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Princeton University

Department of Art and Archaeology

Undergraduate Handbook2011-2012

Chair: Professor Thomas Leisten

Office hours: By appointment

McCormick 105

[email protected]

Departmental Representative: Professor Rachael DeLue

Office hours: Wednesday, 2:00-4:00pm

McCormick 307

[email protected]


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Table of Contents

Introduction to the Department of Art and Archaeology

I. Declaring the MajorI.1. General Information for Prospective MajorsI.2. Advanced PlacementI.3. Foreign Languages

I.4. Courses Taken at Another Institution

II. Programs of Study and Requirements for the MajorII.1. Program One: History of Art

II.1.a. PrerequisitesII.1.b. Course RequirementsII.1.c. CognatesII.1.d. Junior SeminarII.1.e. Junior Independent WorkII.1.f. Senior Independent WorkII.1.g. Senior Departmental Examination

II.2. Program Two: History of Art and Visual ArtsII.2.a. Prerequisites and AdmissionII.2.b. Course RequirementsII.2.c. CognatesII.2.d. Junior Independent WorkII.2.e. Senior Independent WorkII.2.f. Senior Departmental Examination

II.3. Program Three: ArchaeologyII.3.a. PrerequisitesII.3.b. Course RequirementsII.3.c. Cognates

II.3.d. Junior Independent WorkII.3.e. Senior Independent WorkII.3.f. Senior Departmental Examination

II.4. Certificate in Visual ArtsII.4.a. Course RequirementsII.4.b. Junior Independent WorkII.4.c. Senior Independent WorkII.4.d. Senior Certificate Examination

II.5. Track in Film and VideoII.5.a. Course Requirements

III. The Senior ThesisIII.1. Selecting an AdviserIII.2. Planning Your Time: The Fall SemesterIII.3. Intersession and the Spring SemesterIII.4. Thesis EvaluationIII.5. Guidelines for Thesis Preparation and Style

III.5.a. General FormatIII.5.b. Order and Format of Thesis SectionsIII.5.c. Quotations


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III.6. Thesis Writing Workshop

IV. Department Style Sheet for Written Work

V. Resources for ResearchV.1. Marquand LibraryV.2. Visual Resources CollectionV.3. Index of Christian Art

V.4. Princeton University Art MuseumV.5. Tang CenterV.6. Firestone Library

V.6.a. Manuscripts DivisionV.6.b. Graphic Arts CollectionV.6.c. Cotsen Childrens LibraryV.6.d. Western Americana CollectionV.6.e. Numismatics Collection

V.7. Other Princeton Resources for Art Majors

VI. Study Abroad

VII. Grants for Support of Thesis Research

VIII. Graduation Requirements, Honors, and PrizesVIII.1. Graduation RequirementsVIII.2. HonorsVIII.3. Prizes

IX. Internships and Employment OpportunitiesIX.1. On-Campus Internships and EmploymentIX.2. Summer Internships at International Museums

IX.3. Off-Campus Internships and EmploymentIX.4. What Our Graduates Do

X. Faculty

XI. Undergraduate Calendar, 2011-2012

Appendices:1. Department of Art and Archaeology Declaration of Major Form2. Department of Art and Archaeology JP/Senior Thesis Adviser Form, Programs 1 and 33. Program 2/Certificate Adviser Approval Form4. Senior Thesis Research Travel Grant Application Form

5. Senior Thesis First Term Progress Report6. Summer Overseas Internships Funding Application7. Department of Art and Archaeology Support Staff8. The Program in Visual Arts Faculty/Staff Directory (Peter B. Lewis Center)9. Princeton University Art Museum Staff Directory10. Princeton University Art Museum 2011-12 Exhibitions Schedule11. Majors, 201212. Majors, 2013


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Introduction to the Department of Art and Archaeology

The Department of Art and Archaeology is devoted to the study and criticism of the visual artsand the investigation of material artifacts from a wide range of cultures and historical periods. Itis also where students interested in the practice of art (taught by faculty in the Program in VisualArts) can pursue a major. Current faculty members explore subjects as diverse as Roman cityplanning, Islamic archaeology, Chinese cinema, and contemporary painting, but are united in

their belief that the visual arts offer key insights into the past and stimulate ideas and personalgrowth in the present.

In a world that seems to be taking a visual turn, understanding the history and workings ofvisual culture has assumed an increasing importance. Students in the Department of Art andArchaeology learn techniques for analyzing visual materials and locating them within time andplace. They also investigate the factors that influence the form and direction of stylistic change(such as religious beliefs, economic constraints, patronage demands, technological change, andso forth). And as studio artists, they engage in the creative transformation of these observationsand experiences into works of art. Like any social scientists or humanists, they must evaluateevidence (documentary, textual, or pictorial), form hypotheses, test their data, and drawconclusions. Successful majors master the translation of visual perceptions into linguistic ormaterial expression, develop their visual memory, and make connections with a wide array ofother historical evidence.

Majors in the Department of Art and Archaeology are prepared to pursue numerous careers andgraduate programs. Our majors have gone on to graduate programs in art history, fine arts, arteducation, museum studies, architecture, archaeology, comparative literature, area studies(Classics, Asian Studies, African-American Studies, Womens Studies, European Studies, etc.),languages, and history. In addition, majors regularly enter medical, law, public policy, andbusiness schools. The skills developed in the Department also can form the bases for futurecareers in teaching, journalism, communication and media, museum work, not-for-profitorganizations, architecture, design, advertising, and marketing.

I. Declaring the Major

I.1. General Information for Prospective Majors

Students interested in majoring in the Department of Art and Archaeology must choose one ofthree programs:

Program One History of Art (a traditional concentration in art history that demands broadexposure to the visual arts produced in different time periods and cultures)

Program Two History of Art and Visual Arts (a concentration combining art history withstudio art that culminates in a senior thesis exhibition)

Program Three Archaeology (an interdisciplinary major combining academic training inarchaeology with practical experience on excavations)


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Each program has its own specific course requirements for admission (see below). Students mustalso submit the Department of Art and Archaeology Declaration of Major Form (Appendix 1) inthe spring of the sophomore year.

I.2.Advanced Placement

One unit of advanced placement credit is granted for a score of 5 on the Art History AdvancedPlacement Examination.

I.3. Foreign Languages

Although there are no formal requirements for foreign language proficiency beyond theUniversity requirements, all majors are encouraged to achieve reading facility in one or morelanguages determined by the areas that interest them. Students intending to pursue graduatestudies in the history of art or archaeology should know that most M.A. programs require facilityin one language, and most Ph.D. programs require at least two languages (in many cases Germanin addition to the language of the students intended area of study).

I.4. Courses Taken at Another Institution

While enrolled at Princeton, students may take up to two departmental courses at otherinstitutions and obtain Princeton credit with prior approval from the Dean of the College and thedepartmental representative. In order to apply for course credit, a student must submit to thedepartmental representative the university form (Approval for a Course Taken at AnotherInstitution); a detailed description of the course, preferably with a syllabus; a list of the numberof class hours (and lab hours) per week; and an official schedule showing the first and last daysof the course session.

II. Programs of Study and Requirements for the Major

II.1. Program One: History of Art

II.1.a. Prerequisites: Any two courses in the Department of Art and Archaeology.

II.1.b. Course Requirements: A total of ten courses in the Department of Art and Archaeology,including Art 400 (Junior Seminar) and two seminars at the 400- or 500-level. Students mustalso take at least one course in five of the following six distribution areas: East Asian; ancientMediterranean; medieval/early Islamic; Renaissance/Baroque/late Islamic; African/Pre-Columbian; andmodern/contemporary (19th century to the present). In choosing courses to

satisfy the distribution requirement, students are encouraged to explore a range of media (e.g.,architecture, painting, sculpture, photography, film, printmaking). Thematic courses as well ascourses spanning more than one area will be allocated to a distribution area on a case by casebasis. Art 100, Art 101, and Art 102 count as departmentals but not as distribution courses.

II.1.c. Cognates: No more than two cognate courses taken in other departments (including theProgram in Visual Arts) may be counted toward the ten departmentals. This includes summercourses. Students participating in the Study Abroad Program may be allowed to count more than


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two courses taken overseas as departmentals. All cognate courses must be approved prior toenrollment by the departmental representative, based on the submission of a syllabus and coursedescription. Courses cross-listed with the Department of Art and Archaeology automaticallycount as departmentals.

II.1.d. Junior Seminar: During the fall of the junior year, all majors must take the Junior Seminar (Art400). The course introduces students to the various methodologies used by art historians andarchaeologists, and prepares them for writing the junior and senior independent work. Students who areabroad during the fall of the junior year can complete the Junior Seminar during the fall semester of thesenior year.

