art_history
Art and Art History

Art History Newsletter, Fall 2006-2007

STUDENT AWARDS, FELLOWSHIPS, AND NEW POSITIONS

Awards

  • Edie Gibson Wolfe, 2006 Outstanding Dissertation Award for ?Melancholy Encounter:
    Lasar Segall and Brazilian Modernism, 1927-1933?

Fellowships

  • Lea Cline, University Continuing Fellowship
    Fulbright Fellowship
  • Eileen Costello, PEO Fellowship Award
    Judith Rothschild Foundation for work on Peter Cain Catalogue Raisonné
  • Kimberly Jones, University Continuing Fellowship
  • Adrian Kohn, Luce/ACLS Fellowship in American Art
  • Maia Toteva, Smithsonian Predoctoral Fellowship Council for European Studies Travel Grant
  • Sandra Feng (undergraduate), Fulbright Fellowship for Study in France

Tenure-Track Positions

  • Erina Duganne, Texas State University
  • Mette Gieskes, Radboud Universiteit Nijmegen, The Netherlands
  • Lisa Owen, University of North Texas
  • Susan Richmond, Georgia State University
  • Kate Robinson Edwards, Baylor University

Alumni Award News

  • Christina Cogdell, ?01, 2006 Edelstein Prize of the Society for the History of Technology for Eugenic Design: Streamlining America in the 1930s (University of Penn. Press, 2004); awarded for outstanding book on the history of technology published in the last 3 years

FACULTY NEWS

JACQUELINE BARNITZ

Since 2005, Jacqueline Barnitz contributed to a Round Table series of talks in conjunction with the exhibition ?Figuratively Speaking? at the Museum of Art of Miami. Her lecture ?The Disappearing Figure: From Parodic Narrative to the Fragmented Body? focused on contemporary Colombian painting (Feb. 2005). In 2006 Barnitz participated in the Blanton Museum three-day symposium Sin Titulo April 27 to 29. On April 28 she presented a paper ?Teaching Modern Latin American Art at UT Austin? together with Professors Andrea Giunta (Argentina), Tadeu Chiarelli (Brazil), Valerie Frazer (Essex, UK), and Edward Sullivan (US) on a panel on teaching Latin American art from different perspectives. In September 2006 she will give a paper ?Curators and Art Historians. Who Shapes Perceptions of ?Latin American? Art: The Case of a Mutating Field? at the University of Illinois, Urbana-Champaign (Sept. 7) and conduct an informal workshop with faculty and graduate students (Sept. 8).

Barnitz?s essay ?The Blanton Museum?s Latin American Collection as an Educational Resource? came out in the catalog Blanton Museum of Art Latin American Collection (2006:15-19) along with six individual artist entries. Her text ?María Luisa Pacheco in the International Art World? will appear in a monograph on the Bolivian artist

María Luisa Pacheco (scheduled for publication in La Paz in November 2006). Currently Barnitz is working on a comparative study between methods for teaching art history in Latin American institutions and those in the U. S., which also explores the attendant differences in understanding the function of art.

STEVE BOURGET

Steve Bourget?s book, Sex, Death, and Sacrifice in Moche Religion and Visual Culture has just been published by the University of Texas Press. This book is an in-depth exploration into the multitudinous roles of fertility, death, and sacrifice in the making of Moche religion and political authority. The Moche who inhabited the north coast of Peru during the first and the eight century of our era created perhaps the most outstanding system of representation of any ancient Andean culture. This book is based on a detailed study of this iconography in relation with archaeological information recovered from numerous Moche sites.

Bourget is also currently working on a second book project entitled: The Art, the Arts and the Archaeology of the Moche: An Ancient Andean Society of the Peruvian North Coast. This book represents the proceedings of the Fourth D. J. Sibley Conference on World Traditions of Culture and Art held in November 2003. It should appear in the fall of 2007 from the University of Texas Press. A third book on the practice of human sacrifice in Moche culture is also in preparation. It is largely based on the discovery and excavation of a massive sacrificial site and a series of high-status burials at Huaca de la Luna, one of the main ceremonial centers of this culture. The manuscript should be ready by the summer of 2007. In addition to the book projects, Bourget has recently completed two articles, ?Human Sacrifice, Religion and Power in Moche Society? and ?So Close and Yet So Far: A comparison Between the Huacas de Moche and Huancaco.? These articles are due to appear in 2007 as well.

In 2004, Bourget initiated a new archaeological project at Huaca el Pueblo, one of the most important ceremonial-administrative centers in the Zaña Valley between the first and the eighth century. One of the main objectives of this on-going research is to study the political and cultural development of the Moche north the Pampa of Paijan.

With regards to museology, Bourget has just completed an installation of Pre-Columbian artifacts in the Fine Arts Library, and he is currently collaborating for a forthcoming exhibition on the Moche at the Museo Chileno de Arte Precolombino, Santiago (Chile).

