"Between Memory and Oblivion:
German Artists of the
Renaissance"
LECTURES
PAGE NINE
/
THE JUDITH M. LENETI MEMORIAL FELLOWSHIP AND LECTURE
WILLIAMSTOWN AND NORTH ADAMS MUSEUMS
Judith M. Lenett enrolled in the Graduate Program in the fall of 1981, with a particular and dedicated
interest in American art and art conservation. Her studies and career were cut short when she became ill
with cancer, to which she succumbed in 1987. Shortly after her death, her husband, Paul, conceived the
idea of honoring her by establishing an endowment in her name, to which he and a number of their
friends contributed. In consultation with Paul, we decided that the most appropriate use of this fund
would be to provide support to a graduate student whose interests most closely coincided with Judith's
own. Because the donors also envisioned an annual Lenett Memorial Lecture, it seemed appropriate that
the lecturer be the Lenett Fellow, who would give a public lecture on his or her year's work. The Lenett
Fellow was chosen from among the second-year students, contingent on their having demonstrated an
interest in conservation, a willingness to work in the Williamstown Art Conservation Center, and an
enthusiasm for some aspect of American art. The Fellow works in close concert with one of the
conservators of the WACC, often on a specific object that is in the lab for examination and treatment.
During the past seven years, the Lenett Memorial Lecture has established itself not only as one of
the highpoints in the academic calendar but as a demonstration piece for the Graduate Program. It
exemplifies to the fullest degree the integrated collaborative art history research that can be done here,
where graduate students, in satisfying their academic requirements, work on original art objects, draw on
the resources of the Clark's outstanding art library, and receive training in conservation at the WACC.
Our first Lenett Fellow, in 1995, was Lydia Hemphill, who delivered a stunning lecture on an
eighteenth-century weathervane from the Shelburne Museum. She set a high standard, which all Lenett
Fellows since have more than lived up to: Sue Canterbury in 1996 (Frederic Remington's Bronco Buster
from WCMA) , Ashley West in 1997 (a Flathead-Salish [Montana] eradleboard from the collection of the
Berkshire Museum), Mikka Gee in 1998 (Jose Clemente Orozco's preparatory studies for The Epic of
American Civilization at Dartmouth College), Austen Barron in 1999 (watercolors by Charles Hovey
Pepper from the collection at Colby College), and Adam Greenhalgh in 2000 (Sanford Gifford's Twilight
in the Catskills, 1861, now in a private collection).
This year, on 2 May 2001,JENNIFER CABRAL '01, delivered the Seventh Annual Judith M. Lenett
Memorial Lecture, which she called "Fugitive Media, Forgotten Meanings: Conserving a 1950s American
Collage." The lecture focused on a collage by the San Francisco-based artist Jess, When My Ship Comes Sin,
now in the collection of the Mount Holyoke College Art Museum-a work in whose conservation
treatment, under the supervision of Williamstown Art Conservation Center Staff,Jen had participated.
It was a busy year for area museums, and thus for many of the students and graduates of the Program.
The WILLIAMS COllEGE MUSEUM OF ART produced its usual dynamic roster of exhibitions and events,
among them The Art Of Leisure: Maurice Prendergast in the Williams College Museum ofArt, Pulling Prints from
the Collection (organized in part by LISA DORIN, '00), Labeltalk 2001 (organized by Stefanie SPRAY JANDL,
'93), Video Interventions in Observation ofDay Without Art/World AIDS Day (co-organized by GRETCHEN
WAGNER, '02), Photography EXPOSED (co-organized by VIVIAN PATTERSON, '80), A Wall Drawing by Sol
LeWitt, American Pop (organized by Vivian), Masterpieces Ancient to Modern (organized by Vivian) ,
Celebrating 75 Years-American Dreams: American Art to 1950 in the Williams College Museum ofArt (co­
organized by Vivian), and Stones ofAssyria: Ancient Spirits from the Palace ofAshurnasirpal II (co-organized
by, among others, Vivian and ELYSE GONZALES, '00). One of these titles announces that WCMA has
attained its 75th year of service to the community. The institution is celebrating in part with the
commission of an outdoor sculpture series by Louise Bourgeois, which is being installed this summer at
the front of the building, and will be "unveiled" in October during convocation weekend. The whole
front lawn is being landscaped, so visitors to campus will see a new face to the museum come the fall.
Across Route 2 at the CHAPIN LmRARY, the summer exhibition is Herman Melville: A Retrospective of
His Works on the 150th Anniversary ofMoby-Dick. This supersedes Leonard and Virginia Woolf as Printers:
Handprinted Books from the Hogarth Press from this spring. And, of course, the Founding Documents of the
United States remain on permanent display.
In North Adams, MASS MoCA's major project is the multiple-part Game Show, organized by
LAURA STEWARD HEON ('98) to explore the world of games and its impact on art of the 1990s. Concurrent
exhibitions include a selection of works from the Gilbert and Lila Silverman Fluxus Foundation (worked
on by TARA McDoWELL, '02) and a retrospective of work by Oyvind Fahlstrom. These augment the
ongoing shows of Mona Hatoum's Domestic Disturbance and Tim Hawkinson's Uberorgan.
At the ClARK ART INSTITUTE, the curators and their guest collaborators treated us to a wide
variety of different kinds of exhibitions. Jim Ganz organized Piece by Piece: Putting Art Together, Taking Art
Apart about the process of art-making, and Victorian Photography from the Collection of the Clark Art Institute,
which was about, in part, art collecting, featuring this new area of institutional interest. Interventions:
Griselda Pollock Looks at Alfred Stevens initiated a series that puts the art historian in the foreground of the
endeavor; the famed theorist and historian pondered the works by the 19th-century Belgian artist in the
Clark collection, then shared her thoughts directly with the viewer through text panels and
juxtapositions both more overtly didactic and more openly questioning than we frequently see. Rossetti in
the 1860s: The Blue Bower focused on the late work of the British Pre-Raphaelite master, examining his
production as both painter and poet, as well as his cultural context. This was succeeded by the Clark's
major summer exhibition, Impression: Painting Quickly in France 1860-1890. It was, in sum, a rich year for
special exhibitions in this corner of the Berkshires.
THE WILLIAMS COLLEGE GRADUATE PROGRAM AT CAA 2001
A
good number of Williams Program graduates participated at the College Art Associate Conference in
Chicago this past winter. Among those giving papers or chairing sessions: JULIA BERNARD presented
"Sculpture after Stunde Null:. The Post-Holocaust Implications of Minimal Art in Germany"; DIANE DIlLON
co-<:haired "The Still Life in Motion: Reconsidering the Genre in Europe and the Americas"; KATHRYN
CALLEY GALITZ co-<:haired the session "Channel Crossings: Britain, France, and the Tradition of Artistic
Exchange"; LAURA GELFAND presented "Death and Dying in Devotional Imagery: 15th-Century Portrait
Diptychs and the Doctrine of Purgatory"; LAURA M. GILFS served as discussant for "Painting and Drawing in
17th-Century Italy"; MARNI KEsSLER presented "The Flaneuse at the Gap"; DIANA L. LINDEN presented
"Detroit Rock City: Revisionist Art History, Museum Studies, and Practical Pedagogy"; RACHEL LlNDHEIM
presented "Gustave Moreau and the 'Modern': Recasting a Paradigm"; DAVID LITTLE presented "The Times
Square Show: The Most Successful Mess in Colab History"; PAMElA A. PATTON co-<:haired "Medieval
Narrative Revisited"; and JANET TEMos presented "A Community of Craftsmen: The Artisan and the
Architectural Treatise in 18th-Century Westminster." Among the faculty, MARK lIAxTHAUSEN co-<:haired "The
Good, the Bad, and the Ugly: New Perspectives on Art in Central and Northern Europe," while MICHAEL
- .ANN HOLLY served as discussant for "Style: Problems and Prospects for Aesthetics and Art History."
PAGE TEN
LENETI FELLOWSHIP/
CAA
THE GRADUATE SYMPOSIUM
2001
To the best of our knowledge Williams is the only graduate program, M.A. or Ph.D., that organizes a
symposium in which all its graduating students participate. Initiated on a trial basis for the Class of 1996,
the symposium has become a showpiece for the Graduate Program. Before 1996, each student took an
oral exam in the fourth semester, but these exams did little more than demonstrate how far even the
best M.A. student is from mastery of a field after only two years of graduate work. The process that
culminates in the symposium, by contrast, pushes students to an unprecedented level of scholarly
performance. They conclude their studies, not with a deflating rediscovery of how little they know, but
with a tangible achievement and a newfound confidence in their own capacities.
Symposium papers are developed from the longer (7,500 word) Qualifying Paper that each
student writes during the second-year Winter Study period, this essay being a revision and refinement of
MUSEUMS/SYMPOSIUM
2001
PAGE ELEVEN
/J
work presented earlier during one of the student's first three semesters. Through the extended process
of repeated presentation, critique, and revision the student learns invaluable lessons about scholarship,
along the way picking up concrete techniques for writing, rhetoric, effective use of slides, and
compelling oral presentation. At the end, every student leaves Williams with a twenty-minute paper that
meets the standard of a scholarly conference.
The extensive symposium preparations represent the most effective mentoring that goes on in
the Graduate Program. To assist him or her in preparing the symposium paper, each student is assigned
an ad hoc committee consisting of four, five, or even more members: the Director, the Associate
Director, the faculty supervisor of the Qualifying Paper, and at least one graduate student from each class
year. Ad hoc committees are so constituted that each spring every graduate student in the program
serves on at least one committee. Each presenter gives three dry runs over a six-week period, which are
attended by the members of the ad hoc committee, all of whom receive an advance copy of the text.
Student committee members have proven to be just as active and often just as effective in their critiques
as the faculty members, and in the end the symposium brings, among other fruits, a heightened sense of
collegiality and an enduring appreciation of the value of peer critique.
What makes the symposium the most fitting conclusion to the two-year course of study, however,
is the element of public scholarly performance. The spring 2001 symposium, held on 1June, the Friday
of commencement weekend, in the Clark auditorium before an audience of families, friends, fellow
students, staff, and Clark Fellows, represented the professional debut of most of the speakers, their entry
into the larger community of scholars. As has become customary, the eight graduating students delivered
a set of highly polished, uniformly clear, and enlightening talks. Mter introductory remarks by Mark
Haxthausen, each speaker was introduced by his or her respective faculty adviser. Jim Ganz moderated
the morning session, and Zirka Filipczak the afternoon. The speakers were:
JENNIFER E. CABRAL "Double Vision: A Gauguin Woodcut Reconsidered" (James A. Ganz)
CLARE ELuOTI "Nana Meets Dada: Charles Demuth's Zola Illustrations in Context" (Rachael Arauz,
Williams College)
JEFFREY T. SALETNIK
curator for Pleasurscape-an exhibition at the Rice University Art Gallery, Houston, on view this past January
and February.) As the students received their hoods, they also gave in return, announcing their CL\SS Gwr:
the establishment of a fund to assist students with travel, research, and presentation expenses. Their
inspiration for this fund came from a generous allocation from the Clark Art Institute, at the initiative of
MICHAEL CONFORTI, that reimbursed individual travel costs this past January, allowing them to travel to New
York, Buffalo, Philadelphia, and New Haven to further work on their Qualifying Papers and Symposium
presentations. The class hopes that other classes (and alumni/ae) will be inspired to contribute to the fund,
so that future students will be able to enjoy the benefits that they found so useful. As noted by Mark in his
"Letter from the Director," this joins the newly enlarged and rededicated fund launched by the class of 1996
and augmented by the class of 2000-a fine example of one generation of students helping those that follow
them.
As a special note: the symposium this year coincided with an auspicious event. The Burlington Magazine
published an article by DOROTHY Moss-'John Singer Sargent, 'Madame X' and 'Baby Millbank"'-based on
the symposium paper she delivered two years ago as a member of the Class of 1999. We look forward to see­
ing other symposium papers in print in future years.
THE CLASS OF
BRETT ABBOTT
Brett worked at WCMA under the supervision of
curator Nancy Mathews, helping especially to organize a
symposium on Edward Hopper that took place in the
spring. Over the summer he holds an internship in the
Department of Photographs at the National Gallery of
Art, Washington, D.C., working with curator Sarah
Greenough on the gallery's Alfred Stieglitz collection.