II.1.e.Junior Independent Work: The fall junior independent work consists of a paper ofapproximately 20 pages addressing the state of the literature on a particular subject selected bythe student. This paper is usually advised and graded by the instructor of the students JuniorSeminar. During the spring term, students write a second research paper (approximately 25pages) with a departmental adviser of their choice. For the spring independent work, studentsmust complete the JP/Senior Thesis Adviser Form (Appendix 2) by December 2, 2011, andreturn it to the departmental representative for approval.

II.1.f. Senior Independent Work: The senior independent work consists of a year-long

research project of approximately 60-80 pages on a topic selected by the student. The studentselects a faculty adviser in the spring of the junior year. The student and adviser must sign theJP/Senior Thesis Adviser Form (Appendix 2) and return it to the departmental representative forapproval. See the Guidelines for the Senior Thesis (Chap III, below) for details on thepresentation and writing of the thesis. The thesis grade is the average of the grades given by theadviser and a second faculty reader.

II.1.g. Senior Departmental Examination: The senior departmental examination consists of aone-hour oral examination covering material from departmental courses and attended by threefaculty members (including the adviser of the senior thesis, normally its second reader, and oneadditional faculty member). The grade on the senior departmental exam is the average of the

grades given independently by the three faculty examiners.

II.2. Program Two: History of Art and Visual Arts

Concentrators in this program explore the traditions, thought processes, and methods ofmaking visual art in connection with a general program of humanistic education. Coursesare offered in painting, drawing, printmaking, sculpture, photography, film and videoproduction, and film history and theory.

II.2.a. Prerequisites and Admission: By the end of the sophomore year, students intending tomajor in Program Two should have completed twocourses in the Department of Art andArchaeology and two studio courses in the Program in Visual Arts. In addition, by the firstweekend following spring break, sophomores submit an application and a portfolio of creativework to the Lewis Center for the Arts administrative office. The admissions committee for theProgram in Visual Arts will notify students accepted into the program by early April. No APcredit is accepted toward the Program Two major.


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II.2.b. Course Requirements: A total of twelve courses, of which at least six should be fromthe Program in Visual arts and at least four from the Department of Art and Archaeology. TheArt and Archaeology courses must include a course in the modern/contemporary distributionarea (nineteenth century to the present); and courses in two other distribution areas (see Program1). The Visual Arts courses must include: at least two different media; at least two studiocourses at the 300- or 400-level; Visual Arts 392 (normally taken in fall of the junior year); andVIS 416 (Senior Thesis Seminar), taken in the fall term of the senior year.

II.2.c. Cognates: Up to two courses in studio art or art history may be taken at other institutionsduring the summers with prior approval by the departmental representative (for art historycourses) or the director of the Program in Visual Arts (for studio art courses). Courses taken aspart of the Study Abroad Program may be allowed to count as departmentals with prior approvalfrom the departmental representative.

II.2.d. Junior Independent Work: The fall junior independent work consists of anartists book of at least 24 pages addressing the students work, daily life, an art historicalinfluence, a contemporary artist, or any other germane topic approved by the VIS 392instructor. The book may be text only, text and images, or images only. It can be made ofany materials, in any format, but must be bound in book form. This book is usually

advised and graded by the instructor of the student's junior seminar (VIS 392).Thespring junior independent work is done in consultation with the students advisers,Students also interact with the general visual arts faculty in "open studios.one whom isassigned by the Program director and one of whom is chosen by the student in the secondweek of fall term. The advisers spring-term grade for junior independent workrepresents an evaluation of the entire years studio work. The creative junior independentwork is exhibited in a group show at the end of the junior spring semester.

II.2.e. Senior Independent Work: By the end of the second week of fall term of senior year,students must select three advisers, including one from the Department of Art and Archaeologyfaculty, and complete the Program2/Certificate Adviser Approval Form (Appendix 3). The

senior independent work is a major studio project completed by the end of the spring term,which is done in consultation with the students advisers and also with the general visual artsfaculty in "open studios. Students present their work in an exhibition in the latter half of thespring term, usually a two-person show with another Certificate or Program 2 student. Thegrade for the senior independent work represents an evaluation of the entire years studio workand is the average of two grades: (1) the average of the grades given by the students threeadvisers; and (2) the average of the grades given by the rest of the Program in Visual Artsfaculty who view the senior exhibition.

II.2.f. Senior Departmental Examination: The senior departmental examination takes the formof a one-hour critical discussion of the senior independent work with the students three advisers

in the latter half of the spring term, normally at the time of the students exhibition. Thediscussion is open to all Visual Arts Program faculty and Certificate/Program 2 students. Thegrade for the oral examination is the average of the three grades given by the advisersparticipating in the examination.


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II.3. Program Three: Archaeology

This program brings together faculty from a variety of departments in a major that combinesacademic training in archaeology with practical experience on excavations (participating in asummer excavation project is normally required). Students will specialize in an area ofparticular interest, but will also engage in comparative study of different cultures. Each studentwill design an individual course of study with the advice of the program advisers for 2011-12:Thomas Leisten, Professor and Chair, and Nathan Arrington, Assistant Professor.

II.3.a. Prerequisites: Any two Department of Art and Archaeology courses in the Ancient areaor other courses related to archaeology as approved by the program advisers.

II.3.b. Course Requirements: A total of ten courses in the Department of Art and Archaeologyor approved cognates. These must include Art 400 (Junior Seminar), Art 401 (Introduction toArchaeology), and four more Art and Archaeology courses approved by the program adviser infour of the five areas: the Americas (Pre-Columbian); Egypt/Ancient Near East;Mediterranean/Ancient European; Islamic; and Central Asia/East Asian. The remaining fourcourses, which need not be in the Art and Archaeology department, must include two courses inthe history, art, and/or literature of a single culture. A student with a special interest in classical

antiquity, for example, might take courses in the Classics department. Other possibilitiesinclude certain courses in religion, anthropology, geology, chemistry, and materialsscience/conservation, languages (up to two language courses beyond the 100-level may counttoward the major).

II.3.c. Cognates: No cognates are accepted for the four courses taken in the Department of Artand Archaeology.

II.3.d. Junior Independent Work: Same as for Program One, except that the spring juniorpaper should be on archaeological topic.

II.3.e. Senior Independent Work: Same as for Program One, except that the thesis must be onan archaeological topic.

II.3.f. Senior Departmental Examination: Same as for Program One.

II.4. Certificate in Visual Arts

A certificate of proficiency in the visual arts is awarded to students who successfully complete asubstantial program of studio work while majoring in another academic department.Sophomores interested in a certificate in visual arts should submit a portfolio to the Lewis

Center for the Arts administrative office by the first weekend following spring break. Theadmissions committee will notify students accepted into the program by early April. Normallystudents must complete two of the required visual arts courses before being admitted to theprogram. One course in the Department of Art and Archaeology is also recommended.

II.4.a. Course Requirements: A total of eight courses from the Program in Visual Arts andDepartment of Art and Archaeology, including: (1) four visual arts courses, including studiocourses in at least two media and at least two 300- or 400-level studio courses; (2) Vis Arts 392


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or a cognate (see Program 2 description); (3) Vis Arts 416; (4) two Art and Archaeologycourses, one of which must be in the modern distribution area.

II.4.b. Junior Independent Work: The fall junior independent work consists of an artists bookof at least 24 pages addressing the students work, daily life, an art historical influence, acontemporary artist, or any other germane topic approved by the VIS 392 instructor. The bookmay be text only, text and images, or images only. It can be made of any materials, in anyformat, but must be bound in book form. This book is usually advised and graded by the

instructor of the student's junior seminar (VIS 392).The spring junior independent work is donein consultation with the students advisers, Students also interact with the general visual artsfaculty in "open studios.one whom is assigned by the Program director and one of whom ischosen by the student in the second week of fall term. The advisers spring-term grade for thejunior independent work represents an evaluation of the entire years studio work. The juniorindependent work is exhibited in a group show at the end of the spring semester.

II.4.c. Senior Independent Work: By the end of the second week of fall term of senior year,the student selects two advisers from the Program in Visual Arts and completes the CertificateAdviser Approval Form (Appendix 3). The creative thesis studio work is done through requiredparticipation in Vis Arts 416 and in consultation with the students advisers and also with the

general visual arts faculty in "open studios. Students present their work in an exhibition in thelatter half of the spring term, usually in a two-person show with another certificate or Program 2student. The grade for the senior independent work represents an evaluation of the entire yearsstudio work and is the average of two grades: (1) the average of the grades given by thestudents two advisers and (2) the average of the grades given by the rest of the visual artsfaculty who view the senior exhibition.

II.4.d. Senior Certificate Examination: The senior certificate examination takes the form of aone-hour critical discussion of the senior independent work with the students two advisers inthe latter half of the spring term, normally at the time of the students exhibition. The discussionis open to all Visual Arts Program faculty and Certificate/Program 2 students.

II.5. Track in Film and Video

Students interested in film and video production or criticism and analysis may pursue thefilm and video track within the visual arts certificate program while concentrating inanother academic department. Requirements for this track are summarized below. Toenter this track, students must have the approval of their department of concentration tosubmit a written critical/historical thesis on a film-related topic or present a creative filmwork in fulfillment of the senior thesis. Normally students in this track must complete aproduction course and a course in film history or theory before being admitted to theprogram.