MICHAEL CHARLESWORTH

Biographical Notes, 2005-2006

He pursues the Picturesque
And Card III
Landscape and Vision take him
Via forgotten paths to the wild places
Of the world.
The Gothic Revival
Utrecht and the Stuarts
Anglo-Prussian architecture
take root in northern England.
He learns
how to fit a life
into a room.
How to lose a friend.
How steam rising
from a cooling-pipe
Forms an emblem of our lives.
Portovenere
and the Ligurian Coast
await the vessel?s pilot.

JOHN CLARKE

In this school year, Clarke completed a book manuscript, Looking at Laughter: Humor, Power, and Transgression in Roman Visual Culture, 100 B.C.-A.D. 250 for publication by the University of California Press. Although scholars have directed considerable attention to textual humor, the realm of visual humor?including everything from ?street theater? to erudite paintings parodying the emperor?remain relatively unstudied. The book shows how visual humor can be ?read backwards? to uncover Roman attitudes toward: the Other, social class, deformity, improper behavior, the Evil Eye, and deformity. Eight chapters, organized under the rubrics of Visual Humor, Social Humor, and Sexual Humor, emphasize how a range of ancient Roman viewers might have experienced wall painting, sculpture, and mosaics in the context of the built environment. Archaeological sites such as Pompeii and Ostia provide much of the contextual information, as well as a range of inscriptions, including graffiti.

Clarke initiated, with co-director Michael Thomas (UT Ph.D. 2001) of Tufts University, an exciting new project: the completion of excavations and the definitive publication of the Roman Villa of Oplontis, a 100 room-complex partially excavated between 1964 and 1985. The Oplontis Project, funded by an anonymous gift to the Department of Art and Art history, is a five-year collaboration with the Italian government under the auspices of the Soprintendenza Archeologica di Pompei. The first season took place in May 2005.

Clarke lectured extensively in this school year, most notably as Benensen Lecturer at Duke (a series of three lectures on humor), at the Institute of Fine Arts, NYU, at Princeton, and he gave a series of three lectures at the University of Leiden. Six book chapters, two articles, and one book review are currently in press.

Clarke?s 2003 book, Art in the Lives of Ordinary Romans: Visual Representation and Non-elite Viewers in Italy, 100 B.C.-A.D. 250, received the Vasari Award from the Dallas Museum of Fine Arts, while Roman Sex: 100 B.C.-A.D. 250 (New York, Abrams, 2003) appeared in French and Spanish editions. Clarke serves on the Board of Directors of the American Council of Learned Societies, and was recently elected for a four-year term as Vice-Chair of the Board.

PENELOPE DAVIES

Davies contributed seven chapters (from prehistory to late antiquity) to the seventh edition of Janson?s History of Art, which saw publication this spring. Several features set this edition apart from other survey texts and from previous editions: a close emphasis on the artworks themselves, for instance (instead of focusing on historical context), and an abundance of questions and debated issues rather than authoritative answers.

Davies continues to research and write a book on the art and architecture of the Roman Republic for Cambridge University Press. The book focuses on the immediate impact of the constitution upon artistic production. Her research (and curiosity) took her to Rome, the Greek islands, and to Libya.

Davies lectured on funerary architecture at the University of Bath (UK), on Nero?s Golden House at McMasters University (Toronto), on Roman architecture and propaganda at the Bard Graduate Center in New York and on a Roman wellhead in a private collection at Tufts University.

During the fall of 2005, she taught Roman architecture in the Study in Italy program centered at Castiglion Fiorentino.

JULIA GUERNSEY

Julia Guernsey?s book, Ritual and Power in Stone: The Performance of Rulership in Mesoamerican Izapan-Style Art, is currently in press, due to appear in the fall of 2006 from the University of Texas Press. The book continues her on-going exploration of the political and ritual significance of Late Preclassic (300 BC-250 AD) Mesoamerican sculpture. Similar themes were explored in an essay, co-authored by Dr. Michael Love of California State University Northridge, on Late Preclassic sculpture for Lords of Creation: The Origins of Sacred Maya Kingship. This catalogue was produced in conjunction with an exhibition organized by the Los Angeles County Museum of Art, which opened in the fall of 2005, traveled to Dallas in the spring of 2006, and continues on to the Metropolitan Museum of Art in the summer of 2006. She also presented a paper on the topic at the symposium ?The First Maya Kings: The Emergence and Expression of Their Sacred Power? at LACMA in October of 2005. Guernsey also co-edited, with Dr. Kent Reilly of Texas State University, a series of essays that address the ritualized role of bundling and wrapping in ancient Mesoamerica. The essays will appear in the summer of 2006 in a special section of the journal Ancient America, and include an essay by Guernsey on ?Late Formative antecedents for Ritually Bound Monuments.?