ABIGAIL GUAY
"Le paysfmile: Pierre Boulez and Paul Klee" (Charles W. Haxthausen)
JENNIFER W. KING "The Dangerous Allure of Hybridity in Jorge Pardo's Project" (Charles W. Haxthausen)
EliSE BARCLAY "Portrait of the Woman as an Artist: Two Eighteenth-Century Case Studies" (Zirka Z. Filipczak,
Williams College)
Abigail played a dynamic role in two Clark Art Institute
departments this year-Curatorial and Education, in the
latter doing research, gallery talks, and visitor surveys.
She will be continuing these activities over the summer,
augmented by her principal commitment of working
with Linda Shearer at WCMA.
SARAH KOZLOWSKI
KARLy WHITAKER "Centre Lines of Form and Thought in Thomas Eakins's Portrait ofProfessor Leslie Millei'
Sarah was a Teaching Assistant for Art History 101-102
during her first year. Over the summer she will be
working with Nancy Mathews at WCMA, installing the
American Dreams exhibition and preparing the
accompanying gallery guide, as well as preparing for the
next of the Prendergast exhibitions.
(Marc Simpson)
PAUL MARTINEAU
ANNA LEE KAMPLAIN "An 'Aesthetical Daguerreotype': Southworth and Hawes's Portrait of a Young Girl"
(Rachael Arauz)
RACHEL
Burr "Thomas Eakins's The Artists Wife and His Setter Dog: A Reinterpretation" (Marc Simpson)
The uniqueness of the symposium among graduate programs is certainly in no small part due to the
tremendous demands such an event makes not only on participating students and faculty but on support staff
as well as the staffs of the Clark library and slide library. In short, this annual event mobilizes large numbers of
people for two months each spring, and their extraordinarily generous spirit, year after year, has been
indispensable to its success.
Mter the triumph of the symposium and their two years of academic work, the Class of 2001 held a
Hooding Ceremony on Saturday, 2June, then participated in the general Commencement exercises on
Sunday. ANNA KAMPLAIN and JENNIFER KING shared the honor of Clark Fellow award, which goes to the
student or students with the highest overall GPA for two years. Both Anna and Jennie achieved a perfect 4.0
average. Uennie had been busy-in addition to her classes and work-study positions, she served as the guest
PAGE TwELVE
SYMPOSIUM
2001
Paul's work-study position during the school year was as
a Prints, Drawings and Photographs Room Assistant,
during which time he catalogued a group of cartes-de­
visite from the Juynboll Collection and 18 stereocards by
Roger Fenton. Over the summer he is continuing his
work there.
TARA McDOWELL
Tara worked at MASS MoCA during the school year­
assisting with exhibitions on Marcel Duchamp and
Fluxus that are on view in conjunction with the
institution's Game Show. She is working at the San
CLASS OF
2002
2002
Francisco Museum of Modern Art over the summer,
assisting in the Department of Paintings and Sculpture
under the direction of curator Janet Bishop.
KATHRYN PRICE
Katie served as a Research Assistant for the Clark Fellows
during the school year. Over the summer she will be
working as a curatorial intern at the Clark.
VICTOKIA A.-T. SANCHO
Apart from competing in the Faculty Squash League,
Victoria also worked as a Teaching Assistant in the
undergraduate art history department (ART 101-102).
She has just published a review of Sam Edgerton's latest
book, Theaters of Conversion in the spring issue of Review:
Latin American Literature and Arts. For the summer, she
will be at the Andover Academy, teaching courses on
etymology and English language.
ROBERT S. SLIFKIN
Rob was a curatorial intern at the Clark during the
school year, researching provenance and topics related
to exhibitions and general maintenance of curatorial
files. Over the summer he will be working on a research
project initiated by the Guggenheim Museum-The
Worlds of Art-under the supervision of its director,
Tom Krens.
GRETCHEN WAGNER
For her work-study project during her first year,
Gretchen served as the Graduate Assistant to Linda
Shearer at WCMA. Chief among her projects was the
Day With (Out) Art exhibition: Video Interventions, 1-3
December 2000. Gretchen is spending the summer as an
intern in Germany, splitting her time between the Karl­
Ernst-Osthaus Museum in Hagen and Plattform, a
contemporary art space in Berlin.
PAGE THIRTEEN
2001: AN ART ODYSSEy-THE JANUARY EUROPEAN STUDY TRIP
GRADUATES' NEWS
(Note: This aims to be a complete roster of graduates. Information comes from a variety of sources, some of which may be OUt of
date; apologies for any inaccuracies. Updates, additions, and corrections will be most appreciated for next year's edition. -M.S.)
JUDITH ADAMS '74
(The Art Bookshop, Ludlow, Shropshire, Great Britain)
1
J
ON
?
::J
~
Cl
:E
~
o
~
The Class of 2002 in Prague: front row from left to right: Brett Abbott, Abigail Guay, Victoria A.-T. Sancho, Katherine Ball,
Sarah Kozlowski, Kathryn Price; back row: Mark Haxthausen, Gretchen Wagner, Paul Martineau, Robert S. Slifkin
LEONARD N. AMICO '78
JULIE ARONSON '83
(Cincinnati Art Museum, Curator of American Painting and
Sculpture; Ph.D., University of Delaware '95, "Bessie Potter Vonnoh
[1872-1955] and Small Bronze Sculpture in America")
Mark Haxthausen and Richard Rand (Clark Art Institute) led the Class of 2001 on a three-and-a-half­
week tour of Europe this January. Mark was responsible for most of the itinerary-Berlin, Dessau,
Prague, Vienna, Munich, Zurich, Basel, Colmar, and Strasbourg-while Richard led the group through
Paris and London. The trip this year included some new destinations. It was the first time that Zurich was
included on the itinerary; in Dessau the group visited the newly restored Master Houses for Klee and
Kandinsky, designed by Walter Gropius; in London, the Tate Modern. The full itinerary is posted on our
website at www.williams.edu/gradart/itin.html.
The 2002 trip will focus on fewer cities in greater depth-Dresden, Prague, Vienna, and Munich
are on the itinerary.
LAURIE MCGAVIN BACHMANN '81
GRAHAM P. BADER '95
(Harvard University, Ph.D. student in art history)
Graham is currently splitting time between Austin, Texas, with his
wife, and Cambridge, Mass., with his dissertation on Roy Lichtenstein.
THE CLASS OF 2003
1
Fourteen students from an extremely accomplished applicant pool have been admitted for the incoming
Class of 2003. It is a promising group, with a variety of educational and work backgrounds. The new
students are ESTHER BELL (University of Virginia '01), CHRISTA CARROLL (Temple University '01), KIM
CONA'IY (Middlebury College '99), ELLERy FOUTCH (Wellesley College '00), KATIE HANSON (University of
Wisconsin, Madison '01), PATRICIA HICKSON (Bates College '85), SHIRLEY KIM (University of California,
Berkeley '99), CATHERINE MALONE (Wellesley College '98), DON MEYER (Northwestern University '00),
LUCAS MURREY (University of California, Berkeley '97), JANE SIMON (Bryn Mawr College '98), BEN
Tn.GHMAN (Lawrence University '99), PAN WENDT (Williams College '93), and EuzABE'IH WINBORNE
(Georgetown University '99). We are looking forward to their arrival.
J
2001: AN ART ODYSSEY / CLASS
SCOTI ALLAN '99
(Princeton University, Ph.D. student in art history)
In June 2000 Scott delivered a paper at a conference organized by
INCS (Interdisciplinary Nineteenth-Century Studies) at the Universite
de Paris-X, Nanterre, "Ways of Seeing." His talk had the same name
as his M.A. symposium paper: '''The Dream and the Void': Manet,
Mallarme, and The Raven." An article, "The Metamorphosis of
Gustave Moreau's Autumn (Dejanira)," has been accepted by the Revue
de l'Art. This essay grew our of research carried on while Scott was a
graduate intern in the Paintings Department of the Getty Museum (in
June 2000 he was promoted to "research assistant," considering ques­
tions ofWWII-era provenance, standard file bibliography, and acquisi­
tion proposals). He starts at Princeton in the fall, hoping to specialize
in nineteenth-century French art-one of four modernists in the
incoming class of eight, which includes Jennie King '01.
BRIAN T. AllEN '92
(Clark Art Institute, Williamstown, Director for Curatorial
Programs/Curator of American Art; Ph.D., Yale University '98, "The
Spanish Subjects of Washington Allston")
~
PAGE FOURTEEN
M. DARSIEALExANDER '91
(Baltimore Museum of Art, Associate Curator of Prints, Drawings, and
Photographs)
OF
2003
AUSTEN BARRON BAILLY '99
(The Metropolitan Museum of Art, New York, Research Assistant)
After graduating from Williams, Austen became a research assistant
for the landmark exhibition Art and the Empire City: New York,
1825-1861 (19 September 2000-7 January 2001), which explored the
visual arts in America during this time and chronicled the ascendancy
of New York to its status as art and cultural capital of the nation.
Austen researched foreign works of art in the exhibition and con­
tributed to the production of the catalogue, overseeing countless
administrative and art historical details. She is now on her way to Los
Angeles, where she will work in the American Art Office of the Los
Angeles County Museum of Art.
LUCINDA BARNES '78
(Berkeley Art Museum+Pacific Film Archive, University of California,
Berkeley, Senior Curator-Collections)
AUSTEN BARRON-see BAILLY, AUSTEN BARRON
GRADUATES' NEWS
LAUREN BARTH-see HEWES, LAUREN B.
CHRISTINE BARTOLO-see KNox, CHRISTINE
LUCRETIA BASKIN '99
(Mount Holyoke College Museum of Art, South Hadley, Mass., regis­
trarial intern/volunteer)
KAREN CROFF BATES '92
After years as the Curator of Education and, for a while, as the
Associate Director of Public Programs at the Isabella Stewart Gardner
Museum, Karen recently left that institution to follow other pursuits,
most recently teaching a course on exhibitions at the Massachusetts
College of Art, guest lecturing for the Museum Studies seminar of
Harvard's Graduate School of Education, and consulting for the edu­
cation departments of the Fogg Art Museum and Boston's Institute of
Contemporary Art. Even more exciting: the arrival on 10 June 2001 of
son Andrew.
AMY OLIVER BEAUPRE '93
(Independent fine art appraiser and consultant; Middlebury, Vt.)
In 1998 Amy received a Certificate in Appraisal Studies in Fine and
Decorative Arts from New York University. Since then, she has been
working as an independent fine art appraiser in the Boston area and
Vermont.
THOMAS BEISCHER '96
(Massachusetts Institute ofTechnology, Cambridge, Ph.D. student in
art history)
Tom is at work on his dissertation, "The Dissemination and
Reception of European Modern Architecture: The Case of J.J.P. Oud."
He has delivered numerous conference papers: "Designing the Jersey
Homesteads: Louis Kahn's Role in Building a Community and Its
Influence on His Architectural Philosophy," Ohio State University,
October 1999; "Eadweard Muybridge's Scientific Narrative: The
Presentation of Women in Animal Locomotion," University of
California, Irvine, November 1999; and "Philadelphia's Boathouse
Row: The Rise and the Decline of Municipal Control," Boston
University, March 2001 (the topic of his '96 symposium paper).
Among the grants he has received are the John Coolidge Scholarship
from the Society of Architectural Historians, for travel during the sum­
mer of 1998; the MIT Department of Architecture's Hyzen Grant­
for travel and research that same summer; and, most recently, a
Fulbright Grant for Ph.D. research in the Netherlands, 2000-2001.
SONYA BEKKERMAN '99
(Sotheby's, Inc., New York, Modern Painting Department)
DOROTHY BELKNAP-see MUNSON, DOROTHY BELKNAP
BRENT R. BENJAMIN '86
(St. Louis Art Museum, St. Louis, Mo., Director)
JEANNE BERGGREEN-see PLEKON, JEANNE B.
