A listing of recent publications, activity and achievements
Malcolm Baker has continued his work on the portrait bust and the statue in the eighteenth century and his study of these two genres, The Marble Index. Roubiliac and Sculptural Portraiture in Eighteenth-Century Britain was published by Yale University Press at the end of 2014. Other recent publications include “Busts and Friendship: the identity and context of William Murray’s version of Roubiliac’s bust of Alexander Pope” (Sculpture Journal, 2013) “Henrietta Finch, Sculptor?” (Burlington Magazine, 2014), “Literary Figures” (Apollo, 2014), “The Multiple, Authorship and the Eighteenth-Century Portrait Bust’s Aura’, (in W. Cupperi, ed, Beyond the Aura, Munich, 2014) and ‘Attending to Marble in Eighteenth-Century Britain’, in D. Gamboni and G. Wolf, eds., The Aesthetics of Marble: from Late Antiquity to the Present (forthcoming). His exhibition catalogue Fame and Friendship. Pope, Roubiliac and the Portrait Bust (Paul Holberton: London, 2014) was published to accompany the exhibition of the same name which was shown in the US at the Yale Center for British Art and in the UK at the Rothschild Foundation, Waddesdon Manor. Interdisciplinary conferences about Pope, portraiture and shaping of the poet’s authorial persona were held at both Yale and Waddesdon and a collection of studies based on these and the related research program of digital scanning, developed in collaboration with the Department of Computer Science at Yale, will appear in 2016. As well as editing this volume, Malcolm Baker is currently completing an article entitled “Catalogue, Canon and Biography: Francis van Bossuit, Mattys Pool and the place of Arts Cabinet in art historiography”, continuing his work on an online catalogue raisonnê of Roubiliac’s busts and statues and mapping out the plan for his next book about the literary portrait and changing notions of authorship in the long eighteenth century. He will continue to work on these last two projects following his retirement in June 2015.
Françoise Forster-Hahn, Distinguished Professor Emerita
“Die weisse Jahrhundertausstellung 1906 in Berlin: Ausstellungsinszenierung und Meier-Graefes Entwicklungsgeschichte der modernen Kunst,” in: Jahrbuch der Berliner Museen 2013, Staatliche Museen zu Berlin, Berlin 2016, pp. 109-128.
“Deshalb ist es auch kein Gegensatz, ein guter Deutscher und ein ’guter Europäer’ zu sein.” Harry Graf Kesslers Internationalität vom Kaiserreich zum Exil,” in: Harry Graf Kessler: die Moderne gestalten. Vorträge zur Ausstellung im Max Liebermann Haus Berlin 2016, pp. 50-64. Harry Graf Kessler Gesellschaft: Lektüren I, eds. Sabine Carbon, Felix Brusberg, Hans von Brescius, Berlin 2016.
“Diaspora und Exil: Vernetzte Bilder des Erinnerns bei Max Beckmann und R.B. Kitaj,” in: Max Beckmann. Beiträge 2017. Hefte des Max Beckmann Archivs, 15, ed. Christian Lenz, Munich 2017.
“Das ungefragte Bild und sein fehlendes Publikum: Adolph Menzels Aufbahrung der Märzgefallenen als Verdichtung politischen Wandels,” in: Uwe Fleckner (ed.), Bilder machen Geschichte. Historische Ereignisse im Gedächtnis der Kunst, De Gruyter-Akademie-Verlag, 2014, pp. 267- 277; 499-501
“Industrie” in: Uwe Fleckner, Martin Warnke, Hendrik Ziegler (eds.), Politische Ikonographie. Ein Handbuch, Vol. II, paperback edition, Munich (C.H. Beck), 2014, pp. 14-19
“Deutsch, modern und jüdisch: Max Liebermanns Ausstellungen in Berlin und London 1906,” in: Vorträge aus dem Warburg-Haus, Vol. 11, Uwe Fleckner, Julia Gelshorn, Margit Kern, Bruno Reudenbach (eds.), Berlin/Boston (De Gruyter), 2014, pp. 65-83; 136-141
“Text and Display: Julius Meier-Graefe, the 1906 White Centennial in Berlin, and the Canon of Modern Art,” in: Art History, Vol. 38, February 2015, pp. 139-169
“Le Tour du Monde: The Global Spectacle of Art: Julius Meier-Graefe and the Paris World’s Fair 1900,“ at the symposium Passeurs des Arts, Paris, Centre Allemand d’Histoire de l’Art, November 2015.