During the summer of 2005, Guernsey continued to be involved with archaeological investigations at the site of La Blanca, Guatemala, a powerful regional capitol during the Middle Preclassic (900-600 BC) period along the Pacific slope of Guatemala. A co-authored essay discussing the site and its significance, currently in press entitled ?Estilo y sociedad en el Preclásico de la costa del Pacífico,? will appear in the volume Memorias de la Segunda Mesa Redonda Olmeca, edited by Dr. Rebecca Gonzalez-Lauck. The discovery at La Blanca of a beautifully preserved quatrefoil-shaped monument was featured in a co-authored paper delivered at the XIX Simposio de Investigaciones Arqueol?gicas en Guatemala, and will also appear in the proceedings from that conference. The iconographic significance of this monument was further explored in a paper delivered at the 2006 Maya Meetings at Texas. Guernsey also presented papers on a her research at La Blanca and other sites at the Annual Meeting of the Society for American Archaeology and at Texas Tech University.

LINDA HENDERSON

Henderson gave several lectures during 2005 drawn from her research for the new introductory essay for the MIT reprint edition of her book The Fourth Dimension and Non-Euclidean Geometry in Modern Art, which will be published by MIT Press in 2007. In January she spoke at the Einstein Centennial Symposium in Berlin on ?Einstein and 20th-Century Art? (to appear in Einstein for the 21st Century (Princeton University Press, 2006); she gave a shorter version of that talk at the Society for Literature, Science, and the Arts in November. In February Henderson participated with a group of mathematicians, computer scientists, psychologists, and artists in a ?Four-Dimensional Worlds? conference at U.C. Irvine. In April she spoke at the University of Georgia on ?Robert Smithson, the Park Place Gallery and the Spatial Fourth Dimension in New York in the 1960s. For the ?New Media Art Histories? conference in Banff, Canada, in September she organized a panel on the relevance of history of science/science studies to this topic and spoke on ??The Fourth Dimension,? the History of Science, and New Media.? At the Princeton University symposium ?Dark Rooms: Photography and Invisibility? in October she gave a paper entitled ?Invisible and Ubiquitous: The Ether, Photography, and Art in the Early Twentieth Century.?

Henderson?s publications during 2005-6 included her guest?edited issue of Science in Context on modern art and science (vol. 17, winter 2004), which includes articles by two former UT graduate students, Anne Goodyear and Stephen Peterson, as well as her ?Editor?s Introduction: I. Writing Modern Art and Science?An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century.? Her essay ?Four-Dimensional Space or Space-Time: The Emergence of the Cubism-Relativity Myth in New York in the 1940s? appeared in The Visual Mind II, ed. Michel Emmer (MIT Press, 2005). Henderson also published ?Dean Fleming and Nature in All Its Dimensions,? in the catalog Dean Fleming: Paintings 1992-2004; her essay, ?Dean Fleming, Ed Ruda, and the Park Place Gallery: Spatial Complexity and the ?Fourth Dimension? in 1960?s New York? is included in the Jack S. Blanton Museum?s new catalog of its American painting collection. 2006 will also see the publication of her commissioned essay on ?Modernism and Science? in the Modernism volume organized by the International Comparative Literature Association (John Benjamins, 2006).

Henderson?s spring 2006 lectures include the interdisciplinary symposium ?Modernism in the Sciences, ca. 1900-1940? at the University of Frankfurt am Main in March, where she will discuss ?Modern Art and Science 1900-1940: From the Ether and a Spatial Fourth Dimension (1900-1920) to Einstein and Space-Time (1920s-1940s).? She is the invited keynote speaker (?Recovering the Meta-realities of Modernism--from Science and Geometry to Mysticism/Occultism?) at an ?Art and Metaphysics? conference at the University of Bremen in May. Earlier that month she speaks on ?Buckminster Fuller, the Whole Earth Catalog, the ?Fourth Dimension,? and American Art in the 1960s-1970s? at the symposium ?The Whole Earth Catalog, parts thereof? (University of California at Davis).

JOAN A. HOLLADAY

In the spring of 2005, Joan Holladay continued an active schedule of lectures and conference papers, speaking on ?Medieval Queens and Modern Women: Feminism and Art History Twenty Years Later? in the lecture series celebrating the 20th anniversary of the Pannell Art Gallery at Sweet Briar College. She gave papers at the 40th International Congress on Medieval Studies at Kalamazoo and the annual conference of the International Medieval Society, Paris, on two different subjects from her book-in-progress on medieval imagery with genealogical content. She was awarded a Faculty Research Assignment, UT?s competitive sabbatical equivalent, for 2005-2006 to complete the text of this book.

In addition to work on the book, Holladay has recently completed two articles, ?Fourteenth-Century French Queens as Collectors and Readers of Books: Jeanne d?Evreux and her Contemporaries? and ?Women in English Royal Genealogies of the Late Thirteenth and Early Fourteenth Centuries.? Both are in press and scheduled to appear in 2006.