II. 5.a. Course Requirements:Five visual arts courses, including a) One course infilm/video production (VIS 261/262, VIS 361/362, VIS 462); b) Two courses in filmhistory (any course listed by the Film Studies Committee) and one visual arts seminar infilm theory or history; c) At least two other courses (either in film production oracademic courses in film history).

Please note: Three cognates are accepted within the above group. Independent workrequirements for the track in film and video are consistent with those set forth for the


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visual arts certificate program. Junior projects and senior theses may be submitted ashistorical or theoretical essays or as creative works in film, video, or an installation basedon either or both media. When these projects can fulfill the requirements of the visual artscertificate and the students department of concentration, they will be jointly advised byfaculty members from the program and the students home department. When theindependent work is not completed in conjunction with requirements for the studentshome department, the work will be supervised by two faculty members from the Programin Visual Arts.

III. The Senior Thesis

The senior thesis represents the most sophisticated original research and writing that you willundertake as an undergraduate at Princeton. In many cases, the area and topic that you selectwill define the direction of your future professional career, and the relationship that you establishwith your thesis adviser will be important for your admission to graduate and professionalschool and job placement. Even if you do not pursue a career in art history or archaeology, theskills that you develop in producing a thesis will be useful in writing reports, evaluating data,making policy evaluations, and so forth.

The most difficult task in writing a senior thesis is the selection of an appropriate topic. Ingeneral, you should not pick a topic in an area in which you have not had any coursework, butshould try to pursue ideas, objects, or questions that piqued your interest in earlier courses. Youmight begin by thinking of your thesis as a question, ranging from the specific (why didmedieval illuminators fill their borders with fantastic animals?) to the general (how does asocietys perception of time influence the kind of art that it makes?). You need to work withyour adviser to narrow down your topic to a problem that you can assess in 60-80 pages and thatyou can research using the facilities available (whether libraries, archives, museums, or objects).Even though hundreds of pages may have already been written on your topic, you shouldremember that it is always possible to have new insights because each generation brings

different perceptions and knowledge to past art.

If you have no ideas for a topic, then you should schedule a meeting in the spring of the junioryear with a faculty member and begin to brainstorm. The faculty member can help you probewhat your real interests are or suggest approaches. In many cases, you may find that doingpreliminary reading or visiting a museum may spark ideas.

III.1. Selecting an Adviser

Senior thesis advisers are selected in the spring of the junior year (the JP/Senior Thesis Form isnormally due in early May). If you have not submitted this form or if you are changing your

adviser, you must notify the departmental representative by September 24, 2011. Department ofArt and Archaeology faculty normally do not direct more than three senior theses, so you mayneed to consult more than one faculty member in order to find a supervisor. In addition to full-time faculty, curators within the Princeton University Art Museum may serve as advisers if theyso choose (they are not required to advise students). Normally faculty members in the Programin Visual Arts do not serve as advisers for Program One and Program Three theses. Full-timevisiting faculty in the Department of Art and Archaeology may serve as senior theses advisers,but part-time faculty (teaching only one course) do not.


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If you are having trouble finding an adviser, please notify the departmental representative, whowill assign you an adviser. It is not always possible or necessary to have an adviser whose areaof expertise coincides with your proposed thesis topic. What is important is that you find anadviser who seems interested in you and your topic.

III.2. Planning Your Time: The Fall Semester

During the fall semester, you must complete most of the research for your thesis, produce a

chapter outline, gather the illustrations, and write your first chapter (or more, if possible). Thismeans that you have about two months to identify the relevant literature on your topic and digestit. You will need to do bibliographical searches for articles and in some cases request inter-library loans or visit museum collections. In short, you should count on spending about tenhours per week just on your thesis (probably more time than you would spend on a normalcourse). You should also schedule regular appointments with your adviser (the frequency varies,but ideally every two weeks you need to review your progress with your adviser).

By December 2, 2011, you must submit to your adviser a detailed outline of your chapters(normally 2-3 pages) and an annotated bibliography (approximately five pages total), which willbe used to evaluate your first-semester work. Advisers will complete a fall semester Senior

Thesis Progress Report that will be sent to the departmental representative by Deans Date(January 17, 2012).

III.3. Intersession and the Spring Semester

Concentrated writing of the thesis should continue during intersession and into February. Inaddition, you may need to do travel to collections and libraries during the winter recess orintersession. By the beginning of the spring semester (February 6, 2012), you should havesubmitted at least one chapter to your adviser, and by the end of February, you should havelargely completed your main text. Remember that your adviser needs at least a week (and insome cases two weeks) to read and comment on any text you submit. If you know that you have

difficulties with writing and organizing, then you need to complete a draft even earlier so thatyou can substantially rewrite. All theses will benefit from going through more than one draft.

The month of March should be spent editing and completing the footnotes, bibliography, andillustrations for your thesis. Please see the section below on Senior Thesis Format for details onthe required style and mode of presentation. Please note that your thesis must not be longer than100 pages (not counting the notes and bibliography), and in most cases should be between 60-80pages.

Two unbound copies of the thesis in a temporary binder are due in the departmental office by5 p.m. on April 4, 2012. No extensions will be granted, and all materials (including

illustrations) must be complete. The penalty for late submissions is one point subtracted fromthe final numerical grade for each day or part of a day that the thesis is overdue (including theweekends).

III.4. Thesis Evaluation

Your thesis is read and graded by your adviser and a second reader assigned by the department(the list of second readers is not made public until after the thesis due date). The final thesisgrade is the average of the two readers grades (except when their grades are more than ten


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points apart, in which case the department assigns a third reader and the final grade is theaverage of the three grades). The two readers reports and the final thesis grade are given to thestudent at the senior oral exam.

The department forwards the unbound copy of the thesis to the Princeton University Archives inSeeley G. Mudd Manuscript Library for microfilming and returns the other copy to you. Youalso receive written reports from your two readers, and some readers may give you informalcomments that respond in more detail to stylistic and conceptual strengths and weaknesses

within your text.

III.5. Guidelines for Thesis Preparation and Style

III.5.a. General Format: Your thesis must be printed in black ink on plain, 8 x 11 whitepaper. Use only one side of the paper and select a 12-point font (Times New Roman andCourier are the most common). The text must be double-spaced with paragraphs clearlyindented and with reasonable margins (1 on the right, top and bottom and 1 on the leftshould be adequate). Inset quotations must be single-spaced; footnotes can be either single ordouble-spaced (consult with your adviser). Do not break words at the end of lines or justify theright-hand margin. Page numbers should start with the title page (no number is printed on the

title page) and should be in italics (ii, iii, iv, etc.) for all front matter (including the pledge, tableof contents, acknowledgments, list of illustrations). The first page of your actual text (normallytitled Introduction) should start with 1, and the numbers should run through the bibliographybut not into the illustration pages. The preferred location for numbering is the lower right cornerof the page.

III.5.b. Order and Format of Thesis Sections

Title page:Thesis Title

[centered, approximately 3 inches from page top]

Authors Name[centered, approximately 3 inches below the title]

[at bottom of page]

A Senior Thesis Submitted to the Department of Art and Archaeology, Princeton University, inPartial Fulfillment of the Requirements for the Degree of Bachelor of Arts

Princeton, New Jersey

Date

Pledge: On a separate page after the title page you should pledge that: This thesis representsmy own work in accordance with University regulations and sign your name. Below that, aparagraph should read: I authorize Princeton University to reproduce this thesis byphotocopying or by other means, in total or in part, at the request of other institutions orindividuals for the purposes of scholarly research and then sign your name.


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Bibliography: List all sources quoted and consulted in alphabetical order by last name ofauthor. For the format for your bibliography, see the Department of Art and Archaeology StyleSheet, Hacker, or Barnet.

Illustrations: You do not need to repeat the credit information on the actual Xeroxes or scans ofillustrations, but you must print (or type) their figure numbers. If you are scanning theillustrations, you can paste and copy the information from the list of illustrations. You may use

black and white or color reproductions for the illustrations; do not submit original photographsor drawings.

III.5.c. Quotations: Use quotations sparingly, keep them brief, and work them as much aspossible into the flow of your own narrative. If a long quotation (five or more lines) must beused, take it out of the body of the text, indent, and single-space. Within the quotation, followthe punctuation and paragraph structure of the original text. If you select a part of a quotation(starting in the middle of a sentence, cutting off the end of the phrase, or deleting words in themiddle), you must insert an ellipses, or three spaced periods ( . . . ) at the point of each deletion.Also, if you need to insert your own words to clarify a quotation or make it grammaticallycorrect, include them within brackets. For example, the author of this handbook said that if you

need to insert your own words , [you must] include them within brackets.