JULIA BERNARD '82
(Kunstgeschichtliches Institut, J. W Goethe-Universitat; Ph.D.,
University of Chicago '93, "Identification with Christ in Late
Nineteenth-Century Self Portraiture: A Modern Conception of the
Artist's Societal Role")
PAGE FIFTEEN
MICHELE M. BERNATZ '90
JENNIFER BERRY '92
(Acoustiguide, New Yotk, Manager of Client Development)
CAROLYN BFSS '96
(Dallas Museum of Art, Head of Academic and Public Programs)
Carolyn chaired a session entitled "Integrating Community Voices
into Exhibitions" at the 2001 American Association of Museums con­
ference in St. Louis.
KAREN DENNIS BINSWANGER '97
(National Gallery of Art, Center for Advanced Study in the Visual
Arts, Washington, D.C., project head, Mellon Lectures Volume)
Karen's principal work in progress over the past year was Baby
Binswanger #2---due on New Years Eve, 2000!
ELIZABETH TRIPLETT BLAKELOCK '86
(The Connecticut Historical Society, Hartford, Museum Cataloguer)
JENINE GoRDON BOCKMAN '89
(Independent publisher, New York)
Jenine is the founder, editor, and publisher of Literal Latte, a maga­
zine of stories, essays, poems, and art, entering its seventh year.
MARGARITA B. BORISSOVA '94
(Berlitz GlobalNET, New York, Senior Project Coordinator)
BRIAN BOUCHER '98 (The Frick Collection, New York, Education
Liaison)
Brian has had numerous publications over the past several years: an
essay in a P.S. 1 Contemporary Art Center exhibition catalogue,
Greater New York: New Art in New York Now; and exhibition reviews
at bbs.thing.net, arrnet.com, citysearch.com; as well as entries in
Grolier Multimedia Encyclopedia (forthcoming). He has lectured as a
part of the Artist/writer panel discussion, P.S. 1, for Greater New York,
maintains affiliations as a contributing editor to Thing.net and serves
on the New York City Museum Educators Roundtable Steering
Committee as a Member-at-Large, 1999-2000, and Secretary,
2000-2001, in which capacities he organized panels on new technolo­
gies in museum education.
SARAH BOTTS-see GRIFFIN, SARAH B.
JANE M. BoYLE '78
COURTNEY BRAUN-see GANZ, COURTNEY
MAURAJ.R. BRENNAN '95
(Worcester Art Museum, Worcester, Mass., Assistant Curator,
Department of Prints and Drawings)
JEANNE BRESCIANI '74
(New York University, School of Education, Isadora Duncan
International Institute, New York, Director of Education, Artistic
Director; Ph.D., Institute of Fine Arts-New York University, "Myth
and Image in the Dance of Isadora Duncan")
Jeanne has published "Isadora Duncan in a Universal Language of
Movement" and "Isadora Duncan and the Soul of Nature," in Isadora
Duncan: Modern Dance from Mythology to the Future, along with deliv­
ering a performance and lecture, for the Tama Art University Museum,
Tokyo, Japan.
BECKY A. BRIESACHER '88
(University of Maryland, School of Pharmacology, Baltimore, Research
Assistant)
PAGE SIXTEEN
BRADLEY B. BRIGHAM '84
(North River Antiquities, Colrain, Mass., owner/proprietor)
Aside from opening his own antiques business in 1990 in an old tea
house (and later a general store and gas station) on his grandparents'
dairy farm in western Massachusetts, Bradley spearheaded a non-profit
historic restoration society in 1993 called the Coleraine Land &
Histotic Building Preservation Society in his hometown of Colrain.
Together with three partners, the CL&HBPS purchased an 1834
Congregational Church (the Brick Meeting House) that was slated to
be demolished. They restored this edifice and currently offer it to the
public for a variety of events (e.g., weddings, concerts, parties, public
speakers, symposia, etc.).
Finally, he has built a home (a Cape and a half) on the property of
his family's former dairy farm. In addition, last April the
Commonwealth of Massachusetts via the Department of Agriculture
purchased the development rights to this 300-acre property so it can
never be developed. This is a unique program that was initiated during
the frenzied real estate market of the mid-1980s to protect vulnerable
farmland from coming under developers' control.
RACHEL BRONWYN-see PETRIK, RACHEL B. H.
SANDRA LuDIG BROOKE '82
(Williams College Libraries, Williamstown, Head of Acquisitions &
Collection Development)
Sandy received her M.L.S. from SUNY Albany, 1999, and now
works at the Williams College Library.
KATE MEREDITH BURKE '96
Kate, we understand, has left the Maymount Foundation in
Richmond, Va., and now works for a design firm in that city.
PAULA KOROMILAS BURKE '80
(Country Lane Landscape, Darien, Conn.)
ANN MURPHY BURROUGHS '85
(St. Louis Art Museum, St. Louis, Mo., Adult Programs Assistant)
After a lengthy hiatus spent supporting a law school spouse and
raising children, Ann has re-entered the museum world with the
encouragement of fellow Williams alum Brent Benjamin '86. She is
currently working in the Education Department of the St. Louis Art
Museum on a part-time basis and is thoroughly enjoying it. Her family
had a wonderful visit wirh Suzanne Devine Karr '85, her husband,
Bob, and two captivating boys, James and Alexander, in New York lasr
December. Otherwise she and Harold are busy keeping up with their
"tribe": Charlie (12), Tim (10), and Molly (6).
HIRAM CARRUTHERS BUTLER '79
(Devin Borden Hiram Butler Gallery, Houston, Tex., Director)
VICTORIA C. GARDNER COATES '92
(Washington College, Assistant Professor of Art History, Chestertown,
Md.; Ph.D., University of Pennsylvania '98, "Cardinal Camillo
Massimo, Nicolas Poussin, and Claude Lorrain: A Study in Neo-Stoic
Patronage in Baroque Rome")
GREGORY LEWIS BYNUM '96
(Morris-Jumel Mansion Museum, New York, Director of Education)
KATHRYN BROWNELL '96
Kathryn, we understand, recently helped to raise one million dollars
for the Paramount Theatre in Rutland, Vt.
KATHRYN CALLEY-see GALITZ, KATHRYN C.
VICTORIA BUNTING '92
(Northeast Document Conservation Center, Andover, Mass., Assistant
Paper Conservator)
RACHELJ. BURBANK, CLASS OF '81
(State College, Pa.)
Rachel's husband has accepted a new job as Director of Coastal
Studies at the University of California at Santa Barbara. He is already
living out West; Rachel joined him after their younger daughter,
Andrea, graduated from high school this June. They are very excited to
be living on the West Coast again! Their older daught,er is a sopho­
more at Stanford, so they can visi t her more often.
GARY BURGER '76
(John S. and James L. Knight Foundation, Miami, Fla., Director of
Arts & Culture Programs)
Now that Gary is on the other side of the funding fence, he has the
opportunity to support others in producing publications, mounting
exhibitions, or pursuing other cultural activities that benefit the 26
cities in which they make grants. He has not, however, had the
opportunity to pursue such ends for himself. "This is by no means a
complaint."
GRWUATES' NEWS
MARTHA A. CHIARCHIARO '80
(UMass Memorial Health Care, Worcester, Director of Organizational
Development)
PRISCILLA VAIL CALDWELL '88
(James Graham & Sons, New York, Director, Head of American
Paintings Department)
WA.... DA A. BUBRISKI '82
MARY CHENEY-see NELSON, MARY CHENEY
KATE (KATHERINE A.) BUSSARD '00
(City University of New York, Ph.D. student in art history)
Kate begins the program at CUNY this fall, having completed her
internship in the Photography Department of the Gerty Museum.
GAVE L. BROWN '76
Gaye received an M.F.A. from the American University in 1996 for
her novel The Knot ofHappiness.
CHERYL A. BRUTVAN '80
(Museum of Fine Arts, Boston, Beal Curator of Contemporary Art)
Sarah received a degree from the Museum Management Institute,
Berkeley, California, a program of the J. Paul Getty Trust administered
by the American Federation of Arts, in 1996. Her parh to the
Corcoran led through service as the director of the Maier Museum of
Art, Randolph-Macon Woman's College, Lynchburg, Va. (1995-1998)
after stints at the Amon Carter Museum, Fort Worth, Tex., and the
National Gallery of Art, Washington, D.C. Her major exhibitions
include Thomas Eakins and the Swimming Picture (Amon Carter
Museum, 1996), Thomas Cole's Paintings ofEden (Amon Carter
Museum, 1995), and Ominous Hush: The Thunderstorm Paintings of
Martin Johnson Heade (Amon Carter Museum, 1994). In addition, she
has published American Treasures from the Corcoran Gallery ofArt, with
Terrie Sultan (2000), and various articles and contributions to collec­
tions catalogues.
BONNIE A. CAMPBELL '81
(Texas State Capital, Austin, Curator of the Capital; and Texas State
History Museum, Project Manager)
SUE (PATRICIA S.) CANTERBURY '96
(Minneapolis Institute of Arts, Assistant Curator of Paintings and
Modern Sculpture)
Since arriving at the MIA, Sue has coordinated and interpreted
diverse exhibits, ranging from Francis Bacon: A Retrospective (who
would have thought it!?!), American Impressionism, and one focused
on the conservation of a 17th-century altarpiece. She was also a coor­
dinating curator and contributor to the exhibition catalogue for Degas
and America: The Early Collectors. Future projects include work on the
American sublime (2002) and a retrospective on Beauford Delaney for
2004. In her spare time she is learning to speak Minnesotan and stalk­
ing Garrison Keillor.
KEE IL CHOI '76
(Independent arts and ceramics dealer, New York)
JOHN w: COFFEY '78
(North Carolina Museum of Art, Raleigh, Chief Curator)
John is a co-curator (with Will South) of a major retrospective exhi­
bition of the paintings of Sranton Macdonald-Wright (Color, Myth,
and Music: Stanton Macdonald- Wright and Synchromism) , which
opened in Raleigh in March 2001 and travels to LACMA and the
MFA-Houston; note, the catalogue was edited by Fronia W. Simpson
'77. He recently found himself in the eye of the storm over Nazi-loot­
ed art. He writes, "a painting in the North Carolina Museum of Art­
Madonna and Child in a Landscape by Lucas Cranach the Elder-had
been stolen by the Gestapo from a Jewish family in Vienna. Protracted
negotiations followed-not helped by extensive media coverage. The
painting was returned to the family in February 2000. Happily, the
family agreed to sell it back to the museum at a fracrion of its market
value. So justice was served and a great painting remains in Raleigh."
VINCENT CARNEVALE '83
ELIZABETH A. CoGSWELL '74
(Macalester College, St. Paul, Minn., Director of Corporate and
Foundation Relations; M.A., University of Delaware, Winterthur
Program '81, "The Henry Lippett House: A Document of Life and
Taste in Mid-Victorian America")
ROBERT E. CARTER '92
(Skidmore College, Saratoga Springs, N.Y., Curator, Permanent Arr
Collection)
ANNA R. COHN, CLASS OF '75
(Smithsonian Institution Traveling Exhibition Service [SITES],
Washington, D.C., Executive Director)
BETH CARVER-see WEES, BETH CARVER
MERRITT CoLAIlZI '96
(Streetmail, North Adams, Mass., Director of Content)
Merritt announces lots of news, but proclaims none of it is art relat­
ed. She crows: "I do think that it's humorous that I, formerly the not­
for-profit queen, am heading up the profit end of a business-hal Let's
hear it for the 'smart generalists' of the world!"
EILEEN CASEY-See JACHYM, EILEEN CASEY
SARAH CAsH '86
(The Corcoran Gallery of Art, Washington, D.C., Bechhoefer Curator
of American Art)
GRWlJATES' NEWS
PAGE SEVENTEEN
KRISTEN CoWNS '97
(Universiry ofTexas ar Ausrin, Ph.D. studenr in art history)
Kristen, we have heard, spenr the past yeat in Germany on a
DAAD grant researching her dissertation.
MIKKA GEE CONWAY '98
(Getry Museum, Los Angeles, Research Assistanr, Departmenr of
Photographs)
RUGER CoNZELMAN '95
(Independenr art consultant, New York, and Fairfield, Conn.)
Adrienne is finishing a catalogue of highlights from the William D.