Together with Professor Susan Ward of the Rhode Island School of Design, she has also taken over the editorship of the Census of Gothic Sculpture in America, a project of the International Center of Medieval Art. With the help of a Special Research Grant from UT?s Graduate School, she was able to survey the museums in the 37 states as yet uninventoried, in preparation for writing major grant proposals and assigning entries to contributing authors for volume 3.

JANICE LEOSHKO

Reflecting and reporting on one?s recent activities usually produces an accounting of things completed, ongoing or newly taken up, and I could give here such a narrative ?participation in an international symposium on the early Indian king Ashoka, a talk at Harvard University, or further work on a most interesting album of 19th-century photographs of India in the Harry Ransom Center collection at UT. But this past year for me is most important for what I have given up, and one significant example is the book project that I abandoned. As part of an important series on the World Heritage Sites in India, I had been asked to write the volume on Bodhgaya, the place of the Buddha?s enlightenment after it gained this official recognition by UNESCO in 2002. Having worked on Bodhgaya for a long time, I relished the challenge to mix a consideration of the surviving evidence of the long history of Buddhist practice there (the Buddha attained enlightenment at Bodhgaya some 2500 years ago!) with present activities. A visit to India last December, however, made me realize that the changing realities, in which World Heritage status is a driving force, may create a ?terrain? that quite literally threatens the possibility of further reflection upon the past. For such sites throughout the world, greater prominence may well promote a certainty that favors an elaboration of already constructed narratives, and even for those perspectives that seem to overturn previous views, we might do well to consider what really changes when the goal so often still creates a narrative.

I have for some time been interested in how the concept of ruins affects the interpretation and the study of sites such as Bodhgaya, which in the 19th century presented the then-ruling (and Protestant) British government with seemingly clear evidence of India?s past grandeur. The fact that Bodhgaya also seemed so mismanaged in recent times well served Western disdain in the 19th century for the Indian population of Hindus and Muslims. The concept of ruins as something that can be problematic prompted me to propose a CAA session for 2007 entitled ?Ruins.? The panel?s description sought papers that might consider from various times and places in the world how ruins are not always neutral traces of history, how their interpretation is often managed by those who may have already constructed the answers they are supposedly seeking. My co-chair and I were astonished to receive over 30 paper proposals. Clearly there is an interest finding ways to reflect upon concepts of ruins with which we have long been engaged.

My most important accomplishment for the past year seems to me to be my ability to reflect on my own involvement in the production of knowledge that can inherently carry the seeds that undermine the very possibility of such. The book on Bodhgaya was difficult to abandon. It was a project that I had accepted to do and believed important. My decision to not be involved is because I now see the need to move much more carefully when considering such issues as ?world heritage.? This perspective may result from my interest in the complexity of the concept of ruins, I am not really sure. But I am sure that grappling with such issues now challenges me to find productive ways to involve various audiences ?including the public and the scholarly-- in conversations about the significance of the past that promotes the possibility of truly new awareness. My perspective also now leads me to consider how truly hard this is to do.

Janice Leoshko won the Department of Art and Art History Teaching Excellence Award in spring 2006.

NASSOS PAPALEXANDROU

Following the publication of his book The Visual Poetics of Power: Warriors, Youths, and Tripods in Early Greece (Lexington Books, Lanham 2005), Papalexandrou focused his energies on researching and writing his second book Monsters, Fear, and the Uncanny in Early Greek Art and Ritual (University of Texas Press, forthcoming). This study explores the ritual dimensions of visual monsters embodied in some of the most characteristic specimens of Greek Orientalizing Art, such as the Orientalizing Cauldrons, the Idaean Cave Shields, and the Protoattic Eleusis amphora. Papalexandrou?s second major project is concerned with the function of visual media as means of communication in preliterate societies while it also addresses vision in theoretical and empirical terms as socially and culturally conditioned practice (Shaping a Theory of Vision in Orality).

In summer 2005 a summer COFA research grant enabled Papalexandrou to conduct research in Greece (Athens and Crete). He also spent some time on Cyprus, however, where he has been a member of the team excavating the major urban center of the ancient kingdom of Marion/Arsinoe. His work concluded the preliminary study, synthesis, and interpretation of his excavation of a ?palatial? building of the late sixth century BCE, the results of which will appear in the 2006 issue of the Report of the Department of Antiquities of Cyprus (in press).

During the 2005-06 year Papalexandrou pursued other projects as well. In the context of his Spring 2005 course on the Visual Cultures of Mediterranean Islands: Crete, Cyprus, Sicily, Papalexandrou initiated research on a Muslim pilgrimage site on Cyprus, the temenos of Hala Sultan Tekke near Larnaka, a monument known in the Eastern Mediterranean as one of the ?holiest sites of Islam.? Papalexandrou presented a paper on this monument in the CAA annual meeting in Boston (Hala Sultan Tekke, An Elusive Landscape of Sacredness in a Liminal Context), where he addressed the reception of this monument in travel literature of the 17th and 18th centuries. Crete, Cyprus and the monumental commemoration of recent historical traumatic events in the constructed landscapes of these islands was the topic of a paper (Constructed Landscapes: Visual Cultures of Violent Contact) presented at a conference organized by the Archaeology Center at Stanford University (Cultures of Contact: Archaeology, Ethics, and Globalization). Papalexandrou also gave lectures in Austin and the University of Michigan, Ann Arbor, and served as the President of the Central Texas chapter of the Archaeological Institute of America, organizing no less than eight public lectures covering all aspects of the archaeological and art historical exploration of the ancient world.