A quotation must adhere in all ways to the original text. If you are borrowing a quotation fromanother secondary source that quoted it from an original manuscript or another book, then youneed to indicate in your footnote that you got the citation as cited in the secondary source (ifthere is an error in the translation from the original to the secondary source, then it is notpresumably your fault). Your note would read: Frank Lloyd Wright, The Solomon GuggenheimMuseum (New York: Museum of Modern Art, 1980), 20; quoted in William H. Jordy,AmericanBuildings and Their Architects (Garden City, New York: Anchor, 1976), 4:348. If possible, it isalways advisable to consult the original source for a quotation in order to get a better sense of itscontext. If there is a spelling or grammatical error in a quotation that you recognize, then you

add the Latin word sic in brackets [sic] to indicate that the error was in the original.

III.6. Thesis Writing WorkshopThe Department and Deans Office sponsor a senior thesis writing workshop taught by anadvanced graduate student in the Department. The workshop leader arranges regular meetingtimes so that you can review various aspects of the research, outlining, and writing processes.Do not feel that you do not need to attend the thesis workshops if you are not having difficulties:all students benefit from the advice and group discussions generated in the sessions. Workshopswill consider common issues such as budgeting time for writing, writers block, plagiarism,organizing your notes, limiting your topic, locating sources and images, preparing the finalmanuscript, and so forth. More information about this workshop will be handed out in late

September.


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IV.Department StyleSheet for Written Work

All papers submitted to the Department of Art and Archaeology should be printed in black inkon one side of the paper. You should select a conventional typeface (Times New Roman orCourier) and use 12-point type. Margins should be approximate 1 on the top, bottom, and bothsides of the paper.

You should include a title page with your name, the course number and name, the title and dateof the paper, and the honor pledge (handwritten and signed). Staple or bind the pages firmlytogether, and be sure to proofread your paper before handing it in. Occasional handwrittencorrections are preferable to misspellings, but it is even better to correct your paper on thecomputer and reprint it.

As a general rule, the titles of works of art, like the titles of books, are italicized: Michelangelo'sDavid, Caravaggio's Conversion of St. Paul. However, the names of buildings, manuscripts, anda few other types of object are left in Roman letters: Sistine Chapel, Lincoln Cathedral,Lindisfarne Gospels, Book of Kells. When in doubt, consult the captions or list of illustrations in

your textbook or similar academic books.

If you refer to illustrations in your paper, you should insert in parentheses a figure reference(Figure 1) normally following the naming of the object that you want the reader to consult.Normally it is advisable to number the figures in the order that they first appear in your text. Ifyou come back to an earlier figure later in your paper or jump ahead to a figure that you haventcited yet, you may need to cue your reader by saying (see Figure 4). Whatever you do, you needto confirm that the numbers of your textual figure references correspond with the numbersactually given to the reproductions.

Illustrations should be properly identified either in captions or in a separate list of illustrations.

Identify the work and specify the source from which your illustration is taken (in the same waythat you would specify the source of a quotation in a footnote). For example:

Figure 1. Michelangelo,David, 1501-3, marble, Accademia Gallery, Florence. [Photo: HughHonour and John Fleming, The Visual Arts: A History, 4th ed. (Englewood Cliffs: Prentice-Hall,1995), 448, fig. 11].Figure 2. Lincoln Cathedral, Angel Choir looking northeast, begun 1256, Lincoln, Great Britain.[Photo: Christopher Wilson, The Gothic Cathedral (London: Thames and Hudson, 1990), 184,fig. 135].

Footnotes and Bibliography

Use footnotes to identify the sources you have drawn upon for the ideas and information in yourpaper. This means not only the sources of quotations but also the sources of all opinions orinterpretations that are not your own, whether quoted, paraphrased, or summarized. The footnotenumber should come at the end of the sentence for which a citation is needed. If all the materialin a paragraph is derived from a single source, put your footnote at the end of the paragraph. If asingle sentence or paragraph contains material from a number of sources, they may all be citedin the same footnote, separated by semicolons. Footnotes should be numbered consecutively


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throughout the paper (longer papers divided in chapters normally have note numbers beginningwith each chapter).

A footnote should give the reader the information he or she needs to locate the source you areciting. This information will normally include the author's name; the title of the book or article;the publisher, date and place of publication; and the page numbers you are referring to. Forbooks, it is important to include the edition (if later than the first). For articles, the name of thejournal and the volume number should be given. Titles of books and journals should be

italicized; titles of articles should be placed in quotation marks.

If you refer to the same source more than once, citations after the first should be abbreviated tothe authors last name, followed by the page reference. If you are using more than one text by asingle author, then you will have to give the authors name and title in subsequent references.The Chicago Manual style no longer uses ibid. to refer to the work cited in the preceding note.The Latin abbreviations op.cit. or loc.cit are also no longer used.

The bibliography recapitulates the sources that have been consulted in the preparation of amanuscript but groups them by type and lists them in alphabetical order. Unlike footnotes,bibliographical references do not indicate the specific pages consulted but the entirety of the text

or document. The goal of the bibliography is to allow the reader quickly to find materials forfurther consultation rather than to confirm the accuracy of a single reference or quote. Thebibliographical reference contains essentially the same information as the footnote, but ispunctuated differently and organized alphabetically by the authors last name (or, if there is noauthor, the first word of the title is used not the or a). If you are citing more than one workby the same author, you should alphabetize them by title. You do not need to repeat the authorsname with each entry, but can use dashes followed by a period and then begin with the title.

Different disciplines have different norms for footnote and bibliographical styles. Art historianstend to use the Chicago Manual style (which is the basis for the examples below). Anothersimilar style is that used by theArt Bulletin, the journal of the College Art Association and the

style recommended in Sylvan BarnetsA Short Guide to Writing about Art(recommended bysome faculty in the Department). Regardless of the style that you choose, you must adhere tothe punctuation as shown in various style manuals and be consistent throughout your notes andbibliography. If you do not have complete information for your footnotes/bibliography, youmust return to the original book or article and obtain the information.

The following examples show how different types of sources should be treated in footnotes andbibliographies (for a complete listing of formats, see Diana Hacker,A Pocket Style Manual orSylvan Barnet,A Short Guide to Writing about Art).

Footnote Format

Single-authored book:

1. Craig Burnett,Jeff Wall (London: Tate Publishing, 2005), 10-25. (The first line ofnotes is indented five spaces in the Chicago Manual Style; theArt Bulletin places notes flushleft. You can normally use your computers default setting for endnotes, but be consistent. I amusing a tab here that is not five spaces).


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Single-authored book (edition other than the first):

2. Diana Hacker,A Pocket Style Manual, 3rd ed. (Boston: Bedford/St. Martin's, 2000),169-94.

Book with more than one author:

3. John M. Rosenfield and Elizabeth ten Grotenhuis,Journey of the Three Jewels:

Japanese Buddhist Paintings from Western Collections (New York: Asia Society, 1979), 10-12.

Work in an edited anthology:

4. Susan Stewart, Death and Life, in that Order, in the Works of Charles Willson Peale,in Visual Display: Culture Beyond Appearances, eds. Lynne Cooke and Peter Wollen (Seattle:Bay Press, 1995), 28.

Article:

5. Michael Baxandall, "The Language of Art History,"New Literary History 10 (1979):453-54.

Newspaper article:

6. Bertha Brody, Illegal Immigrant Sculptor Allowed to Stay,New York Times, 4 July1994, A12. 7.

Book review:

7. Cristina Carbone, Review ofBuilding the Cold War: Hilton International Hotels and

Modern Architecture, by Annabel Jane Wharton,Journal of the Society of ArchitecturalHistorians 61 no. 3 (2002): 416.

Website:

8. Nigel Strudwick [if there is no listed author, then put the institution hosting the site,such as Metropolitan Museum of Art],Egyptology Resources [title of site], The Isaac NewtonInstitute for Mathematical Sciences, Cambridge University [Institution hosting the site], 1994[the date the site was posted or most recently updated; put n.d. if unavailable],http://www.newton.cam.ac.uk/egypt/. 7 July 1998 [date consulted].

Bibliography Format: Note that the first line of each entry is flush left and all other linesare indented 0.5 using the hanging indent feature in your word processor. Also, remember thatlast name comes first ONLY in the bibliography, NOT in the notes.

Single-Authored book:

Burnett, Craig.Jeff Wall. London: Tate Publishing, 2005.
http://www.newton.cam.ac.uk/egypt/http://www.newton.cam.ac.uk/egypt/http://www.newton.cam.ac.uk/egypt/


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Single-authored book (edition other than the first):

Hacker, Diana.A Pocket Style Manual, 3rd ed. Boston: Bedford/St. Martins, 2000.

Book with more than one author:

Rosenfeld, John M., and Elizabeth ten Grotenhuis.Journey of the Three Jewels: JapaneseBuddhist Paintings from Western Collections. New York: Asia Society, 1979.