Ruger Collection of Art and is doing freelance consulring and
appraisals for American painrings clienrs.
ADRIENNE
VICTORIA CORBEIL-see BUNTING, VICTORIA
DEBORAH IRENE COY '77
(Christie's, Inc., New York, Vice Presidenr)
LAURA COYLE'86
(The Corcoran Gallery of Arr, Washington, D.C., Curator of
European Art)
Laura was promoted to full curator as of 1 January 2001. Since
then she has published on David Reed's project for the Corcoran
Biennial and has written an inrroductory essay for Connecting Worlds:
Contemporary European Sculpture at the Kennedy Center (3 April-3
June 2001). She is working on an exhibition and publication for rhe
fall of 200 1 to commemorate rhe 75th anniversary of the Clark
Collection at the Corcoran, largely European art: painrings, drawings,
sculptures, rugs, lace, ceramics, and decorative arts (another project
being edited by Fronia W Simpson '77).
KAREN CROFF-see BATES, KAREN CROFF
SUSAN M. CROSS '94
(Solomon R. Guggenheim Museum, New York, Assistant Curator)
LEIGH CULVER '92
(Ph.D., Universiry of Pennsylvania '99, "Performing Idenrities in the
Art of John Singer Sargenr")
CAROLE CUNNINGHAM-see McNAMARA, CAROLE CUNNINGHAM
SUSAN HOLMBERG CURRIE '85
(The Leon and Thea Koerner Foundarion, Vancouver, B.C., Executive
Director)
Susan serves as president of the Board of Directors of the Roedde
House Preservation Sociery and works on a contract basis at the
Vancouver Museum. She helped produce websites (one inreractive) for
the Roedde House Preservation Sociery and attends cultural and phil­
anthropic meerings on behalf of the Leon and Theo Koerner
Foundation.
JEFFREY T. DALTON '91
(VGS Marketing Group, Inc., Carrollton, Tex., Communications
Manager/Accounr Executive)
AMY SHAMMASH DANE '81
(Mounr Holyoke College Arr Museum, South Hadley, Mass.,
Education Coordinator)
It's Amy's seventh year as Education Coordinator at the Mount Holyoke
College Art Museum-she runs the docenr program and has developed a
terrific studenr tour called "Daily Life and Afi:erlife: Ancienr Egypt, Greece
and Rome." She has also developed a teacher resource packer on those
PAGE EIGHTEEN
cultures that includes a detailed script with 46 slides ofobjecrs trom the
museum's collection to help teachers integrate museum objects inro their
curriculum.
MARy SPIVY DANGREMOND '79
CYNTHIA DEITH '83
SUZANNE M. DEVINE-see KARR, SUZANNE DEVINE
DIANE DILLON '88
(Newberry Library, Chicago; Ph.D., Yale Universiry '94, "'The Fair as
a Spectacle': American Arr and Culture at the 1893 World's Fair")
SUSAN A. DIMMOCK '94
MARIA E. DI PASQUALE '92
(Universiry of Texas at Austin, Instructor; Ph.D., Universiry ofTexas at
Austin '99, "The Crise Catholique: Avanr-garde Religious Painring in
France, 1890-1912")
MOLLY DONOVAN-see YOUNG, MOLLY DONOVAN
SHANNON L. DONOVAN '94
(American College of Physicians, American Sociery of Internal
Medicine, Annals of Inrernal Medicine, Philadelphia, Production
Editor)
LISA B. DORJN '00
(Williams College Museum of Art, Williamstown, Curatorial
Assistant)
LINDA JOHNSON DOUGHERTY '91
(Independenr curator and critic, Chapel Hill, N.C.)
After graduating from the M.A. program in 1991, Linda worked in
the Department of 20rh Century Art at the Narional Gallery of Art in
Washington, D.C. In 1993 she married Patrick Dougherry, a sculptor,
and moved to Chapel Hill, N.C. Since rhen she has been writing
reviews and articles on conremporary art for several magazines (Art
Papers, Sculpture, and Public Art Review), working as a public art con­
sultanr, and running rhe public art program for the stare of North
Carolina (1998-2000). She is now working parr-time as a curator for
rhe Conremporary Arr Museum, a new museum that will open in
Raleigh in the fall of 2002, and as a consulting curator for the North
Carolina Museum of Art in Raieigh, helping to plan a new sculpture
park and trail. She conrinues to write reviews and arricles for several
art magazines.
ANNE C. DOWLING '94
(William and Mary Law School, Williamsburg, Va., Graduate student)
Anne has been the director of two foundations-the Pediatric
Cancer Foundation and the Virginia Conservation Network. She is
now in law school at William and Mary and is a 2L. She has a new
son-William Roderick Hill Hess.
HENRY J. DUFFY '77
(Sainr-Gaudens National Historic Site, Cornish, N.H., Curator;
Ph.D., Rutgers Universiry '01, "New York Ciry Collections
1865-1895")
Henry is currently working on a catalogue/exhibition for 2001
abour the ceramic artist Paul St. Gaudens (1900-1954) for the Sainr­
Gaudens National Historic Site; its accompanying book will have
essays by contributing scholars and will publish glaze recipes by the
artist for the first time. He recently worked on a major retrospective of
Augustus Saint-Gaudens for two French venues-Musee des
GRADUATES' NEWS
Augustins, Toulouse, and Musee de la Cooperation franco-americaine,
Chateau de Blerancourt (February-October 1999); rhis was the firsr
importanr comprehensive show of the sculptor's work in France since
his dearh in 1907. Its opening in Toulouse-with American
Ambassador Felix and Mrs. Roharyn-was rhe insrirurion's largest
opening, with over 1,000 people. For the project, he wrote an essay,
prepared loans, and helped in other ways to mount rhe exhibirion in
France.
LUevWINTERS DURKIN '86
KRISTINA VAN DYKE-see VAN DYKE, KRISTINA
FRANCESCA EASTMAN '74
(Atherton, Calif.)
Francesca serves as rhe Chair of the Arherton Arts Committee and
as a Founding Trustee of the Episcopal School of the Peninsula, a pub­
lic-privare venture in Fosrer Ciry, Calif, for srudents in grades 6-12.
For the latter, she is the Education Committee Chair; she wrires: "the
project has recently received its first million dollar gift towards a $44
million dollar goal. Have no shortage of tasks to com plete, in other
words!"
STEPHEN R. EDlDlN '78
(Dahesh Museum of Art, New York, Curator)
STEPHEN F. EISENMAN '79
(Northwestern Universiry, Evanston, Ill., Associate Professor; Ph.D.,
Princeton Universiry '84, "On the Politics of Dreams: A Study of the
'Noirs' of Odilon Redon")
Stephen is at work on three books: Culture and Barbarism: A
History ofEuropean Art (with Karl Werckmeister); The 19th Century
Paintings at the Norton Simon Museum (with Richard Brettell); and
William Morris and Primitive Communism.
H. GIFFORD ELDREDGE '96
(Arena & Co. Construction, Philadelphia, Construction Manager)
Giff writes that, "after designing exhibitions for the Clark and other
institutions (including Disney) I am now building buildings and
enjoying the permanence of my new career."
ANN loUISE EWOTI '96
(Smithsonian Institution Traveling Exhibition Service [SITES],
Washington, D.C., Director of Development)
ELIZABETH M. ELY '75
(InfoEdit, Partner)
ALICE EvARTS-SCHIPPER '85
(Young Audiences, Inc., New York, Associate Director of Chapter
Relations)
PEGGY EYSENBACH '89
YUMI N. FARWELL '87
MAURA FEENEY '82
THOMAS W. FELS '83/84
(Southern Vermont Arts Cenrer, Manchester, Vt., Curator)
Since 1984 Tom has been a curator and writer specializing in pho­
tography and American culture. In 1998 he was named a Fletcher
Jones Foundation Fellow of the Huntington Library. Recently he
organized the exhibition Classic Cities: The Art ofGreece and Rome in
Photographs ofthe Nineteenth Century, which was shown at the Dahesh
Museum in New York in 1996.
GRADUATES' NEWS
Tom has written regularly since 1985 for the Print Collector's
Newsletter and On Paper magazines and has contributed to the volume
on Carleton Watkins in the Getry Museum's In Focus series, His new
book on collecting photography, Sotheby's Guide to Photographs, is
forthcoming.
loIS FICHNER-RATHUS '76
(The College of New Jersey [Trenron State College], Ewing, N.J.,
Associate Professor of Art History; Ph.D., Massachusetts Institute of
Technology '81, "Jack Tworkov's Work from 1955 to 1979: The
Synrhesis of Choice and Chance")
Lois's text, Understanding Art, is inro its sixth edition.
JAY M. FISHER '75
(The Baltimore Museum of Art, Depury Director of Curatorial
Affairs/Senior Curator, Prinrs, Drawings & Photographs)
Jay writes: ''As the Chief Curator at Baltimore I am glad to be work­
ing with no fewer than four program graduates: Darsie Alexander,
Associate Curator of Prinrs, Drawings and Photographs; David Penney,
Coordinator of Exhibitions; Kary Rothkopf, Curator of Painting and
Sculpture; and Ann Shafer, Liaison for the Board of Trustees.
Administrative duties are balanced by ongoing work on the Cone
Sisters, on whom I lectured in Venice as parr of a symposium on
women collectors of modern art, with papers to be published by the
Universiry of Venice in January; and Matisse, including lectures in
New York, Cedar Rapids, and Baltimore, on his prints and books."
DAVID R. FLEER '95
(CIBC Oppenheimer Corp., Los Angeles)
MICHAEL M. FLOSS '84
(Silver Oak Partners)
PENELOPE Foss '97
(The Lawrenceville School, Lawrenceville, N.J., Curator of
Collections)
Penny writes that she is "still at Lawrenceville, where I continue to
work on developing our new Arts Center and permanent collection. I host
up to three exhibitions a year and am responsible for managing our per­
manent collection as well as defining both shon- and long-term goals,
including policy and our mission. This is made much easier by the many
art lovers in the Lawrenceville parent and alumni body. Exhibitions
include retrospectives ofJohn Safer and John Register (organized in other
institutions), prinrs by Rembrandt, and American Modernism. Other
recent exhibitions have been aimed at curricular courses and include
'Object of Ritual' and 'Classical Art Then and Now.' The learning curve is
huge, I wear many hars, but I love all aspects of my job."
SUSAN R. FOSTER-see GARTON, SUSAN FOSTER
KRISTEN FROEHLICH '88
(Historical Sociery of Pennsylvania, Philadelphia, Art & Artifact
Collections Manager)
KATHRYN C. GALITZ '91
(The Metropolitan Museum of Art, New York, Research Assistant,
Department of European Paintings; Ph.D., Institute of Fine Arts­
New York Universiry '98, "The Family Paradigm in French Painting,
1789-1814")
HEATHER GALLOWAY '89
(Intermuseum Conservation Association, Oberlin, Ohio, Associate
Paintings Conservator)
PAGE NINETEEN
COURTNEY GANz '88
JAMES A. GANz '88
(Clark Art Institute, Williamstown, Curator of Prints and Drawings;
Ph.D., Yale University '00, "Robert Robinson [1651-1706]: Painter
Stainer and Peintre-Graveur)
For a fuller listing, see Jim's entry in "Faculty News," above.
VICTORIA C. GARDNER-see COATES, VICTORIA C. GARDNER
SUSAN FOSTER GARTON '91
(National Portrait Gallery, Washington, D.C., Museum Specialist and
Field Surveyer, Catalogue of American Portraits)
AMY GoLAHNY '75
(Lycoming College, Williamsport, Pa., Associate Professor of Art
History; Ph.D., Columbia University '84, "Rembrandt's Paintings and
the Venetian Tradition")
Amy is president of the American Association for Netherlandic
Studies. She received a grant from the DMD in 1999 for research in
Germany.