GLENN PEERS

Glenn Peers taught a class on Medieval Sicily at the Mediterranean Centre for Art and Sciences in Siracusa, Italy, in spring 2005 and again in 2006, as part of UT?s Maymester program. The class explores interaction in Late Antiquity and in the Middle Ages amongst communities and faiths at Siracusa as expressed and determined by its art and architecture. That interaction amongst pagans, Christians (of various confessions), Jews and Muslims at Siracusa is also the subject of a current research project, on which he gave a preliminary description in a public lecture in December at John Cabot College in Rome. During the fall, he also took part in a seminar held at Ravenna through the local faculty (Byzantine and Medieval) of the University of Bologna. He taught the section on mosaics to students from Italy, Greece and Serbia, and he participated in the concurrent general seminar, which included scholars from Europe and America.

Peers?s research in 2005-06 has included articles submitted to journals on aspects of East Christian art: ?Purposeful Polyvalency: The Stag and Hunter Motif in the Twelfth-/Thirteenth-Century Frescoed Grotto at Kafr Shleiman, Sayyidat Naya, Lebanon,? submitted to Iconographica, and ?Vision and Community among Christians and Muslims: The Al-Muallaqa Lintel in Its Eighth-Century Context,? to Arte medievale. Other research has dealt with philhellenism in Renaissance Europe: ?Thinking with Animals: Byzantine Natural History in Sixteenth-Century France,? to appear in Bibliothè que d?Humanisme et Renaissance. He has also written on the subversion of the classical tradition in medieval Byzantium in ?Masks, Marriage and the Byzantine Mandylion: Classical Inversions in the Tenth-Century Narratio de translatione Constantinopolitim imaginis Edessenae,? submitted to Intermedialités. As part of a conference held in December 2005 at the Kunsthistorisches Institut in Florenz, Peers presented on perceptions of Byzantium in modern and post-modern American art and architecture, and that work will appear in a collected volume as ?Utopia and Heterotopia: Byzantine Modernisms in America,? in Novecento bizantino, ed. G. Wolf and M. Bernab?, Florence, 2007.

Until October, Peers served as secretary to the national organization for Byzantine Studies and continues to serve on the boards of the Canadian Institute in Greece and of the Gennadius Library, American School of Classical Studies at Athens.

SUSAN RATHER

Susan Rather?s work of the past year has centered on Gilbert Stuart, preeminent portraitist of the early Republic and (despite what the visual evidence suggests) its most ironic and irreverent artist?a recognizably modern type. In April 2005, Rather contributed a talk on ?Stuart?s Wit? to the Edgar P. Richardson Symposium ?Gilbert Stuart and the Cultural Politics of Federal America, 1790-1820,? sponsored by the National Gallery of Art and the Smithsonian National Portrait Gallery. Her continued work on the artist was funded by competitive grants from UT: a summer research award from the College of Fine Arts and a University Faculty Research Assignment for full-time leave during fall 2005. In April 2006, Rather spoke on Stuart and the self-made man in the Thomas Jefferson Distinguished Lecture Series at the University of Virginia, under the rubric ?Envisioning America: Arts in the New Republic? (the first time the series, based in the history department, has addressed the visual arts). Conference papers will be published by the University of Virginia Press.

Rather?s on-going project is a book on the status of artists in late-colonial British America and the early United States. The study focuses on leading painters (especially Copley, West, and Stuart), canonical works (e.g., Copley?s Paul Revere and Matthew Pratt?s American School), and influential texts (including John Galt?s early biography of West), as well as less celebrated, but perhaps more representative, persons and practices. It will engage issues of artisanry and professionalism; practice and theory; regional and colonial identities; artistic nationalism and naturalism as an American idiom; and the initial construction of a history of American art.

ANN REYNOLDS

This past year MIT Press issued Ann Reynolds? book, Robert Smithson: Learning From New Jersey and Elsewhere, in paperback, and she published three essays: ?At the Jetty,? for a volume on Smithson?s Spiral Jetty co-published by the Dia Foundation and University of California Press; ?Enantiomorphic Models,? for the LA MoCA exhibition catalogue which accompanied the recent Robert Smithson retrospective: and an essay on Ruth Vollmer and Eva Hesse entitled ?Structures of Creativity? for a book devoted to the work of Ruth Vollmer. Last summer, she gave an extensive interview in conjunction with a walk-through of the Robert Smithson retrospective at the Whitney Museum of American Art. An edited version of this interview was published in The Brooklyn Rail last fall. She is currently completing an essay on 1970s feminist exhibition practices for a book to be published by the Center for Curatorial Studies at Bard and an essay for the forthcoming book entitled Land Arts of the American West.