“Deshalb ist es auch kein Gegensatz ein guter Deutscher und ein ‘guter Europäer’ zu sein: Harry Graf Kesslers Internationalität vom Kaiserreich zum Exil,” for the exhibition Harry Graf Kessler – Flaneur durch die Moderne, Berlin, Max Liebermann Haus, May 2016.
“Die weisse Jahrhundertausstellung 1906 in Berlin und Meier-Graefes Kanonisierung der modernen Kunst,” Johannes Gutenberg Universität, Mainz, April 2014
“The Hostility of Politics and the Spectacle of Art Displays: German-French Relations, 1871-1914,” hgcea Symposium, Los Angles County Museum of Art, Los Angeles, September 2014
“Der Kanon der modernen Kunst in Text und Bild: Meier-Graefes Entwicklungsgeschichte (1904) und die deutsche Jahrhundertausstellung 1906 in Berlin, Julius Meier-Graefe: Grenzgänger der Künste Conference, Berlin, Max Liebermann Haus, March 2015
“The Changing Incarnations of the National Gallery in Berlin: Symbol of Art and Nationhood before, during and after the Wars,” AAH2015 Annual Conference, University of East Anglia, Norwich, April 2015
Jeanette Kohl has been awarded a fellowship at the Institute for Advanced Study in Princeton and will be on leave during the academic year 2018/2019. She was chair of the department from 2015 to 2018 and has held numerous prestigious fellowships at the Getty Research Institute, the Center for Advanced Studies Morphomata at the University of Cologne/Germany, and the Kunsthistorisches Institut in Florence/Italy.
Her book Renaissance Love. Eros, Passion, and Friendship in Italian Art Around 1500 (co-edited with M. Koos and A. Randolph) was published in 2015. Currently, she is working on her second major book Facing Objects. Bust Portraits in Fifteenth-Century Italy (in preparation for 2019 with Brepols). In the past three years, she has published a number of essays, amongst them “Hannah Wilke – Intra-Venus” in Venus as Muse (New York 2015) and “Children’s Busts, Family, and Memoria in Roman Antiquity and the Renaissance” in Figurationen des Porträts (Leiden 2018), as well as three articles in major journals: “F.A.C.E.S – Faces, Art, and Computerized Evaluation Systems” (co-authored) in Artibus et Historiae, no. 75, 2017; “A Murder, a Mummy, and a Bust: The Newly Discovered Portrait of Simon of Trent at the Getty,” in the Getty Research Journal, no. 10, 2018; and “The Salutati Tomb in Fiesole” in Wiener Jahrbuch für Kunstgeschichte, no. 63/64, 2017. There are two upcoming publications for this year: “Hic est homo Platonis. Two Embodiments of Concepts of Man in Renaissance Art” in Iconology. Neoplatonism and the Arts in the Renaissance, and “Verrocchio and the Intelligence of Quattrocento Sculpture” in Leonardo e gli altri / Leonardo in Dialogue.
Kohl was invited to deliver a commencement address at UCR’s partner university FAU in Erlangen/Germany in 2015 and she gave a Warnock Lecture at Northwestern University in 2018. She has presented her research at various international conferences and at the Universities of Tel Aviv, Cologne, Frankfurt, Munich, Copenhagen, at the National Gallery of Art in Washington DC, the Getty Museum in Los Angeles, the Timken Museum in Diego, and the Huntington Library in San Marino. She organized a two-day conference on Vesalius and His Worlds. Medical Illustration during the Renaissance at the Huntington Library in 2014 and co-organized (with Barbara Baert) the panel Afterlives of the Reliquary: Reinventions of Object Cults in Post-Reformation Art for the RSA conference in 2015. In 2017, she organized (with Kelechi Kalu) the interdisciplinary conference Powerful Migrations. Identity/Security/Fluidity at UCR. Currently, she is the co-organizer (with Juliet McMullin) of a new Medical Humanities Program at UCR and is developing a project on Global Portraiture.