JOHANNA J. HALFORD-MACLEOD '75
(The Phillips Collection, Washington, D.C., Deputy to Director)
ELYSE A. GoNZALES '00
(Institute for Contemporary Art, Philadelphia, Curatorial Assistant)
ALExIs GoODIN '98
(Brown University, Ph.D. student in art history)
WIWAM J. GAVIN '74
JENINE GORDON-see BOCKMAN, JENINE GORDON
MIKKA GEE-see CONWAY, MIKKA GEE
LAURA D. GELFAND '89
(Myers School of Art, The University of Akron, Akron, Ohio,
Assistant Professor/Coordinator of Art History; Ph.D., Case Western
Reserve University '94, "Fifteenth-Century Netherlandish Devotional
Portrait Diptychs: Origins and Function")
Laura's publications have included articles in Cleveland Studies in
the History ofArt, In Detail: New Studies in Northern Renaissance Art,
Apollo, and reviews in the Historians ofNetherlandish Art Newsletter.
She has presented papers at the International Congress on Medieval
Studies, Kalamazoo,Mich.; New York Public Library; CM annual
meetings; International Medieval Congress, Leeds (and session organiz­
er); and numerous other sites. She has received a number of faculty
development grants from the University of Akron.
w: ANTHONY GENGARELLY '88
(Massachusetts College of Liberal Arts, North Adams, Professor, Art
History, Museum Studies, Arts Management; Ph.D., Boston University
'72, "Resistance Spokesmen: Opponents of the Red Scare, 1919-1921")
E. MELANIE GIFFORD '76
(National Gallery ofArt, Washington, D.C., Research Conservator of
Paintings; Ph.D., University of Maryland '97, "Style and Technique in
the Evolution of Naturalism: North Netherlandish Landscape Painting
in the Early Seventeenth Century")
LAURA M. GILES '79
(Princeton University, Art Museum, Associate Curator of Prints and
Drawings; Ph.D., Harvard University '86, "The Paintings and Related
Drawings of Giacomo Cavedone, 1577-1660")
LUCINDA BARNES GILLIAM-see BARNES, LUCINDA
JOSEPH R. GIUFFRE '89
(Rutgers University, Ph.D. student in art history)
ROBElIT G. GLASS '00
(Princeton University, Ph.D. student in art history)
MARGARET L. GoEHRING '90
(Ph.D., Case Western Reserve University '00, "Landscape in Franco­
Flemish Manuscript Illumination of the Late Fifteenth and Early
Sixteenth Centuries")
PAGE TwENTY
,
BROTHER JOHN THOMAS lIALETSKY '74
(Holy Cross Monastery, West Park, N.Y.)
DEBORAH L GASTON '91
(National Museum of Women in the Arts, Washington, D.C.,
Assistant Curator of Education)
ALANNA E. GEDGAUDAS '00
Qenny Holzer Studio, Hoosick Falls, N .Y., Studio Assistant)
.
MARION GoETHALS '89
(Williams College Museum of Art, Williamstown, Associate Director)
JENNIFER GORDON-see LOVETT, JENNIFER G.
LIlliAN NAVE GoUDAS '97
(Assumption College, Worcester, Mass., Visiting Instructor in Art
History)
Lillian wrote last winter: "I just finished a year and a half at
Assumption College in Worcester, MA. I have returned to
Cooperstown, NY, and will take the spring 2001 semester off in antici­
pation of an April baby's arrival." And, indeed, Emma arrived on
schedule and has already visited the Graduate Program office, much to
Karen's delight.
JULIA GRAHAM '91
(University ofToronto, Toronto, Ontario, Faculty of Law)
NANCY E. GREEN '84
(Cornell University, H. F. Johnson Museum of Art, Ithaca, N.Y.,
Assistant Director/Chief Curator)
ADAM R. GREENHALGH '00
(Clark Art Institute, Williamstown, Curatorial Assistant)
JENNIFER A. GREENHILL '00
(Yale University, Ph.D. studen_t in art history)
SARAH B. GRIFFIN '94
CARLA GROSSE-see VASCONES, CARLA
LAURA GROVES '00
(Philadelphia Museum of Art, Curatorial Fellow, Prints, Drawings and
Photographs Department)
EUZABETH AVERY GUENTHER '91
(University of Vermont, Burlington, Vt., Adjunct Lecturer)
Liz writes: "Given the length and astonishing variety of my c.v. I've
just included a copy of it! As for my dissertation.... I'm still slowly
working on it, hoping to finish in May 2002, or at least before my
toddlers graduate from high school." She had a homecoming of sorts
this spring when she traveled to the Clark for the Julius Held lectures,
delivered by James Marrow-her Princeton dissertation advisor.
INGRID GUSTAVSON '95
(The Webb Schools, Claremont, Calif., teacher/coach)
JOHN HAGOOD '00
(The Museum of Fine Arts, Houston, Art Librarian)
GRADUATES' NEWS
CAROLYN HALPIN-HEALY '86
(Independent museum educator, New York)
AMY K. HAMLIN '00
(Institute of Fine Arts-New York University, Ph.D. student in art
history)
ANNE E. HAVINGA '83
(Museum of Fine Arts, Boston, Curator of Photographs)
EDWARD A. HAWKINS '80
(Good Harbor Fillet Co., Gloucester, Mass., Bid specialist)
NORA M. HEIMANN '85
(Catholic University of America, Washington, D.C., Assistant
Professor of Art History; Ph.D., City University of New York '94,
'''What Honor for the Feminine Sex': A Study ofJoan of Arc and the
Representation of Gender, Religion, and Nationalism in French
Nineteenth-Century Painting, Prints, and Sculpture")
SHARON R. HEMENWAY '85
LYDIA G. HEMPHILL '95
(Deerfield Academy, Deerfield, Mass., teacher, Curator of Russell
Gallery)
Lydia is teaching AP art history and photography at Deerfield,
where she has worked since finishing at Williams. This year she
became curator of the school's art collection, with responsibilities
including the running of the gallery and organizing and orchestrating
four exhibitions a year.
RACHEL B. HENRICH-see PETRIK, RACHEL B. H.
LAURA STEWARD HEON '98
(MASS MoCA, North Adams, Associate Curator)
Laura has organized several exhibitions at MASS MoCA: Game
Show (with catalogue), summer 2001; Fluxus Games from the
Silverman Collection, summer 2001; Mona Hatoum: Domestic
Disturbance (with catalogue), spring 2001; Laylah Ali Paintings on
Paper, winter 2000-2001; Unnatural Science (with catalogue), summer
2000; Tim Hawkinson Oberorgan (with catalogue), summer 2000;
BILLBOARD: Art on the Road (with catalogue), summer 1999; Tony
Oursler Optics (with essay in WCMA catalogue), summer 1999; Test
Site, summer 1999; Earmarks, summer 1998; Ron Kuivila Visitations,
summer 1999. She has given many lectures and received several grants,
most recently from the Warhol Foundation for Game Show.
PETER DECOURCY HERO '75
(Community Foundation Silicon Valley, San Jose, Calif, President;
M.B.A., Stanford University Graduate School of Business; Honorary
Doctor of Laws, Maine College of Art)
Since 1989 Peter has been the President of Community Foundation
Silicon Valley, with total assets of $625 million and grants of over $51
million in the last year. For several years the foundation has focused its
programming on neighborhood revitalization, early childhood literacy,
and broadening cultural participation. This year the foundation will
complete a $20-million Housing Trust Fund, designed to demonstrate
new approaches to the region's housing crisis. In 1999 the foundation
GRADUATES' NEWS
completed the first ever in-depth research into the charitable motiva­
tions and behavior of Silicon Valley's newly wealthy entrepreneurs
(results available on-line at www.cfsv.org).
In 1991 Petet was appointed by President George Bush to a 6-year
term on the National Council on the Arts. Recent recognition includes
the Excellence in Civic Leadership Award (awarded by the Tech
Museum of Innovation & Silicon Valley Chamber of Commerce), and
Lifetime Achievement in the Arts (by Arts Council Silicon Valley). In
2000 the San Jose Mercury News named Peter "one of the 40 most
influential leaders in Silicon Valley in the last decade."
Currently he serves on the Board of Directors of the National Trust
for the Humanities and several other national foundations. His writing
on community development has been published in the United States
and in Europe.
LAUREN B. HEWES '90
(Independent curator; recently served as the guest curator at the New­
York Historical Society for an exhibition of prints from the Dave and
Reba Williams Collection)
STEVEN S. HIGH '85
(Nevada Museum of Art, Reno, Nev., Executive Director)
ANGELA Ho '98
(University of Michigan, Ph.D. student in art history)
ADRIAN S. HOCH '78
(Ph.D., University of Pennsylvania '83, "Simone Martini's St. Martin
Chapel in the Lower Basilica of San Francesco, Assisi")
IRENA HOCHMAN '75
(Irena Hochman Fine Art, Inc., New York, President)
SUSAN HOLMBERG-see CURRIE, SUSAN HOLMBERG
JOYCE ROLERSON Hu '87
ZHENG Hu '86
(University at Albany, SUNY, University Art Museum, Albany, N.Y.,
Exhibition Designer)
JENNIFER BANCROFT HUFFMAN '89
(Springer-Miller Systems, Stowe, Vt., Technical Writer)
SUSAN IMBRIANI-see JOHNSON, SUSAN I.
PAMELA A. IVINSKI '87
(Cassatt Catalogue Raisonne Committee, New York, Research
Manager)
PATRICIA R. IVINSKI '90
We understand that Tricia received a degree in education from the
Johns Hopkins University this spring.
EILEEN CASEY JACHYM '77
STEFANIE SPRAY JANDL '93
(Williams College Museum of Art, Williamstown, Andrew W. Mellon
Curatorial Associate)
BAIRD E. JARMAN '95
(Yale University, Ph.D. student in art history)
Baird is at work on a dissertation concerning Edwin Austin Abbey's
splendid Holy Grail murals in the Boston Public Library.
RANoON M. JERRIS '94
(United States Golf Association, Far Hills, N.J., Librarian; Ph.D.,
PAGE TwENTY-ONE
Princeton University '99, "Alpine Sanctuaries: Topography,
Architecture, and Decoration of Early Medieval Churches in the
Bishopric of Chur")
DAVID C. JOHNSON '97
(Williams College, Williamstown, Assistant Professor ofphysical
Education/Assistant Dean of the College)
David continues to work on his book, The Racquet and Tennis Club.
Park Avenues Silent Observer, about the clubhouse architecture of
McKim, Mead & White at the turn of the century in New York City.
He is also at work on a new book on the architecture of Williams
College: A Sense ofWhere You Are. ... A Sense ofWhere Youve Been, in
collaboration with Whitney S. Stoddard, Amos Lawrence Professor of
Art at Williams College, Emeritus.
DIANA N. JOHNSON '91
(Minneapolis Institute of Arcs, Manager, Teacher Resources)
KYLE S. JOHNSON '96
(University of Michigan, Ph.D. student in art history)
Now a "recovering academic," Kyle serves as an Associate Analyst in
the Site Technology Group at Forrester Research in Cambridge, Mass.
Publications include "The Commerce Platform Dive" and "Making
Mictosoft Sites Work." He and Jody live in Arlington, Mass.
LINDA JOHNSON-see DOUGHERTY, LINDA JOHNSON
NICOLE S. JOHNSON '94
(University of Michigan, Ann Arbor, Instructor, Department of
English Language and Literature)
SUSAN I. JOHNSON '93
PAMELA KACHURIN '90
(Harvard University, Coordinator of Outreach and Teacher Training;
Ph.D., Indiana University '98, "One Step Forward, Two Steps Back:
The Retreat of the Avant-Garde in the Early Soviet Era")
Pamela's recent publications include "The ROCI Road to Peace:
Robert Rauschenberg and the End of the Cold War," Journal ofCold
W<lr Studies, forthcoming; "Production Propaganda and Visual Arts,
1920-1922," Visual Culture and the Ftutory, forthcoming; and
"Purchasing Power: State as Art Patron in the Early Soviet Era," in
Byuletyn Historii Sztuki (1998). In the summer of 2000 she received an
IREX Short Term Grant for work in Moscow.
TOBY (CHARLES Q.) KAMps '91
(Museum of Contemporary Art, San Diego, Calif., Curator)
Toby writes, tersely but clearly: "Life in San Diego is great! Thanks
for the letter and good luck with your efforts!"