Reynolds gave a number of lectures and participated on several panels during the past year. She spoke on land arts at the annual Americans for the Art convention in Austin, participated in a symposium on Public Feelings at the Humanities Institute, SUNY Stony Brook, gave a lecture on the Spiral Jetty at the Robert Smithson symposium at the Whitney Museum of American Art, New York, and gave a lecture entitled ?Anachronism as a Radical Tool? and conducted a seminar with studio students at The Maryland Institute for Contemporary Art in Baltimore. In the spring of 2006, she participated on a panel in conjunction with the David Smith retrospective at the Guggenheim Museum, New York.

Currently, she is working on a book-length project entitled Playtime: Creativity and Community in New York, 1940-1970. Through this study she will address the central formal, theoretical, and social circumstances of the integration of various creative communities in New York during the 1940s through the 1960s. The project will be focused by a number of case studies of the intersections of art world cultures and subcultures. She received a Creative Research Summer Stipend for the summer of 2005 to begin her research and will spend the fall of 2006 at the Clark Institute in Williamstown, MA and the spring of 2007 on a Dean?s Fellowship to continue working on this project.

In spring 2006, she was the first recipient of the College of Fine Arts Distinguished Teaching Award.

RICHARD SHIFF

During the past year, Shiff has been actively conducting research and publishing on issues in the broad field of modernism as well as on matters specific to contemporary art. In connection with an exhibition in Lyon, he contributed an essay on modern pictorialism in relation to photography, film, and digital media; Seurat's art was featured in this analysis along with work by Jasper Johns. In the area of nineteenth-century studies, Shiff published a new essay on Pissarro and two new essays on Gauguin (a third in this series is in press). He also contributed an essay inspired by Stephen Bann's (Nietzschean) sense of antiquarianism to a special issue of Art History organized in honor of Bann; this essay takes its test cases from a broad range of examples, including early nineteenth-century landscape photography, the cinematography of Jean Renoir, and recent electronic displays by Jim Campbell. At the "postwar" and "contemporary" end of art history, Shiff published new essays on Willem de Kooning, Barnett Newman, David Reed, Richard Tuttle, Donald Judd, Markus Lüpertz, and Bridget Riley. He is at work on essays for Brice Marden's retrospective at the Museum of Modern Art, New York (fall 2006) and an exhibition of Jasper Johns's "gray" paintings at the Art Institute of Chicago (fall 2007).

Shiff also publishes essays that are essentially studies in theory. Four were prepared this year, to appear separately in German and Spanish publications; their English titles are "The Physicality of Picturing," "Self-Interference," "Tangible Datum," and "Sensation in the Wild." Shiff is completing a short book about artists and their critics (titled Doubt) and is continuing research for a book on de Kooning. He also prepared a new introduction for Erle Loran's Cézanne's Composition, setting Loran's work into a context of art education, influenced by the same theoretical and practical concerns that led to Abstract Expressionism.

Shiff maintains an active lecturing schedule. Among other activities, he gave the keynote address for the Techno-Sublime symposium at the University of Colorado, read papers for the Pissarro-Cézanne symposium at The Museum of Modern Art, New York, for the Pissarro symposium at the Art Gallery of New South Wales, Sydney, and for the Gauguin symposium at the Kimbell Art Museum, Fort Worth. He was one of several international speakers invited to inaugurate the new home of the Berlin Art Academy at the historic Brandenburg Gate. He also commented on the art of Richard Tuttle at the Whitney Museum, New York. Later this spring, he will address the issue of risk in a symposium sponsored by the Getty Foundation, will speak on Cézanne at the National Gallery of Art, Washington, and will moderate a conference on the sculpture of John Chamberlain sponsored by the Chinati Foundation.

CHERISE SMITH

In her first full year at the University of Texas at Austin, Smith offered two new undergraduate courses on African American art in the twentieth century and the History of Photography in the twentieth century as well as a graduate seminar titled ?Racial Performance in American Art and Culture.? She invested considerable time recruiting and mentoring under-represented students in the Department of Art and Art History.

Smith began work on a manuscript that historicizes the politics of identity by looking at how racial, ethnic, and gender identities are negotiated in art. The manuscript focuses on Adrian Piper?s Mythic Being performances (1973-1975) in which she cross-dresses as a black man; Eleanor Antin?s three-week long performance of the fictional black ballerina Eleanora Antinova (1980) and her book Being Antinova (1983); Anna Deavere Smith?s staged-for-video performance of Twilight: Los Angeles, 1992 (2001) in which she inhabits the identities of twenty-nine characters belonging to different racial, ethnic, gender, and class groups; and Nikki S. Lee?s Hip Hop Project (2001) in which the artist infiltrated a community of African Americans and Latinos to which she did not belong, took on the dress and behaviors of members of that group, and then photographed herself ?in situ.? She suggests that each of the artists engage and rely on the logics of boundary-crossings, such as passing, drag, cross-dressing, and minstrelsy, in order to show how identity is negotiated, to demonstrate that identity is not fixed or stable, and to allow the artists to fashion their own identities.