Liz Kotz is developing a book on An Anthology of Chance Operations, the influential collection of scores, poems, drawings and other texts assembled by the composer La Monte Young in 1961 (and published in 1963) that played a crucial role in the emergence of interdisciplinary art practices. Her first essay fro this project, “Poetry Machines” (on work by George Maciunas and Dieter Roth) just appeared was in the catalogue +/-1961 Founding the Expanded Arts, from the Museo Nacional Reina Sofia in Madrid; she has given related talks on works by Simone Forti, Richard Maxfield, and La Monte Young, among others. Other recent essays discuss the 1972 gallery exhibition Memory by the poet Bernadette Mayer; the work of influential dealer and curator Seth Siegelaub; the poetry of the sculptor Carl Andre; and projects by the sculptor Evan Holloway. She was a faculty fellow at UCR’s Center for Ideas and Society in 2012, and with Charles Curtis (UCSD), she is co-organizing a UC Humanities Research Institute working group on “Experimental Interdisciplinary Practices.”
Susan Laxton‘s launched the academic year with the opening of Confessions* of a Male Chauvinist Pig at UCR California Museum of Photography, an MA student-curated show on Garry Winogrand’s photographs of women in the 1960s and 70s. Based on research conducted in her graduate curatorial seminar, the show was accompanied by a catalog of critical essays drafted by the students and introduced by Professor Laxton’s own take on the context of the newly formed genre “street photography.” Her essay, “The Fugitive,” on William Burroughs’ collage “re-photographs,” appeared this winter in the catalog of the exhibition, Taking Shots: The Photography of William S. Burroughs, at the Photographers’ Gallery in London, and an additional essay on Moholy-Nagy’s counter-productive photograms is forthcoming in the Routledge Press anthology, Photography and Doubt. Blending two of her primary areas of interest, play and curatorial studies, Professor Laxton spoke on “Giacometti’s Playground” at the conference The Ludic Museum at the Tate Liverpool, and is currently completing a book manuscript on ludic strategies in Surrealism.
In September 2017, Aleca Le Blanc’s multi-year international research project culminated with the opening of the exhibition, Making Art Concrete: Abstract Art from Argentina and Brazil in the Patricia Phelps de Cisneros Collection. It was one of three major exhibitions at the Getty Museum representing the region-wide initiative Pacific Standard Time: Los Angeles/Latin America. A fully illustrated catalog was published and includes a lengthy essay by Le Blanc detailing her research associated with the project. As a visiting scholar at MoMA in Spring 2018, she’ll continue her research about the works in the Cisneros collection. She has an essay in the forthcoming volume, Art Museums of Latin America: Structuring Representation, about the history of the Museu de Arte Moderna do Rio de Janeiro. She’ll spend next year as a Fulbright Fellow in Rio de Janeiro conducting archival research for her book, Concrete and Steel: Artists in Industrial Brazil. On Sabbatical Spring 2018.
Patricia Morton is the author of Hybrid Modernities: Architecture and Representation at the 1931 International Colonial Exposition in Paris (MIT Press, 2000; Japanese edition, Brücke, 2002). She received grants and fellowships from the Getty Research Institute, the Fulbright Program, the University of California Humanities Research Institute, and the National Endowment for the Arts, among other institutions. She has lectured and published widely on architectural history and race, gender and identity. Her article, “National and Colonial: The Musée des Colonies for the 1931 Colonial Exposition in Paris,” Art Bulletin (June 1998), is the second-most cited article in the journal.