MlNorr KERR '82
(Metro Data Resource Center, Portland, Oreg., Assistant Regional
Planner: Geographical Information Systems [GIS] Specialist; Ph.D.,
Yale University '94, "The Former Cluniac Priory Church at Paray-le­
Monial: A Study of Its Eleventh- and Twelfth-Century Architecture
and Sculptute")
Minott writes: "I am no longer an academic or even an art histori­
an. Rather, I am a Geographical Information Systems (GIS) specialist.
GIS is a sort of computer-based cartography that creates data sets for
planning and environmental analyses. I work for the Data Resource
Center of Metro-the planning agency for the Greater Portland area
specializing in transportation problems and water-related issues, espe­
cially related to endangered fish. I did the final GIS work for the
Portland region's BikeThere! Map (www.esri.com/mapmuseumltrans­
portation/l03_m.html). I also finished my last art history project in
September-part of a book on the Romanesque church Notre-Dame
at Jumieges with Jim Morganstern (a Williams grad). Also I teach
white-water kayaking."
MARNJ R. KEsSLER '89
(University of Kansas, Lawrence, Assistant Professor, Art History; Ph.D.,
Yale University '96, "Sheer Material Presence, or the Veil in Late
Nineteenth-Century French Avant-Garde Painting")
NANCY KLAus, class of '74
(Moore College of Art and Design, Philadelphia, Coordinator of
Alumni Affairs/Career Services)
CHRISTINE KNox '80
(DDB Worldwide, New York, Global Strategic Events Manager
[Worldwide Corporate Division]; M.B.A., University of Connecticut;
C.M.M. Certification '00 in Global Strategic Meeting Management,
University of Coventry)
Christine currently travels worldwide for the second largest ad
agency in the world (DDB Worldwide), managing all strategic pro­
grams for DDB personnel ftom 207 offices in 97 countries. "And," she
adds, "I get to visit lots of fabulous museums as a side benefit!!"
PAULA KOROMILAS-see BURKE, PAULA KOROMILAS
SHELLEY R. LANGDALE '89
(The Cleveland Museum of Art, Assistant Curator, Department of
Prints and Drawings)
JENNIFER G. LoVEIT '81
We understand that Jennifer is raising her family in Stamford, Vt.,
and teaching art to young children.
MARy E. LARUFFA '95
(Chadbourne & Parke LLp, New York, Associate Lawyer)
BRIAN LUKACHER '78
(Vassar College, Poughkeepsie, N.Y., Associate Professor of Art
History; Ph.D., University of Delaware '87, "Joseph Michael Gandy:
The Poetical Representation and Mythography of Architecture")
KENNETH LEDoux '81
DE-NIN D. LEE '95
(Stanford University, Ph.D. student in art history)
SANDRA LUDIG-see BROOKE, SANDRA LUDIG
TANIA SUSAN LEE '93
(National Gallery of Art, Washington, D.C., Development Specialist)
PETER F. LYNCH '83
(Ph.D., Yale University '92, "Patriarchy and Narrative: The Borgherini
Chamber Decorations")
CHRISTINE LEMOAL-see KNox, CHRISTINE
DEBORAH K. LEVETON '87
(Des Moines Art Center, Des Moines, Iowa, Curator)
ELIZABETH j. G. LEVINE '94
(The Museum of Modern Art, New York, Curatorial Assistant,
Department of Painting and Sculpture)
JUDITH WEISS LEVY '77
(Donald 1. Bryant Collection, St. Louis, Mo., part-time curator)
DIANA 1. LINDEN '87
(Ph.D., City University of New York '97, "The New Deal Murals of
Ben Shahn: The Intersection of Jewish Identity, Social Reform, and
Government Patronage")
After receiving her Ph.D., Diana taught at the University of
Michigan until this spring, when she received a teaching fellowship at
Indiana University-which, however, she declined, to keep her house­
hold together as her husband set out for a position in Los Angeles.
Stay tuned. In the meanwhile, she is making canny and fine jewelry.
RACHEL A. LINDHEIM '95
(University of Chicago, Ph.D. student in art history)
MARK T. LINDHOLM '93
(Princeton University, Ph.D. student in art history)
Mark is currently writing his dissertation, "The Indifferent Image:
Art and the Adiaphoristic Controversy in Luthetan Germany,
1547-1577" (advisor: Prof. Thomas DaCosta Kaufmann). With his
wife, Karen, he lived in Germany from 1996 to 1999 while conduct­
ing dissertation research (on a one-year DAAD and a two-year Kress
Institutional grant).
PAULA M. KOWL '82
(Hull Lifesaving Museum, Hull, Mass., Curator)
THOMAS E. LIPPY, JR. '87
SARA M. KRAJEWSKI '96
(Madison Art Center, Madison, Wise., Curator of Exhibitions)
DAVID E. LITTLE '92
(Maryland Institute College of Art, Baltimore, art history faculty;
Duke University, Ph.D. student in art history)
SUZANNE DEVINE KARR '85
Ooho Capital, LLC, New York, Director; M.B.A., Harvard
University '90)
SABINE T. KRIEBEL '95
(University of California, Berkeley, Ph.D. student in art history)
FRANCES LLoYD-BAYNES '93
(Victoria and Albert Museum, London, Documentation Manager)
DENISE KRiEGER-see MIGDAIL, DENISE KRiEGER
GABRIELA loBO '93
MARGARET KAUFMAN-see MCCALLUM, MARGARET KAUFMAN
MARTHA KROM-see CHIARCHlARO, MARTHA A.
CHRISTOPHER w: loNDON '79
(Independent architectural historian)
CAROLYN KANNWISCHER-see BESS, CAROLYN
JOHANNA KAREuS-see HALFORD-MACLEOD, JOHANNA J.
MARGUERITE A. KEANE '95
(University of California, Santa Barbara, Ph.D. student in art history)
Rita recently taught a course in Renaissance art at Loyola
Marymount University, in Los Angeles. We understand that she has
been in Paris over the past year researching her dissertation on illumi­
nated manuscripts.
PAGE TwENTY-TwO
,l
FRANKUN w: KEllY '79
(National Gallery of Art, Washington, D.C., Curator of American and
British Paintings; Ph.D., University of Delaware '85, "Frederic Edwin
Church and the North American Landscape, 1845-1860")
ROBERT LACH '90
(Chicago Board Options Exchange; M.B.A. '97, University of
Chicago)
ANNE M. lAMPE '99
(Whitney Museum of American Art, New York, Assistant Curator)
GRADUATES' NEWS
THOMASj.LouGHMAN'95
(Rutgers University, Ph.D. student in art history)
Tom and his wife have been in Florence for the past year, thanks to
the Fulbright fellowship for his dissertation research.
GRADUATES' NEWS
BARBARA LYNN-DAVIS-see MYERS, BARBARA 1.
SARAH CASH MACCULLOUGH-see CASH, SARAH
HEATHER M. MAcINTOSH '94
(Historic Seattle, Seattle, Preservation Advocate)
The website for Historic Seattle profiles Heather's recent career:
~'Heather MacIntosh was a senior architectural historian in Virginia's
department of historic resources. Prior to this, she provided preserva­
tion and writing services for the United States Department ofTreasury
and the National Ttust for Historic Preservation, among others. She
served as deputy director of History Ink, from 1998 until August of
2000 when she established herself as an independent preservation and
educational programming consultant doing business as Lines of Sight.
She received her Masters in Art History from Williams College in
1994, and a Masters in Architectural History and Certification in
Historic Preservation from the University of Virginia in 1997. Heather
will give Historic Seattle the much needed outreach and networking
capabilities on the local, state, and regional levels."
ANN MACNARY-See SHAFER, ANN
COURTNEY MACOMBER '98
MARGARET M. MAGNER '88
(Asia Pacific, Hong Kong & Shanghai Banking Corporation, Hong
Kong, Manager, Human Resources Management System)
BETH (ELIZABETH A.) MANGINI '00
(Walker Arts Center, Minneapolis, Curatorial Intern, Visual Arts
Department)
Beth has been busy at the Walker, working on such exhibitions as
Herzog & de Meuron: In Process (including lectures and talks); YES:
Yoko Ono (including a leerure); Franz Marc and the Blue Rider, and
Zero to Infinity: Arte Povera 1962-1972 (co-organized by the Walker
and the Tate Modern; Beth is a contributor to the catalogue).
TESS MANN '00
(Peale Family Papers, National Portrait Gallery, Smithsonian
Institution, Washington, D.C., editorial assistant)
Tess has continued to research the distaff side of the Peale family,
preparing an article entitled "A Riot of Red: Sarah Miriam Peale's
Debut as a Portraitist, 1818," for Profile.
BROOKE A. MAR1.ER '89
DAVID MARTOCCI '80
ROBERT S. MATTISON '79
(Lafayette College, Easton, Pa., Professor of Art History; Ph.D., Princeton
University '85, "The Art of Roben Motherwell During the 1940s")
PAGE TwENTY-THREE
Bob has finished his fourth book, Breaking Boundaries: Robert
Rauschenberg Studies, which was sent to publishers over the winter. He
has published many articles and contributed to various exhibitions,
including such topics as "Frank Stella's Imaginary Places: Vortices,
Turbulence and Chaos Theory," "Micaela Amato: A Healing Garden,"
"Robert Rauschenberg's Autobiography: Context and Meaning," "Six
Abstract Artists at the Millennium," "Gregory Gillespie: Unspeakable
Mysteries," "Franz Kline: Sources for the Early and Mature Works in
Coal Region Imagery." He also lectures for Art Horizons International,
taking museum trustee groups around the world.
MARGARET KAUFMAN McCALLUM '79
JUDITH MCCANDLESs-see WILLIAMS, JUDITH MCCANDLESS
LAURIE McGAVJN-see BACHMANN, LAURIE MCGAVJN
THOMAS H. MCGRATH '87
(Harvard University, Associate in History of Art and Architecture;
Ph.D., Harvard University '94, "Disegno, Colore and the Disegno
Colorito: The Use and Significance of Color in Italian Renaissance
Drawings")
CAROLE CUNNINGHAM McNAMARA '78
(University of Michigan Museum of Art, Ann Arbor, Assistant
Director for Collections and Exhibitions)
THOMAS J. MCVARlSH '84
(Tufts University, Technology Transfer Office, Medford, Mass.,
Associate Director of Operations)
LISA MELANDRI '97
(Santa Monica Museum of Art, Santa Monica, Calif., Director of
Exhibitions and Programs)
DENISE KRiEGER MIGDAIL '87
(Independent textile conservator, San Francisco)
PETER B. MILLER '98
(Institute of Fine Arts-New York University, Ph.D. student in art
history)
Peter's dissertation-in-progress explores the relationship between
Theodore Chasseriau (1819-1856) and French colonialism in Algeria.
He received a Theodore Rousseau Fellowship from the Metropolitan
Museum of Art to pursue research in France for the academic year
2000-2001.
SALLY MILLS '81
(Princeton University, Ph.D. student in art history)
L. C. MILROY '79
(Wesleyan University, Middletown, Conn., Associate Professor of Art
History; Ph.D., University of Pennsylvania '86, "Thomas Eakins'
Artistic Training, 1860-1870")
Lily is currently writing a study of public space in Philadelphia dur­
ing the 19th century tentatively entitled Fairmount's Views: Public
Space and Public Culture in Philddelphia, 1854-1885-focusing in par­
ticular on the development of the Fairmount Park system. A prelimi­
nary version of the first chapter, "Assembling Fairmount Park," appears
in Philadelphia's Landscapes: The Sartain Family Legacy just published
by Temple University Press. A version of a second chapter, entitled "Art
and Science in Nature: Thomas Eakins's Images of Philadelphia's
Fairmount Park," will be published in the catalogue for the major
Eakins retrospective being organized by the Philadelphia Museum of
ELIZABETH
PAGE TwENIY-FOUR
"1\
Art for the fall of2001. Also in 2001 Penn State will publish her
major study of Philadelphia's Great Sanitary Fair of 186~"Avenue of
Dreams: Patriotism and the Spectator at Philadelphia's Great Central
Sanitary Fair"-in a volume entitled Making and Remaking
Pennsylvania's Civil War, edited by William A. Blair, Gary Gallaghet,
and William Pencak. Other recent publications include Reading
American Art, an anthology of essays on Ametican painting, sculpture,
and photography, co-edited with Matianne Doezema, published by
Yale in 1998; and "J. Alden Weir and His Connecticut Neighbors" for
the catalogue A Connecticut Pldce: \Veir Farm, an American Painter's
Rural Retreat, to accompany an exhibition organized for the Weir Farm
National Historic Site by the National Park Service last summer.