Work in an edited anthology:

Stewart, Susan. Death and Life, in that Order, in the Works of Charles Willson Peale. InVisual Display: Culture Beyond Appearances. Edited by Lynne Cooke and Peter Wollen,31-53. Seattle: Bay Press, 1995.

Article:

Baxandall, Michael. The Language of Art History.New Literary History 10 (1979): 453-65.(Page numbers in bibliographies refer to the first and last pages of the entire article, notany specific selection)

Newspaper article:

Brody, Bertha. Illegal Immigrant Sculptor Allowed to Stay. New York Times, 4 July 1994,A12.

Book review:

Carbone, Cristina. Review ofBuilding the Cold War: Hilton International Hotels and ModernArchitecture, by Annabel Jane Wharton.Journal of the Society of ArchitecturalHistorians 61 no. 3 (2002): 416-17.

Website:

Strudwick, Nigel.Egyptology Resources. The Isaac Newton Institute for Mathematical Sciences,Cambridge University, 1994. URL here. 7 July 1998.

V. Resources for Research

V.1. Marquand Library

Marquand Library is a non-circulating research library intended for art and architecturalhistorians, archaeologists, historians, classicists, and other humanities scholars. Though theinitial intent of the library was to support Princeton University patrons, it now attracts scholarsfrom around the world. It acquires books in all fields of art and architectural history, artisticphotography, and several fields of archaeology including Islamic, pre-Columbian, and Asian.


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The library is also home to numerous electronic databases (accessible throughout the campus) aswell as large microform and CD collections. The collection has grown to nearly 300,000volumes on site and over 100,000 volumes in the Annex.

The new facility, opened in the fall of 2003, has been transformed into a tranquil space filledwith light. There are many different venues in which to work, from the tables overlooking thecenter of campus to the many public computer stations and scanners. One can view a rare bookin the rare book reading room or peruse a favorite journal in the comfort of an overstuffed chair.

The building is equipped with wireless technology as well as numerous computer outlets. Thelibrary is open year round and during the academic year it is open 101 hours a week. Librarystaff members are eager to assist you with your research needs, whether it is to find an illusivecitation or a specific image.

Every senior is entitled to a private carrel with a desk and bookcase, upon application to theassistant librarian, Rebecca Friedman. Junior majors can ask for a designated shelf to storebooks charged for research on the junior independent projects. Books used for research shouldbe charged to the carrel or shelf, and a paper charge slip must remain prominently displayed inthe book during the loan period. Students may also use the scanners in the library for thepreparation of illustrations for papers or class presentations. Copy photography may be done

only with approval of the librarian.

V.2. Visual Resources Collection

The Visual Resources Collection (207 McCormick Hall) administers the collections of digitalimages, slides, and photographic prints to support the departmental teaching curriculum andto provide resources for study and research. Digital images are available in Almagest andARTstor which are accessible to the Princeton University community for teaching, researchand study purposes. More than 117,000 images from the department Visual ResourcesCollection are available in the Almagest system. ARTstor offers more than 1,000,000 images.Additional digital image resources include Bridgeman Education and sources linked on theVisual Resources web site (http://www.princeton.edu/visualresources/online-resources/). TheVisual Resources web sitealso has information about the use of images, copyright, andequipment use. The collection of about 600,000 slides is also available for use. Please feelfree to contact staff members for help in finding and using images. Photographic prints andmaterials from the Princeton-sponsored archaeological expeditions can be consulted bycontacting Research Photographs.

V.3. Index of Christian Art

One of the little known resources of the Department of Art and Archaeology is theIndex ofChristian Art, which was founded in 1917 by Charles Rufus Morey, chairman of the Department

of Art and Archaeology. Located in the ground floor of the McCormick building (opposite theentrance to the departmental offices), it is a unique repository which is of considerable useespecially for students of Western art history. It offers, in text and image formats, an unrivalledanalysis of over 27,000 subjects in medieval art from the Early Christian period to the end of thefifteenth century. The Index is currently available in both manual and electronic formats, withapproximately 25 percent of the holdings available on the electronic database. The Index alsooffers a small non-circulating library as well as several electronic publications not availableelsewhere on campus. The Index is open Monday through Friday from 9:00 AM to 5:00 PM.
http://www.princeton.edu/visualresources/online-resources/http://www.princeton.edu/visualresources/online-resources/http://www.princeton.edu/visualresources/online-resources/http://www.princeton.edu/visualresources/http://www.princeton.edu/visualresources/http://ica.princeton.edu/http://ica.princeton.edu/http://ica.princeton.edu/http://ica.princeton.edu/http://ica.princeton.edu/http://ica.princeton.edu/http://www.princeton.edu/visualresources/http://www.princeton.edu/visualresources/online-resources/


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V.4. Princeton University Art Museum

The permanent collections of theArt Museumrange from ancient to contemporary art andconcentrate geographically on the Mediterranean regions, Western Europe, China, the UnitedStates, and Latin America. There is an outstanding collection of Greek and Roman antiquities,including ceramics, marbles, bronzes, and Roman mosaics from Princeton Universitysexcavations at Antioch. Medieval Europe is represented by sculpture, metalwork, and stainedglass. The collection of Western European paintings includes important examples from the early

Renaissance through the nineteenth century, and there is a growing collection of twentieth-century and contemporary art. Significant loans amplify the collection in many areas. Among thegreatest strengths of the Museum are its collections of Chinese art, with important holdings inbronzes, tomb figures, painting, and calligraphy; and pre-Columbian art, with remarkableexamples of the art of the Olmec and Maya. The Museum also has important collections of oldmaster prints and drawings and a comprehensive collection of original photographs. African artis represented, as well as Northwest Coast Indian art, the latter on loan to the Museum from theDepartment of Geology.

Special study rooms exist for prints and drawings, photographs, and Pre-Columbian art. AllPrinceton students can make appointments to see original images not on display by contacting

the curators of the respective areas (see list of museum staff, Appendix). Students can accessmuseum and object records by contacting the registrars office. The museum also has aconservation laboratory directed by Norman Muller and educational and outreach programsmanaged by Caroline Cassells Harris.

There are numerous ways that majors can participate in museum activities and exhibitions. Themuseums Student Advisory Council, with representatives from all Princeton undergraduateclasses, welcomes student applicants for positions. Term and summer internships are alsoavailable (see section on Internships in this Handbook). Student volunteers also give docenttalks on the weekends. For more information about student employment in the museum, seeCaroline Cassells Harris, curator of education.

V.5. Tang Center

TheP. Y. and Kinmay W. Tang Center for East Asian Artwas established in 2001 to advancethe understanding of East Asian art and culture. A sponsor and facilitator of scholarly exchange,the Tang Center brings together scholars, students, and the general public throughinterdisciplinary and innovative programs, including lectures and symposia, film series,publications, graduate education, museum development and exhibitions. Building uponPrinceton University's long history of activity, scholarship, and leadership in the field of EastAsian art, the Tang Center supports and encourages continuing inquiry into those issues whichhelp to shape East Asian art. For further information on the Centers activities, contact the

director, Professor Jerome Silbergeld, or the associate director, Dora Ching.

V.6. Firestone Library

Most students know Firestone Library as the place to go for research materials, but many are notaware of its extensive holdings in the visual arts. Manuscripts, prints, photographs, and evensome paintings and sculptures are located within the Rare Books and Special Collections, whichare normally consulted in the reading room located to the right upon entering the library
http://artmuseum.princeton.edu/http://artmuseum.princeton.edu/http://artmuseum.princeton.edu/http://tang.princeton.edu/http://tang.princeton.edu/http://tang.princeton.edu/http://tang.princeton.edu/http://artmuseum.princeton.edu/


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(through the exhibition space visible from the foyer). Students using the reading room mustcheck all bags and personal items in lockers provided and can only bring in laptops and paperdistributed by the receptionist. Pencils must be used at all times in the reading room. Normally,materials that appear in the on-line catalogue for Firestone Library can be immediatelyconsulted; materials in the Cotsen Library and uncatalogued materials can be consulted only byprior appointment with the curator. Some of the most important collections for majors are thefollowing:

V.6.aManuscripts Division contains 8500 linear feet of materials ranging from 1300 cuneiformtablets to Man Ray photographs. It has the largest collection of Islamic manuscripts in NorthAmerica (11,000 volumes) as well as very significant collections of Western textual andilluminated manuscripts ranging in date from the 9th to 16th centuries, with special strength inthe English, French, Italian, and Byzantine world. Other particular treasures for modernists arethe photographic albums of Charles Dodgson (Lewis Carroll), some 700 items; 900 MiddleEastern photographs by Felix Bonfils; 130 Beardsley drawings; and the Sylvia Beach Collection.

V.6.b.Graphic Arts Collectionincludes artists' and private press books, as well as materials forthe study of paper and papermaking, printing, calligraphy, printmaking, fine binding,typography, and book design. Of special interest are the Sinclair Hamilton Collection of

American Illustrated Books; 18th- and 19th-century British artists and illustrators (particularlyGeorge and Robert Cruikshank, Thomas Rowlandson, and William Hogarth), and the CharlesRahn Fry Pochoir Collection.