Her essay ?Moneta Sleet, Jr. as Active Participant: The Selma March and the Black Arts Movement? was published in the anthology New Thoughts on the Black Arts Movement (Rutger?s UP, 2006). She also contributed a text on the use of documentary photography by contemporary African American photographers to the catalogue produced in conjunction with the exhibition Double Exposure at the Wadsworth Atheneum in Hartford as well as a review of the exhibitions African Art Now at the Museum of Fine Arts, Houston and Double Consciousness at the Contemporary Arts Museum, Houston to the peer-reviewed journal African Arts. She also participated in the Guide to the Permanent Collection, Blanton Museum of Art by writing an essay on the artist Glenn Ligon.

Smith lectured on Adrian Piper and her use of alternate modes of delivery at the James Porter Colloquium on African American Art at Howard University. In addition, she gave presentations on Nikki S. Lee at the National Women?s Studies Association annual conference and at the annual meeting of the National Ethnic Studies Association. She co-chaired the panel ?Passing, Portraiture, and Performativity? at the Midwest Art History Society conference. She also coordinated a series of lectures on Afro-British art by the filmmaker Isaac Julien and the critic and historian Eddie Chambers, as well as on contemporary Native American art by artist Will Wilson.

JEFFREY CHIPPS SMITH

The Northern Renaissance (London: Phaidon Press [Art & Ideas Series], 2004) was awarded the University Cooperative Society?s 2005 Robert W. Hamilton Book Prize for the best text book (for The Northern Renaissance) written by a University of Texas faculty member in 2004. This book has been translated into Greek ? U Auayεvvηση oτη Bopηιa Eμpωπη (Athens, 2005). To celebrate its centenary, Princeton University Press commissioned Smith to author an historiographic introduction to Erwin Panofsky?s The Life and Art of Albrecht Dürer (Princeton: Princeton University Press, 1943 and later editions; Princeton Classic Edition, 2005). Related to this, he reviewed Dieter Wuttke, ed., Erwin Panofsky Korrespondenz 1910 bis 1968: Eine kommentierte Auswahl in fünf Bänden, vols. 1 and 2 (Wiesbaden, 2001 and 2003) in Renaissance Quarterly (2005). Among several other publications, Smith?s essay ?Medals and the Rise of German Portrait Sculpture? appeared in Die Renaissance- Medaille in Italien und Deutschland, ed. Georg Satzinger (Münster, 2004).

Smith?s main current project is The Kimbell Virgin and Her Bishop: The Art of the Goldsmith in late Fifteenth Century Germany, a short book on a stunningly beautiful silver statuette made around 1486 for Wilhelm von Reichenau, bishop of Eichstätt (r. 1464-96). Published by the Kimbell Art Museum, Fort Worth, and Yale University Press, this monograph will appear in September 2006. He has written a lengthy essay,

?The Art of Ambition Thwarted: Albrecht von Brandenburg and the Neues Stift in Halle,? for the exhibition catalogue Der grosse Kardinal. Albrecht von Brandenburg -Renaissancefürst und Mäzen, eds. Andreas Tacke and Thomas Schauerte, Moritzburg, Halle, fall 2006. Smith will be on research leave in 2006-07 working on a monograph on Albrecht Dürer, which was commissioned by Phaidon Press of London.

Among other things, Smith completes his three-year term as articles editor of Renaissance Quarterly at the end of March 2006; he?ll serve as associate editor for another three years. Thanks to funding from the Kimbell Art Foundation, DAAD, and the Fortson Chair, Smith and his German Renaissance Art graduate seminar students will travel through south Germany, Basel, and Colmar for 14 days in late spring 2006. Smith spoke on the Kimbell Virgin and Child statuette at Florida State University, the University of California at Santa Barbara, and the Sixteenth Century Studies Conference in Atlanta; on Panofsky at Florida State University and the Association of Art Historians Conference at the University of Bristol; on Dürer at the Renaissance Society of America Conference at Cambridge University; on German Renaissance medals and sculpted portraits at the American Numismatic Society in New York; and on ?rescuing? and displaying saintly relics in Munich around 1600 in the symposium Religion Matters: Art, Piety, Destruction and the Politics of Display held at the College of the Holy Cross, Worcester. Smith will be a visiting scholar-in-residence at the Geisteswissenschaftliches Zentrum Geschichte und Kultur Ostmitteleuropas e. V. at the University of Leipzig in June and July 2006.