Colleges and Universities; Norman Rockwell: Pictures fOr the American
People; upcoming Painters and the American \Vest: The Anschutz
Collection. She has served as coordinating curator for Francis Criss:
American Modemist, Paintings from the 1930s, opening at the Corcoran
KiMBERLY L. MIMS '00
(Busch-Reisinger Museum, Harvard University, curatorial intern)
Kimberly writes that she is putting together an installation of works
from the permanent collection in the Busch-Reisinger "post-wat"
gallery (scheduled to open 18 August), choosing eight paintings and
objects from the 1960s and early 1970s on the theme of communica­
tion-three by Beuys-and calling the whole "Integration and
Isolation." As soon as that is done, she begins working on the reinstal­
lation of the Bauhaus works. Her teconsideration of Moholy-Nagy's
Lichtrequisit has led her to propose "a more appropriate way of display­
ing it."
ANN MUSSER-ERCAN '97
Gallery of Art 4 August 2001, befote traveling to the Samuel P. Harn
Museum and the Pennsylvania Academy of the Fine Arts. Dorothy is
at work, with Sarah Cash, on two focus exhibitions: Hiram Powers's
Greek Sldve (to open 2002) and Albert Bierstadt's Last ofthe Buffalo (to
open 2003).
DOROTHY BELKNAP MUNSON '93
ANN MURPHY-see BURROUGHS, ANN MuRPHY
(Williams College Museum of Art, Williamstown, Director of
Education)
BARBARA L. MYERS
'90
(Ph.D., Princeton University '98, "Landscapes of the Imagination in
Renaissance Venice," submitted as Barbara Lynn-Davis)
YUMI NAKAYAMA-See FARWELL, YUMI N.
REBECCA E. NANOVIC '89
LILLIAN NAVE-see GOUDAS, LILLIAN NAVE
L. PATTERSON '80
(Williams College Museum of Art, Williamstown, Curator of
Collections)
Vivian has been very busy, as the notice of activities at WCMA,
above, makes clear.
VIVIAN
PAMELA A. PATTON '87
(Southern Methodist University, Dallas, Associate Professor of Art
History; Ph.D., Boston University '94, "The Cloister of San Juan de la
Pena and Monumental Sculpture in Aragon and Navarre")
In the spring of 2001 Pamela shifted &om a joint appointment in art
histoty and the Meadows Museum at SMU to full-time teaching in art
history. Her publications in 2000 included co-authorship of The
Meadows Museum. A Handbook ofSpanish Painting and Sculpture and
catalogue entries for La Coleccion Meadows, an exhibition held at the
Thyssen-Bornemisza Collection, Madrid, and the National Museum of
Catalan Art, Barcelona (May-December 2000). In May she added an
update: "Just wanted to share the official word that I have received
tenure and promotion at SMU.... Now we have two more weeks
(more or less) until baby #2 arrives. It has been an EVENTFUL year."
We can report that Evan Patton White joined his sister, Emily, and the
rest of the family on 20 June 2001.
DAVID A. PENNEY '90
(The Baltimore Museum of Art, Coordinator of Exhibitions)
MARy CHENEY NELSON '75
MARGUERITE H. MODAN '88
(Image Homes COtporation, Evergreen, Colo., Vice President)
REBECCA MOLHOLT '96
(Columbia University, Ph.D. student in art history)
Rebecca delivered a lecture entitled "Revisiting the Antioch
Personifications: Figures of Speech," at the AIEMA conference in
November 2000 and will give a talk in Rome at AIEMA 2001. She
assisted Christine Kondoleon, then curator at the Worcester Art
Museum, with the reinstallation of their ancient collection and the
exhibit Antioch: The Lost Roman City. She is now at work on the exhi­
bition 1mages ofMasculinity in Late Antiquity for Reed College, sched­
uled for the fall of 2002. She maintains an ongoing position as lecturer
at the American Scandinavia House, New York.
DANIEL A. MONTOYA '94
(Studio Montoya, New York)
DOROTHY Moss '99
(The Corcoran Gallery of Art, Washington, D.C., Assistant Curator of
American Art)
Dorothy has been very busy. Her publications include "John Singer
Sargent, 'Madame X,' and 'Baby Millbank,''' in this May's Burlington
Magazine-growing from het Graduate Symposium presentation;
"Spotlight on the Collection: The Work of Charles Bird King in the
Collection of the Corcoran Gallery of Art," The Corcoran Gallery of
Art, 1869 Newsletter, no. 6 (summer 2000); and ".001 pictures: Gary
Hill's Wall Piece," The 46th Biennial Exhibition: Media/Metaphor, mid­
January 2001 (www.corcoran.org/biennial). Her lectures at the
Corcoran include "Introduction to Norman Rockwell: Pictures for the
American People," July-August 2000; "Late Nineteenth-Century
American Realism to Early Twentieth-Century Ametican Realism in
the Collection of the Corcotan Gallery of Art," September 2000; and
'''Flashing Daylight': John Singer Satgent's Oyster Gatherers at Cancale
in the Context of His Careet," January 2001. She has assisted Sarah
Cash ('86), Bechhoefet Curator of American Art, with exhibitions that
include To Conserve a Legacy: American Artfrom Historically Bldck
GRADUATES' NEWS
H. RODNEY NEVITT '84
(University of Houston, Department of Art, Assistant Professor;
Ph.D., Harvard University '92, "Studies in Dutch Art and the
Literature of Courtship, 1600-1650")
NORA L NIRK '89
DIANA NUNLEY-see JOHNSON, DIANA N.
CHRISTINE I. OAKLANDER '90
(Ph.D., Univetsity of Delaware '99, "Clara Davidge and Henry Fitch
Taylot: Pioneering Promoters and Creators of American Modernist Art")
Christine's exhibition and catalogue, John Wolcott Adams: American
Life and History, was at the Brandywine River Museum in 1998. Her
book, based on her dissertation (and involving, in part, the Clark fam­
ily) is making the rounds to various publishers.
PEGGY O'BRIEN-see EYSENBACH, PEGGY
SUSAN DODGE PETERS '77
(University of Rochester, Memorial Art Gallery, Rochester, N.Y.,
Director of Education)
TIM PETERSON '92
(Franklin Art Works, Minneapolis, Director)
Tim is the founding director of Franklin Art Works, a new non­
profit visual arts organization in Minneapolis. He oversaw the organi­
zation's development, including the acquisition and renovation of a
new 10,000-sq.-ft. facility. He organizes five exhibitions annually­
focusing on one-person shows of established local artists. In 2002 he
will begin presenting exhibitions of national artists as well. He is cur­
rently overseeing the historic preservation of the FAW building's
fas:ade--the remains of the oldest standing movie theater in the state,
built in 1916.
RACHEL
B. H. PETRIK '93
(Orange Glen High School, Escondido, Calif., Educator)
JUNGHA OH '97
ROBERTJ.PHELAN'84
(Independent art book editor; Diisseldorf, Germany)
(Attorney and Counselor at Law, University of Massachusetts at
Amherst, Legal Studies Program)
AMY OLIVER-see BEAUPRE, AMy OLIVER
TONYA OvA ORME '93
(Northeastern University, Boston, Lecturer in Economics)
WENDY OWENs '79
(Canadian Centre for Architecture, Montreal, Quebec, Assistant
Director)
LoRRAINE A.
PADDEN '95
(San Francisco Ballet, Audience Development Manager)
RUTH PASQUINE '81
(Pulaski Technical College, Little Rock, Ark., Adjunct faculty; Ph.D.,
City Univetsity of New York '00, "The Politics of Redemption:
Dynamic Symmetry, Theosophy and Swedenborgianism in the Art of
Emil Bisttram [1895-1976]")
GRADUATES' NEWS
JEANNE
B. PLEKON '76
(Reader's Digest, Pleasantville, N.Y., Analyst Programmer)
B. PODMANICZKY '80
(Brandywine River Museum, <;::hadds Ford, Pa., Associate Curator for
Wyeth Collections)
CHRISTINE
MIRIAM L. POMERANZ
'96
We understand that Mimi and het husband, Alan, live in Denver
and have just had a baby girl, Sophie.
MELANIE PONG '93
KATHRYN POTTS '89
(Whitney Museum of American Art, New York, Head of Exhibition
Interpretation)
PAGE TwENIY-FIVE
./
Kathryn writes: "After the birth of my twin boys, I returned to the
Whitney Museum on a part-time basis. In my new position as Head of
Exhibition Interpretation, I've worked on several exciting ptojects,
including a new audio guide for the Museum's permanent collection
featuring commentaries and original interviews with artists, museum
curators, and scholars. (Check it out when you are at the Whitney­
it's free with admission.) My next projects will focus on the Museum's
Mies van der Rohe and Biennial exhibitions."
SARAH POWERS '97
(Philadelphia Museum of Art, Exhibition Research Assistant,
Twentieth Century Art)
PAUL R. PROVOST '89
(Christie's, Inc., New York, Senior Vice President, Director, American
Paintings & Sculpture; Ph.D., Princeton Universiry '94, "Winslow
Homer's Drawings in 'Black-and-White,' ca. 1875-1885")
JOHN PuLTZ '81
(Universiry of Kansas, Spencer Art Museum, Lawrence, Assistant
Professor/Curator of Photography; Ph.D., Institute of Fine Arts-New
York University '93, "Harry Callahan and American Photography,
1938-1990")
CYNTHIA QUAY-See TASHIJAN, CYNTHIA QUAY
LYNN RUTKIN '74
CATHERINE B. SCALLEN '81
(Case Western Reserve University, Cleveland, Assistant Professor;
Ph.D., Princeton University '90, "Rembrandt and St. Jerome")
CLAIRE SCHNEIDER '97
(Albright-Knox Art Gallery, Buffalo, N.Y., Associate Curator)
ROBIN S. SCHULDENFREI '00
(Harvard University, Graduate School of Design; Ph.D. student in
architectural history)
CHRISTINE SCORNAVACCA '93
(The Metropolitan Museum of Art, New York, Senior Development
Officer)
ANN SHAFER '90
(The Baltimore Museum of Art, Liaison for the Board ofTrustees)
AMy SHAMMAsH-see DANE, AMy SHAMMASH
ANNE REED SHANNON '82
ANNE REED-see SHANNON, ANNE REED
TIFFANY REED '98
Tiffany and· Joshua Silverman are now married.
MEAGAN HAYFS SHEIN '93
(Artist, New York)
SHERYL E. REISS '79
(Cornell University, Department of the History of Art, Ithaca, N.Y.,
Senior Lecturer/Research Associate; Ph.D., Princeton University '92,
"Cardinal Giulio de' Medici as a Patton ofArt, 1513-1523")
CHARLFS A. SHEPARD III '84
(Lyman Allyn Art Museum, New London, Conn., Executive Director)
LINDA A. REYNOLDS '93
(Williams College, Williamstown, Art Slide Librarian)
JOSHUA SILVERMAN '98
Joshua and Tiffany Reed are now married.
ROBIN REYNOLDS-see STARR, ROBIN S. R.
FRONIA W. SIMPSON '77
(Independent art book editor; Bennington, Vt.; Ph.D., Yale University
'89, "Corot's Salon Paintings: Sources from French Classicism to
Contemporary Theater Design")
Fronia edits art books, mostly exhibition and collection catalogues
for museums large and small across the country. On the art-historical
front, she is investigating the motif of knitting in European and
American painting. Her recent publications (under the name of Fronia
E. Wissman) include European Viftas: Cultural Landscapes (The Detroit
Institute of Arts, 2000); entries and biographies in Monet, Renoir, and
the Impressionift Landscape: Paintings jom the Museum ofFine Arts,
Boston (2000); Bouguereau (Pomegranate Press, 1996); and "Arbres
tortures, ailes de fees: Les sources des peintures de Salon de Corot,"
Corot, un artiste et son temps (K1incksieck and Musee du Louvre, 1998).