The collection includes more than 22,000 examples of fine letterpress printing, bookbinding,papermaking, modern calligraphy, and artists' books, as well as reference works on the history ofthe book and printing. Among the primary source materials are over 20,000 drawings, prints,paintings, and photographs related to the history of book illustration, vintage printing pressesand type, approximately 350 blocks and plates for printmaking, and 100 linear feet of printedephemera such as bookplates, trade cards, and postcards.

V.6.c. Cotsen Childrens Library: An unusual collection of illustrated children's books,manuscripts, original artwork, prints, and educational toys from the 15th century to the presentday, the Cotsen Library has over 60,000 items dating from the first primers to the latest animecartoons. For anyone interested in the history of childhood, popular culture, and the oftenforgotten involvement of fine artists such as Kandinsky, El Lissitzky, and Edward Steichen inchildrens book illustration, this is a treasure trove.

V.6.d.Western Americana Collection includes prints, photographs, paintings, and illustratedbooks of the Western territories and states, including amateur albums by explorers and earlysettlers.

V.6.e.Numismatics Collection has over 25,000 objects with particular strengths in Greek andRoman coins.

V.7. Other Princeton Resources for Art Majors

Seeley G. Mudd Library is home to the Princeton University archives, which contain historicphotographs, prints, and portraits relating to Princeton. Other libraries on campus that containoriginal drawings, prints and photographs include the School of Architecture Library and theEast Asian Library and Gest Collection, with over 102,000 early string-bound Chinese books.


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Films and videos by leading directors are found in the Humanities Resource Center (011 EastPyne).

VI. Study Abroad

Foreign study can be a richly rewarding part of any concentration in the Department of Art andArchaeology. Art history courses taken abroad (normally up to two per semester or four for ayear in a study abroad program) can be pre-approved for departmental credit by the departmental

representative. Students generally study abroad during the junior year or the first semester of thesenior year. The Junior Independent Work can be completed under the supervision of adepartmental faculty member with prior approval and ongoing contact with the faculty adviser.The Senior Thesis research in the fall of the senior year may be done overseas, but the springsemester work must be done in residence.

Students contemplating a semester or year abroad should contact the Study Abroad Office for alist of potential programs and advice on the application and financial aid process. Since manyprograms entail instruction in the language of the host country, students should complete foreignlanguage courses at least through the 108 level and preferably at the 300-level. For specificadvice about offerings in art history in Study Abroad programs, please make an appointment

with the departmental representative.

If students do not want to commit to a semester or year abroad, they have the option of pursuingsummer programs. Again, any courses that a student intends to count as a departmental and/oruniversity requirement must be pre-approved by the departmental representative. The form maybe downloaded from the Dean of the College website.

All courses taken overseas do not count in the calculation of departmental honors or grade pointaverages. However, if a student intends to apply to graduate or professional school, transcriptsfor courses taken in foreign universities must normally be supplied.

There are many fellowships awarded by Princeton and external organizations to support studyabroad and summer language study. Please consult the website for Study Abroad Programs(http://www.princeton.edu/oip/sap/) for additional details on the funding and charges for foreignstudy.

VII. Grants for Support of Thesis Research

The Department of Art and Archaeology awards grants on a competitive basis for support ofresearch travel for the Senior Thesis. Students applying for funds for research travel during theJanuary break period or the summer prior to the senior year should complete the Senior ThesisTravel Grant Application, which includes a cover sheet; project description with detailed

justification for travel; budget and itinerary; and one letter of recommendation. Travel grants arenormally limited to $1500 and are for air and ground transport and lodging only (not meals); thenumber of awards given each year will depend on the availability of funds and the quality of theapplications. The application deadline for January travel is November 11, 2011; the applicationdeadline for summer travel is May 2, 2012. Travel monies normally are only payable upon thepresentation of receipts, including boarding passes for air travel. Students are required to travelcoach class and to make their own travel arrangements.


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Applications may also be made to the Dean of the College. Those funds are extremely limitedand competitive. Contact Associate Dean Claire Fowler at 408 West College.

VIII. Graduation Requirements, Honors, and Prizes

VIII.1. Graduation Requirements

In order to graduate with a major in the Department of Art and Archaeology, students must havean average of a B- or better, based on the grades for Junior Independent Work, the SeniorIndependent Work, the Senior Departmental Exam, and the grade point average calculated fromall courses designated as departmentals (including all courses taken outside the department anddesignated as cognates).

VIII.2. Honors

Honors are awarded by vote of the faculty to students having the highest grade point averagebased on the following weighting: grades in departmentals (65%), junior fall independent work

(5%), junior spring independent work (5%); senior independent work (20%), senior oral exam(5%).

VIII.3. Prizes

The Department of Art and Archaeology awards the following prizes to outstanding seniorgraduates:

VIII.3.a. Art and Archaeology Senior Thesis Prize - A prize established by the IrvineFoundation and awarded annually for the outstanding senior thesis in the Department.VIII.3.b. Stella and Rensselaer W. Lee Prize - A prize awarded to the student who has written

the best senior thesis on a subject involving the theory of art and architecture or theirrelationship to literature.VIII.3.c. Irma S. Seitz Prize in the Field of Modern Art - A prize for a thesis in the area ofModern Art (19

th 21st centuries), dealing with any aspect of the Visual Arts.

VIII.3.d. Frederick Barnard White Prize in Architecture - A prize awarded to the studentwho has written the best thesis on an architectural topic. Established by Mrs. Norman White inmemory of her son, Frederick Barnard White, Class of 1883.VIII.3.e. Frederick Barnard White Prize in Art and Archaeology - A prize awarded to thestudent who has written the best senior thesis in art and archaeology. Established by a split in theFrederick Barnard White Prize in Architecture and approved by the Board of Trustees in 2001.

In addition, Art and Archaeology majors are eligible for other prizes given by the University oroutside departments or programs, such as American Studies, Canadian Studies, East AsianStudies, French and Italian Studies, Judaic Studies, Latin American Studies, and the UniversityCenter for Human Values.


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IX. Internship and Employment Opportunities

IX.1. On-Campus Internships and Employment

Majors are encouraged to pursue summer and term internships that may enhance theircoursework and also in some cases be springboards for independent work. The PrincetonUniversity Art Museum awards paid summer internships to students from Princeton and otherschools, and some term internships are available during the school year with various

departments. Furthermore, students also serve as docents during the weekend and can nominatethemselves for the museums Student Advisory Board. For further information on internshipand employment opportunities in the Princeton University Art Museum, see Caroline CassellsHarris, Curator of Education.

There are also possibilities for internships in the Rare Books and Special Collections ofFirestone Library. Princeton undergraduate students may work with a curator in preparation foran exhibition, or may be involved in cataloguing visual arts materials. For further information,see the departmental representative.

IX.2. Summer Internships at International Museums

The Department funds four internships at international museums and not-for-profit organizationsthrough the University's International Internship Program (IIP) and directly through theDepartment for majors who wish to undertake a summer internship abroad. Interested studentsshould either contact the International Internship Office (if they want to apply for one of the arts-related internships handled by that office) or privately obtain an internship and then complete theSummer Overseas Internship Funding Application Form (see Appendix). These funds cannot beused for internships at for-profit organizations, such as auction houses or galleries. The deadlinefor applications is April 30, 2012 for Summer 2012.

IX.3. Off-Campus Internships and Employment

Many of our majors have obtained internships and summer positions in art museums, auctionhouses, architectural firms, galleries, photographic studios, magazines, and corporate collections.Recent majors have worked at the Muse dOrsay; Smithsonian Museum; Sakip SabanciMuseum in Istanbul; Montclair Museum of Art; Museum of London; Metropolitan Museum ofArt; Christies; Phillips; Sothebys; San Diego Museum of Contemporary Art; Museum ofByzantine Culture, Thessaloniki; Studioworks (summer art camp, Essex Co., NJ); and as internswith aNew York Times sports photographer, an advertising agency, and a film production studio,among other places.

The departmental representative has a list of recent internships. Furthermore, the Internship Officeat Princeton maintains a database of internships in the arts and has a special program for overseasinternships. The Office also lists sources of funding for art-related internships. Please visit theirwebsite for details of these programs:http://www.princeton.edu/career/undergrads/internships/how-to-find/

IX.4. What Our Graduates Do

Graduates from the Department of Art and Archaeology have gone on to medical, law, nursing,business and professional schools as well as careers in the art world, business, teaching, and non-
http://www.princeton.edu/career/undergrads/internships/how-to-find/http://www.princeton.edu/career/undergrads/internships/how-to-find/http://www.princeton.edu/career/undergrads/internships/how-to-find/http://www.princeton.edu/career/undergrads/internships/how-to-find/


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profit organizations. For example, Ibby Caputo 03 helped found New Orleans Kid CameraProject, which gives children returning to flooded neighborhoods cameras and teaches themphotography; Rachel Lyon 05 is deputy editor and assistant at the art gallery and printingstudio of Crown Point Press in San Francisco; Alex Bueno 06 is in the PhD program inarchitectural history at the Graduate School of Design at Harvard; Chris Sahner 07 wasawarded a Rhoades Scholarship to Oxford and has returned to Princeton as a Ph.D.student in the Department of History; Bryan Cockrell 08 will pursue a MA degree at theInstitute of Archaeology at University College, London; Jennifer Edelstein 09 is a

Corporate Finance Analyst at Lazard Frres and Co.; Monika Jasiewicz 10 is a first-yearstudent at Yale Law School; and Sarah Hogarty10 is working for Teach for America inNew Orleans.