DAVID STUART

2005-2006 was David Stuart?s first full academic year on the Art History faculty. The year saw the publication of his two books on Classic Maya art and epigraphy, The Inscriptions of Temple XIX at Palenque (PARI Press, 2005) and The Memory of Bones: Body, Being and Experience Among the Classic Maya (UT Press, 2006, co-authored with Stephen Houston and Karl Taube). Another book project looms on the horizon, a general text on the archaeology, art and history of the ruins of Palenque, Mexico, anticipated to be published in 2007.

Stuart?s research centered on two archaeological field projects in the Maya area. At San Bartolo, Guatemala, he participated in the excavation, documentation and study of the exciting Pre-classic murals discovered there in 2001. In April 2005, the dig revealed an earlier structure with the earliest firmly dated sample of Maya hieroglyphic script (ca. 300 B.C.). At Copan, Honduras, Stuart continued his long-term involvement in the collaborative research on the reconstruction and analysis of the massive Hieroglyphic Stairway, gracing the one of the main pyramids at the ruins.

Stuart?s activities at UT included a gradual re-grouping of the Mesoamerica Center (formally CHAAAC) and its new website, anticipated to be a ?hub? for research among many faculty and students working in related Mesoamerican fields. In cooperation with Guatemalan colleagues, Stuart also took a few initial steps to develop a possible UT research facility in art and archaeology in Antigua, Guatemala. Stuart also oversaw the 30th annual Maya Meetings, held over spring break in 2006. Due to the welcome and capable assistance of many people in the department, the meetings were a great success.

LOUIS WALDMAN

In May/June 2005 Louis Waldman led a group of students from UT in a Maymester course entitled ?From the Habsburgs to Hitler: Art, Culture, and Collecting in Vienna, 1450-1945.? From May to September, the National Gallery of Canada hosted an exhibition co-organized by Waldman entitled Leonardo, Michelangelo, and the High Renaissance in Florence. For the catalogue of this exhibition he contributed an essay and twenty entries; he also moderated an international symposium on Florentine art at the National Gallery in May. After a summer research trip in Hungary, he began a year-long fellowship at the Harvard Center for Italian Renaissance Studies at Villa I Tatti in Florence, where he has been at work on a study of the drawings of the sixteenth-century sculptor Baccio Bandinelli (1493-1560).

Articles appearing since Spring 2005 include ?Patronage, Lineage, and Self-Promotion in Maso da San Friano?s Naples Double Portrait,?I Tatti Studies, X (2005), pp. 149-172; ?The Patronage of a Favorite of Leo X: Cardinal Niccol? Pandolfini, Ridolfo Ghirlandaio, and the Unfinished Tomb by Baccio da Montelupo,? Mitteilungen des Kunsthistorischen Institutes in Florenz, XLVIII, no. 1/2 (2004, but published in September 2005), pp. 105-128; and ?New Documents for the Florentine Painter Antonio di Donnino del Mazziere,? Source, XXV, no. 1 (2005), pp. 27-32. He also published a catalogue entry detailing his recent discovery of an unpublished terracotta modello by Giovanni Bandini for the choir of Florence Cathedral in the exhibition catalogue Medieval, Renaissance, and Baroque Sculpture (New York, Salander-O?Reilly Galleries, 2005, no. 28). His review of John Shearman?s last book, Raphael in Early Modern Sources (1483-1602) (New Haven and London, 2003), was published in CAA Reviews Online in 2005; and a review essay on Michel Jeanneret?s Perpetual Motion: Transforming Shapes in the Renaissance from da Vinci to Montaigne (Baltimore and London: Johns Hopkins University Press, 2001) appeared in Word and Image, XXII, no. 1 (January-March 2006), pp. 98-100.

Recent lectures and talks: ?Drawing in Florence: Bandinelli and His Accademia? (symposium paper in the Warwick University Convegno, Venice, Biblioteca Querini Stampalia, November 2005); ?Il padre di Bernardo Buontalenti: La carriera artistica di Francesco di Domenico di Stefano, detto Buontalenti? (symposium paper in the Giornata di Stud? in onore di Lisa Venturini, Florence, Fondazione Roberto Longhi, December 2005); ?Praise and Blame: The Rhetoric of Portraiture in Baccio Bandinelli?s Work? (invited lecture at Syracuse University in Florence, February 2006); and ?Un ?nuovo? pittore del Rinascimento e il sul capolavoro a Fucecchio: Bartolomeo Ghetti e la Pala della Collegiata? (invited lecture at the Museo Civico, Fucecchio, April 1, 2006). Together with Marzia Faietti, director of the Gabinetto Disegni of the Uffizi, he co-taught a seminar on Renaissance drawing techniques for Ph.D. and postdoctoral students of the Kunsthistorisches Institut in Florenz (November 2005); and he gave a seminar entitled ?The Transformation of Baccio Bandinelli?s Sculptures for the Choir of Florence Cathedral? for students in the M.A. course in art history at Syracuse University in Florence (March 2006).