Her current book project, Paying for the Public Life, focuses on work by architect Charles W. Moore and his contemporaries, and examines how architects negotiated the contested postwar public realm and created new forms of architecture and urbanism responsive to contemporary social conditions. She is past editor of the Journal of the Society of Architectural Historians and Vice President-elect of the Society of Architectural Historians.
Kristoffer Neville In the last year, Kristoffer Neville has given lectures in Amsterdam, Berlin, Tours (France), Toronto, and Boston, on topics ranging from sixteenth-century sculpture to the early modern sense of past to friendships and collaborations among architects in the eighteenth century. Articles on these subjects of articles have also appeared recently or are in press. He has also been busy editing (with Lisa Skogh of the V&A in London) a book on Queen Hedwig Eleonora, the successor of Queen Christina, a largely unknown figure who was central to cultural production in around the Baltic in the second half of the seventeenth century. The book, Queen Hedwig Eleonora and the Arts. Court Culture in Seventeenth-Century Northern Europe, is in press with Routledge (Ashgate imprint), and will appear in December 2016.
J.P. Park’s new manuscript project, “A New Middle Kingdom: Chinese Art and Cultural Politics in Late Chosŏn Korea (1700–1850),” was recently accepted for publication at the University of Washington Press. He is also editing a volume on Korean art history, which presents two dozen essays and critical articles by scholars from Asia, the United States, and Europe. He has recently published two articles, “Classic or Cliché? The Mustard Seed Garden Manual of Painting in Modern Context” and “Koreans are White? Art, Nation, and Post-Globalization” in Orientations and Third Text, respectively. In addition, he has articles forthcoming in Art Bulletin and East Asian Publishing and Society.
Conrad Rudolph During the last year, Conrad Rudolph was elected Fellow of the Medieval Academy of America. Fellows are elected for life and are chosen from all fields of medieval studies–history, history of science, literature, philosophy, religious studies, art history, etc. He had two articles appear, “The Parabolic Discourse Window and the Canterbury Roll: Social Change and the Assertion of Elite Status at Canterbury Cathedral,” Oxford Art Journal; and, co-written with Ramya Srinivasan (lead author) and Amit Roy-Chowdhury, “Computerized Face Recognition in Renaissance Portrait Art,” Signal Processing Magazine (despite the name this is the second most widely read journal in its field worldwide). He was the keynote speaker at conferences in Australia and Spain, lecturing on both medieval art history and computerized face recognition, and he spoke at the Getty Center. He is currently working on “The Tour Guide in the Middle Ages: Guide Culture and the Mediation of Public Art.”
Jason Weems’s book Barnstorming the Prairies: Aerial Vision and Modernity in Rural America, 1920-1940 (University of Minnesota Press, 2015) was awarded competitive publication awards including: the College Art Association’s Millard Meiss Publication Grant, a Furthermore Grant for Publications in Landscape Studies, and a publication grant from the Society for the Preservation of American Modernists. He was invited to contribute research to several new publications including: a chapter on the Chicago Stockyards and the 1909 Burnham Plan for Chicago for an anthology on “scale” in American art; an article on mining and subterranean cartography for a special issue of the journal American Art; and catalog essays for major new exhibitions on landscape painting in the Americas and American art during World War One. Weems also continued work on a new book project exploring the intersection of artistic and archaeological modes of representation and their role in the U.S. invention of a Pre-Columbian past. Weems delivered papers on his work at several scholarly venues, including conferences at the Newberry Library and the Instituto de Investigaciones Esteticas, UNAM. In fall 2014, he will present new work on regionalist manifestos and (anti) modernism at a symposium in Washington DC, and the visual cultural legacies of scholar Leo Marx at the American Studies Association Annual Conference. He is also planning a university-wide symposium entitled “Alllies, Enemies, Citizens: Refiguring Asianness in World War Two America” for spring 2015 and will co-curate an exhibition of Japanese internment photographs at UCR’s California Museum of Photography.