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Visiting Faculty and Lecturers

Christina Halperin (Lecturer) Ph.D., University of California, Berkeley, 2007Classic Maya Art and Society Room 204 Scheide Caldwell Phone 8-8858

Caroline Harris (Lecturer) Ph.D., University of Virginia, 200419th-century European Art Room Art Museum Phone 8-7482

Lia Markey (Lecturer) Ph.D., University of Chicago, 2008Renaissance Room 311 Phone 8-3797

David Rosand (Lecturer) Ph.D., Columbia University, 1965Renaissance Room 306 Phone 8-3771

Jelena Trkulja (Lecturer) Ph.D., Princeton University, 2004Byzantine/Medieval Art History and Arch History Room 402 Phone 8-8426

John Wilmerding (Lecturer w/ Rank of Professor) Ph.D., Harvard University, 1965American Art Room 301B Phone 8-3785


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XI. Undergraduate Calendar, 2011-2012

Fall

Sept. 7 SCORE undergraduate registration starts at 7 amSept. 13 Freshman Open House, 9:00-11:00 am, Program in the Visual Arts, Lewis Center for

the ArtsSept. 13 Program 2 student studio selections, 11:30 am, Lucas Gallery, 185 NassauSept. 14 Freshman Open House, 1:00-2:00 pm, outside of McCormick 106Sept. 14-28 Add/drop requests approved by Dep. Rep.Sept. 15 Classes beginSept. 15-28 Undergraduate add/drop periodSept. 21 Program 2 thesis show schedule meeting, 12:00 noon, Lucas Gallery, 185 NassauSept. 24 Deadline for late submission of Senior Thesis Adviser Form to Dep. Rep.Sept. 27 Fall department reception, 4:30 pm, outside of McCormick 106Sept. 28 Undergraduate majors meeting, 4:30 pm, McCormick 106Sept. 28 Undergraduate deadline to add or drop courses without a feeSept. 28 Visual Arts faculty adviser selection, 4:30-6:00 pm, rm 219, 185 NassauSept. 28 JIW exhibition opening, 6:00-8:00 pm, Lucas Gallery, 185 NassauSept. 29 Deadline to submit Program 2/Certificate Adviser Approval form for spring

Junior Independent WorkOct. 24-28 Midterm examsOct. 29-Nov 6 Fall recess

Nov. 7 Classes resumeNov. 11 Deadline for Senior Thesis Travel Grant Applications (January travel)Nov. 22-Dec. 14 Appointments with dep. rep. for spring selection of coursesNov. 23 Thanksgiving recess begins after last classNov. 27 Thanksgiving recess endsNov. 28 Classes resume

Nov. 28 Undergraduate deadline to drop fall term courses or select P/D/F optionDec. 2 Deadline for submission of Senior Thesis outline and bibliography to advisersDec. 2 Last day for juniors to submit JP/Senior Thesis Adviser Form for spring Junior

Independent WorkDec. 7 Program 2 thesis show meeting, 12:00 noon, Lucas Gallery, 185 NassauDec. 13 Deadline for seniors to select spring coursesDec. 14 Deadline for juniors to select spring coursesDec. 15 Student holiday reception, Lewis Center for the ArtsDec. 15 Deadline for sophomores to select spring coursesDec. 16 Winter recess begins after last classJan. 8 Winter recess endsJan. 9-17 Reading period

Jan. 10 Deadline to submit Junior Independent WorkJan. 17 Deans Date

Jan. 18-28 Fall term exams


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Spring

Feb. 6 Classes begin

Feb. 6-17 Undergraduate add/drop periodMarch 12-16 Midterm examsMarch 17-25 Spring recessMarch 26 Classes resumeMarch 26 Selection of P/D/F option beginsApril 13 Last day to drop spring courses or select P/D/F optionApril 11-27 Appointments with dep. rep. for fall selection of coursesMay 2 Deadline for juniors to select spring coursesMay 2 Senior Thesis Research Travel Grant Application (travel for summer 2012)May 3 Deadline for sophomores to select spring coursesApril 4 Deadline for the Senior ThesisApril 29 Deadline for submission of Summer Overseas Internship Funding Application FormApril 29 Last day of classMay 2 Last day for juniors to submit Senior Thesis Adviser FormMay 2 Deadline for Senior Thesis Travel Grant Applications (summer travel)

May 7-15 Reading periodMay 8 Deadline for submitting Junior Independent WorkMay 15 Deans DateMay 16-17 Senior Departmental/Comprehensive ExamsMay 16-26 Spring term examsMay 17 Senior DinnerJun 3 BaccalaureateJun 4 Class DayJun 5 Commencement Day
http://www.princeton.edu/artandarchaeology/undergrad/travelgrant.pdfhttp://www.princeton.edu/artandarchaeology/undergrad/travelgrant.pdf


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Department of Art and Archaeology

Declaration of Major Form

In order to give us more information about you and your interests in the Department of Art andArchaeology, could you please complete the following information?

Name:

Email address: Princeton address:

Cell or campus phone number: Class:

I am applying to: _____ Program 1 (Art History)_____ Program 2 (Art History and Visual Arts)_____ Program 3 (Archaeology)_____ Undecided

Did you take art history in high school? ____ yes ____ noIf yes, did you get AP credit in art history? ____Did you take studio art in high school? ____ yes ____ noIf yes, did you get AP credit in studio art? ____

Previous courses in the Department of Art and Archaeology or Visual Arts:

Previous courses on visual arts topics taken at Princeton (including writing seminars):

What other experiences (such as interning in museums, participating in exhibitions, writing art reviews,teaching art in camps, lecturing on art topics, traveling, taking art classes outside of school) have youhad (please list in order of importance)?

What particular subjects or areas interest you within the history of art or the visual arts?

What are your career goals at this point?


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What sorts of activities outside of class would you be interested in organizing or participating in (checkas many as apply; put O for organizing and P for participating)?____ field trips to museums____ field trips to galleries/auction houses____ field trips to artists studios

____ guest lectures or visits by artists____ guest lectures or visits by art historians, museum personnel, or critics____ internships in museums____ internships with artists____ internships with other arts-related organizations (newspaper critics; art magazines;

community arts organizations; commercial printing or photo studios, etc.)____ service projects to support art history or art education in the public schools (off-campus)____ a new Art Club open to all Princeton students____ social events sponsored by the department____ an arts festival to highlight the visual arts at Princeton University____ an exhibition of undergraduate student work____ other ideas? (please list below)

What sorts of classes would you like to see the Department of Art and Archaeology addto its current offerings?

What do you hope to learn as a concentrator in the Department of Art and Archaeology?

What other activities, sports, or hobbies do you pursue at Princeton?

Thank you for completing this information. Return all forms to:

Rachael DeLueDepartment of Art and ArchaeologyPrinceton UniversityMcCormick HallPrinceton, NJ [email protected]


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Department of Art & Archeology

JP/Senior Thesis Adviser Form Programs 1 and 3

2011-11

Please complete the following information, have your adviser sign this form, and return it to Professor RachaelDeLue, Dep. Rep., by December 2, 2011 (for JPs) or May 2, 2011 (for 12 Senior Theses).

Program 1

Program 3

JP

Senior Thesis

Students Name: Class:

Email: PUID#:

Tentative Thesis Title (or subject area):

Advisers Name:

Advisers Signature: Date:

Students Signature: Date:

Note: Once a faculty member and student agree to work together by signing this form, changes in adviserscan only be made under extreme circumstances and by written petition by either party to the Dep. Rep.Please contact Rachael DeLue if you have any questions about this process ([email protected]).


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Program 2/Certificate Adviser Approval Form

Please submit a completed copy of this form with signatures to Joe Scanlan or Marjorie Carhartby September 29, 2011. (A copy of Program 2 forms will be submitted to Professor Rachael DeLue,Dep. Rep., by September 30, 2011).

.

Student Name: Student PUID#:

Email: Major:

Type of Visual Arts Major: (please circle one) Program 2 Certificate

Area of Concentration: (please circle one):

Ceramics; Painting; Photo; Printmaking; Sculpture/Installation; Video/Film; Film Track Certificate

Both Program 2 and Certificate students must have two advisers. Primary advisers areassigned, secondary by agreement between faculty and student. Senior Program 2 studentsneed to select an Art History adviser as well.