JACQUELINE VAN RHYN-see VAN RHYN, JACQUELINE
JOYCE ROLERSON-see Hu, JOYCE ROLERSON
JAMFS E. RONDEAU '94
(The Art Institute of Chicago, Associate Curator of Contemporary
Art)
ANN ROSENTHAL' 81
(Multi Arts Projects & Productions, New York, Executive Director)
MARyT. Ross '88
(Van Nostrand Reinhold, San Francisco, Editorial Assistant)
KAlY ROTHKOPF '91
(The Baltimore Museum of Art, Curator of Painting and Sculpture)
After working for seven years as a curator at the Phillips Collection
in Washington, D.C., Katy is now the curator of painting and sculp­
ture at the BMA. She spent the spring working on a major reinstalla­
tion of the Cone Collection, which opened in April.
GREGORY M. G. RUBINSTEIN '85
(Sotheby's, Inc., London, Great Britain, Director, Old Master
Drawings)
SHARON RUDOLPH-see HEMENWAY, SHARON R.
PAGE TwENTY-SIX
\
KATHERINE S. RUML '97
MICHAEL SHAPIRO '76
(The High Museum, Atlanta, Ga., Director; Ph.D., Harvard University
'80, "The Development of American Bronze Foundries, 1850-1900")
XIA QUI '87
'.j \
ADRlENNE RUGER-see CONZELMAN, ADRlENNE RUGER
LUCIANA SHIRADO '97
GRETCHEN R. SINNETT '96
(University of Pennsylvania, Philadelphia, Ph.D. student in art history,
at work on a dissertation entitled "Envisioning Female Adolescence:
Rites of Passage in Late Nineteenth-Century Painting and Photography")
Gretchen lives in Melrose, Mass.
ANN SLIMMON-see WOOLSEY, ANNS.
MEGAN SMETZER '98
(University of British Columbia, Vancouver, Ph.D. student in art history)
GRADUATES' NEWS
GREGORY AuGIRE SMITH '74
(Art Academy of Cincinnati, Director, President)
After Williams, Gregory attended Harvard University, receiving a
certificate from the Institute in Arts Administration (1974). He has
since worked in various administrative positions at the Akron Art
Museum, the Toledo Museum of Art, and the Telfair Museum of Art.
He has organized such exhibitions as Masterpieces ftom the Couruuld
Collection (1987) and Malcolm Crear: The Art ofDesign (1996). His
primary research interest lies in the American Arts & Crafts
Movement.
MEGAN (MARGARET) SMITH '85
NANCY SOJKA '82
(The Detroit Institute of Arts, Associate Curator, Department of
Graphic Arts)
JON E. SORENSON, class of '88
Oon E. Sorenson Fine Art Consulting, San Francisco, Principal;
GUILD.COM, Trade Sales Consultant-Northern California Region)
"This past Fall I spent two weeks in Venice as a member of the
Iowa-Veneto Committee, a Sister States organization, to research possi­
ble collaborations with Venice museums and art schools.
"Currently I am curating an exhibition of contemporary New York
sculpture that will include the first indoor-outdoor installation by
Sandy Skoglund and the first cast aluminum work by sculptor Erik
Levine.
"Finally, in Fall 2001, my article, 'Winslow Homer in the 1880s:
Cullercoats Reconsidered,' will appear in American Art, a journal of the
National Museum of American Art, Smithsonian Institution. (This
would have been chapter 2 of my Princeton dissertation had I finished
it. Maybe one day...)
"Most satisfying to me was my trip to Venice, which last I visited
with my class at the Clark 10 years ago. At that time, Sam Edgerton told
me (while on a vaporetto to the island of San Giorgio at sunset) that he
had never seen Venice so beautiful. I'm happy to say it hasn't changed,
perhaps because I can still see it through his and Dottie's eyes."
KATHERlNE SUTHERLAND-see RUML, KATHERlNE S.
NANCY SPECTOR '84
(Solomon R. Guggenheim Museum, New York, Curator of
Contemporary Art)
LEAH G. SWEET '00
(Institute of Fine Arts, New York University; Ph.D. student in art
history)
MARY SPIVY-see DANGREMOND, MARy SPIVY
CYNTHIA QUAY TASHIJAN '75
(Skinner, Inc., Bolton, Mass., Public Relations Associate)
STEFANIE SPRAY-See JANDL, STEFANIE SPRAY
JOHN W. STAMPER '77
(University of Notre Dame, School of Architecture, South Bend, Ind.,
Associate Professor/Director of Rome Studies Program; Ph.D.,
Northwestern University '85, "The Architecture, Urbanism, and
Economics of Chicago's North Michigan Avenue, 1830-1930")
MARK STANSBURy-O'DONNELL' 86
(University of St. Thomas, St. Paul, Minn., Associate Professor and
Director of Graduate Studies; Ph.D., Yale University '90, "The Shape
of the Church: The Relationship of Architecture, Art, and Liturgy at
the Cathedral ofTrier")
Mark has recently published Pictorial Narrative in Ancient Greek Art
with Cambridge University Press in 1999. He will be giving a paper in
Geometric narrative at the Swedish Institute in Athens in December
2001.
ROBIN S. R. STARR '87
(Skinner, Inc., Bolton, Mass., American and European Painting
Department Assistant)
JILL B. STEINBERG '85
OavaWorld Magazine, Seattle, Senior Editor)
MIRlAM L. STEINBERG-See POMERANZ, MIRlAM L.
CATHERINE R. STEWARD '00 (Tufts University, European Center,
Medford, Mass., Assistant Director)
LAURA STEWARD-see HEON, LAURA STEWARD
DAN STRONG '91 (Faulconer Gallery at Grinnell College, Grinnell,
Iowa, Associate Director)
Dan writes: "I have been the Associate Director of the Faulconer
Gallery since its opening in the summer of 1999. Since then I have
served as curator for two exhibitions from Smith College: American
Spectrum and Corot to Picasso. The latter was the recipient of a Tourism
and the Arts Award from the state ofIowa, for drawing 25,000 visitors
to a town with a population of only 9,000.
GRADUATES' NEWS
ISABEL TAUBE '97
(University of Pennsylvania, Ph.D. student in art history, at work on a
dissertation entitled "Continuity of Culture: Landscape and Women in
American Art, 1870-1920")
BETHANY TAYLOR '96
(Independent consultant, Washington, D.C.)
After three "fabulous" years at the Isabella Stewart Gardner Museum
and a stint in Brazil, Bethany is settling into life in Washington, D.C.
JANET TEMOS '92
(Princeton University, Ph.D. student in art history)
JEFFREY E. THOMPSON '75
(Smithsonian Institution Traveling Exhibition Services [SITES],
Washington, D.C.)
ELIZABETH TRlPLETT-see BLAKELOCK, ELIZABETH TRlPLETT
PRlSCILLA VAIL-see CALDWELL, PRlSCILLA VAlL
KRISTINA VAN DYKE '99
(Harvard University, Ph.D. student in art history)
JACQUELINE VAN RHYN '97
(The Print Center, Philadelphia, Curator of Prints and Photographs)
KARA VANDER WEG '98
(Solomon R. Guggenheim Museum, New York, Curatorial Assistant)
CARLA VASCONFS '91
PHILIP G. VERRE '76
(The High Museum, Atlanta, Ga., Chief Curator)
OLIVIA C. VITALE '00
(University of Michigan, Ph.D. student in art history)
JENNIFER WADE '79
MAUREEN WALSH
'81
PAGE TwENTY-SEVEN
SUSAN V. WEBSTER '86
(University ofSr. Thomas, Sr. Paul, Minn., Professor; Ph.D.,
University ofTexas at Austin '92, "The Processional Sculprure of
Penitential Confraterniries in Early Modern Seville")
'77
(The Metropolitan Museum of Art, New York, Associate Curaror of
American Decorative Am)
Beth began a new job at the Merropolitan Museum of Art in April
2000. She is working on a catalogue of the institution's collection of
American silver. She and Dustin are living in Manharean-he's work­
ing in the Slide Room at Columbia University.
BETII CARVER WEFS
'85
(Vicroria Mansion, Poreland, Maine, Director)
ROBERTWOLTERSTORFF
ELLEN WOOD '83
ANN S. WOOLSEY '86
(Rhode Island School of Design, Museum of Art, Providence, Adjunct
Curacor of Painring and Sculprure)
CHARLFS E. WYLIE '86
(Dallas Museum of Art, Lupe Murchison Curator of Conremporary An)
XIA QUI-see QUI, XIA
CHRISTINA
JAMrnSL. WEISS
'83
R. YANG '89
'93
(National Gallery of Art, Washington, D.C., Assistanr Curaror,
Modern and Conremporary Art)
Molly is at work on an upcoming exhibition scheduled for January
2002: Christo andJeanne-Claude in the Vogel Collection, National
Gallery of Art.
MOLLY DONOVAN YOUNG
JUDITH WEISS-see LEVY, juDITH WEISS
LFSLEY
H. WELLMAN '90
(Dartmouth College, Hood Museum of Art, Hanover, N.H., Curator
of Education)
AsHLEY WFST
'97
(University of Pennsylvania, Ph.D. srudenr in an hiscory, at work on a
dissenation enrieled "The Art of Hans Burgkmair the Elder: Defining
and Transmireing Knowledge")
Ashley has received a Fulbright for study in Germany; she will be
based in Munich, with frequenr trips co Augsburg for archival research.
ZHENG Hu-see Hu, ZHENG
'82
(Ringling Museum of Art, Sarasota, Fla., Execurive Direccor; Ph.D.,
Stanford University '88, "The Ascendancy of Modern Public Sculprure
in America")
ELLEN ZIFSELMAN '89
(Museum of Fine Arts/Museum of New Mexico, Sanra Fe, Curaror of
Education)
Ellen is a conrributing author co Taos Artists and Their Patrons
1898-1950, published by the Snite Museum of Art in May 1999, as
well as the author of The Hand Carved Marionettes ofGustave
Baumann Share Their World published by the Museum of Fine Arts,
Museum of New Mexico, in December 1999.
'93
(Swann Art Galleries, New York, Direcror, Prinrs and Drawings; plus
appearances on the Antiques Roadshow)
KATIfY ZIMMERER-McKELVIE '76
(California State University Dominquez Hills, University Art Gallery,
Carson, Direccor)
'76
OBITUARIES
JOHN WETENHALL
TODD DONINGTON WEYMAN
JUDITII McCANDLFSS WILLIAMS
JESSICA WINSTON
'90
CYNTHIA WINTER '74
FRONIA E. WISSMAN-see SIMPSON, FRONlA W.
INFORMATION-FOR
'87
Score Opler died of complications from AIDS on 7 July 1993. After
graduating from Williams, Score had begun doctoral studies at
Harvard, in 1990 and 1991 undenaking research in Rome on a disser­
tation exploring the architecrural and urban-developmenr projects of
Pope Pius IV.
SCOTT OPLER
(Ph.D., Columbia University '97, "The Face of the Virgin: Problems
in the Hiscory of Represenration and Devorion")
You AND THE PROGRAM: A LIST-SERV AND A PLEA
Thanks to the generosity of Williams College, we have established a List-serv for the students and
graduates of the Program. The List-serv will be closed subscription, accessible only to members; we will
manage the membership and the postings from our office. If you want to subscribe, send us your full e­
mail address and the name by which you wish to be known (i.e.,[email protected];JoeJones).
We will enroll you and send you a set of user instructions. This promises to be a great way to keep in
touch with friends and colleagues.
We hope that you have found this newsletter to be worthwhile. We look forward to undertaking an
even more informative one next year. But we cannot do it without your help. Please drop us a note
concerning the major events in your professional life (and personal, too). It would be great if you could
put us in touch with someone whose record here seems bare. Send news to: Marc Simpson, Associate
Director/Williams College Graduate Program in the History of Art/Box 8/Williamstown, MA 01267/413­
458-2303 x531. Or e-mail [email protected]. Don't forget to check out the Program's web
site http://www.williams.edu/gradart/. Many thanks.
PAGE TwENlY-EIGHT
'"
GRADUATES' NEWS