Film Tract Certificate students completing a written thesis will use their Major thesis adviseras their secondary adviser, and therefore do not need a second Visual Arts Adviser.

If your faculty adviser is not here both semesters, you must choose an adviser for bothsemesters. One of your advisers must be a continuing faculty member. You can changeadvisers for each semester, but you must complete a new form if you change advisers.

You can use multiple forms for selecting advisers.

ADVISERS

Name Adviser Signature

Primary:

Secondary:

Art History:

Student Signature: Date:


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Senior Thesis Research Travel Grant Application Form

The Department of Art and Archeology Senior Thesis Research Travel Grants are awarded to assistdepartmental concentrators with the costs of travel (e.g., airfare, ground transportation, lodging, but not food)

incurred in connection with summer or winter-break research for the Senior Thesis. The maximum grant is$1000. Funds are limited and rewarded based on the quality of the application.

Applications, to be submitted to the departmental representative, must include this application form; a projectdescription with detailed justification for travel (two pages max.); budget and itinerary; and one letter ofrecommendation. The deadline for submitting requests for summer travel for winter break travel is November11, 2011; for summer travel, the deadline is May 2, 2012. Travel monies are payable normally upon thepresentation of receipts, including boarding passes for air travel.

NAME: PUID#: Ext:

Campus address:

Senior thesis topic:

Adviser:

Other sources and amount of funding pursued for this project:

Previous funding received from Princeton or other sources for special projects:

Are you work/study qualified? Do you receive financial aid from Princeton?

Previous foreign travel:

Budget Summary: Airfare

Lodging

Train/ground transportation

Total requestedApplicants signature:

Thesis Advisers signature:

Approved/Declined:

Dep. Rep. signature:


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Senior Thesis First Term Progress Report

Seniors are supposed to submit an outline and annotated bibliography for their theses by December 2, 2011.Please complete the following and return to the departmental representative by January 17, 2012 (Deans DateIf you have any questions, please contact Rachael DeLue ([email protected]). Thank you.

Name of Advisee:

Current title of thesis:

Please check all of the following that apply:

_______ This student is making appropriate progress toward the completion of thesenior thesis.

_______ This student has not completed the research and preparation that would beexpected for the fall semester.

_______ I would recommend that the student have a meeting with the departmentalrepresentative and the adviser to discuss ways to improve the students work onthe thesis.

_______ I would recommend that the student attend the thesis writing workshop.

Additional Comments:

Name of Faculty Adviser:

Date:
mailto:[email protected]:[email protected]:[email protected]:[email protected]


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Summer Overseas Internships Funding Application Form

The Department of Art and Archeology has limited funds to support students who are engaged duringthe summer in overseas internships with not-for-profit institutions (such as museums, government artsorganizations, or public school arts programs). These awards are given based on the students previousperformance in the Department; the benefits that the student would gain from working overseas(preference is given to students who have had limited overseas experience and few previous arts-related

internships); the quality of the internship; and the students financial need. The award can be used forroom, board, and transportation and will consist of a fixed stipend with a maximum amount of $4000. Itis not expected that the award will cover the entirety of living expenses during the internship, and theamount of the award will be determined by the length of the internship and the anticipated costs oftransportation and living expenses.

Sophomores who declare the major in the spring and juniors majors are eligible. To apply, students mustpresent proof of having received the internship (a letter from a supervisor or sponsoring institution); acopy of the undergraduate transcript; and this completed application form.The application deadline forSummer 2012 awards is April 30, 2012.

Please note that juniors who receive funding for senior thesis research travel to the same site where theirinternship is located will have that amount deducted from this stipend.

Name: Class: _______ Email address:

Home address (or summer address if known):

_________________________________________________ Phone: ______________________

Name of Host Organization:

Address:

Supervisor name and email:

Description of position:

Starting and ending dates of internship:

Previous non-U.S. travel:

Previous arts-related internships or jobs (include years and positions):


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Do you receive financial aid from Princeton University or other outside sources? If so, how large is yourtotal award from all sources? (use this past years financial aid data):

How much money, according to your Princeton University financial aid award,are you expected to contribute from your summer earnings (see award letter for this amount):

Are there any other extenuating circumstances (financial or otherwise) that you want to share that mighthelp us in determining your eligibility and need for this award?:

What are the benefits that you hope to acquire from this internship?

Proposed budget:

Plane fare:

Housing:

Ground transport/bus/subway

Food:

TOTAL:

I certify that the information provided on this form is true, to the best of my knowledge.

Signature_______________________________________________ Date__________________

Students receiving awards must present to the departmental representative by the first day of the Fall 2011semester a letter from their supervisor written at the end of the internship summarizing the number of weeks thstudent worked; the number of hours per week; and the general tasks performed. Failure to submit this lettermay result in the student being asked to return all or part of this award.


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DEPARTMENT OF ART && ARCHAEOLOGY SUPPORT STAFF2011-2012

Office Staff 105 McCormick Hall 3782Lisa Ball Assistant to Chair 3781 [email protected] Bonette Department Secretary 3782 [email protected] Lehre Department Manager 3772 [email protected] Lieb Events Coordinator 7420 [email protected] Schulte Graduate Assistant 5678 [email protected] of Christian Art A-Floor 3773John Blazejewski Photographer 2465 [email protected] Doquang Reader 6364 [email protected] Dunham Office Support 3773 [email protected] Golden Reader 7144 [email protected] Hagens Reader 6365 [email protected] Hourihane Director 6363 [email protected] Niola Computer Support 7574 [email protected] Radden Keefe Reader 6364 [email protected] Savage Reader 7144 [email protected] Resources 207 McCormick Hall 3776David Connelly Photographer 3777 [email protected] French Cataloguer 3776 [email protected] Hansen Media Specialist/Cataloguer 3776 [email protected] Jacoby Director 5853 [email protected] Kenfield Curator Research Photos 3718 [email protected] Smith Cataloguer 3776 [email protected] Wei Far Eastern Curator 3776 [email protected] Library 3783Sandra Ludig Brooke Librarian 5860 [email protected] Chugh Special Collections Assistant 5863 [email protected] Daci Special Collection Assistant 4904 [email protected] Fabricand-Person Japanese Art Specialist 4904 [email protected] Friedman Assistant Librarian 3163 [email protected] Gross Library Office Asst. 5863 [email protected] Lacey Special Collections Assistant 5863 [email protected] Lee Special Collections Assistant 5863 [email protected] Shilliam Western Art Bibliographer 4904 [email protected] Wishart Chinese Art Specialist 4904 [email protected] Center 405 McCormick Hall 3795Dora Ching Associate Director 3795 [email protected] StaffJulie Angarone Computer Support 5864 [email protected] McRae Maintenance 8000 [email protected] Moss Publications Editor 2248 [email protected]
mailto:[email protected]:[email protected]:[email protected]:[email protected]


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PETER B. LEWIS CENTER FOR THE ARTS

2011-2012

Position First Last Campus Email

Director Joe Scanlan [email protected]

Professor P. Adams Sitney [email protected]

Professor Su Friedrich [email protected]

Lecturer Martha Friedman [email protected]

Senior Lecturer Eve Aschheim [email protected]

Lecturer Nathan Carter [email protected]

Lecturer Louis Cameron [email protected]

Lecturer Keith Sanborn [email protected]

Lecturer Allan MacIntyre [email protected]

Lecturer Daniel Heyman [email protected]

Lecturer Kurt Kauper [email protected]

Lecturer Demetrius Oliver [email protected]

Lecturer Josephine Halvorson [email protected]

Lecturer David Reinfurt [email protected]

Lecturer Jocelyn Lee [email protected]

Lecturer Pam Lins [email protected]

Lecturer Adam Welch [email protected]

Lecturer Fia Bckstrom [email protected]

Lecturer Alice Chung [email protected]

Lecturer Sadie Benning [email protected]

Lecturer with the raProfessor Sarah Charlesworth [email protected]

Professor Emeritus Emmet Gowin [email protected]

Center Manager Dan Benevento [email protected]

Communications

Director

Communications

Communications Paul Csogi [email protected]

Communications Hope VanCleaf [email protected]

Staff Marjorie Carhart [email protected]

Staff Crystal Henderson-Napoli [email protected]

Tech Support Mgr. Rick Pilaro [email protected]

Support Staff Kristy Seymour [email protected]

Staff Teresa Simao [email protected]
http://top.opencompose(%[email protected]%27%2C%27%27%2C%27%27%2C%27%27%29/http://top.opencompose(%[email protected]%27%2C%27%27%2C%27%27%2C%27%27%29/http://top.opencompose(%[email protected]%27%2C%27%27%2C%27%27%2C%27%27%29/http://top.opencompose(%[email protected]%27%2C%27%27%2C%27%27%2C%27%27%29/http://top.opencompose(%[email protected]%27%2C%27%27%2C%

daa handbook 12

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