Fall 2001

NewsletterElvehjem Museum of Art,University of Wisconsin - Madison

Department of Art History

The Sardis Expeditionby Nick CahillEvery summer I travel to

Sardis in western Turkey,where I serve as a seniorarchaeologist and deputydirector of an internationalarchaeological expedition.The site is now a small vil-lage, with its magnificentbuildings buried beneathvineyards, olive orchards,wheat and eggplants; butoccasional massive wallsand columns projectingfrom the fields hint at thecovered remains. Sardiswas the capital city of theLydians, an Anatolianpeople fascinating to theGreeks in the 7th and 6thcenturies B.C., who be-lieved them to be the rich-est and most luxury-lovingin the world. The Lydianswere renowned for theirhorses, textiles and per-fumes, and were said tohave invented gold and sil-ver coinage, shopkeeping,games and pederasty. Atthe border between Greeceand the Near East, Sardisis a key spot to study theinteractions among differ-ent cultures just at the timewhen the Greeks were de-veloping the idea of them-selves as a western culturedistinct from the "barbar-ians" to the east. The ac-counts given of the Lydiansby Greek historians likeHerodotus are inevitably bi-ased, so archaeological ex-cavation helps us gain amore balanced view.

The Lydian empireended when the last Lydianking, Croesus (as in "rich asCroesus") attacked the Per-sians in 547 BC. The oraclefrom Delphi had predicted

ing it in its original contextmakes it particularly impor-tant, as most objects nor-mally are found discardedin refuse pits or depositedin graves. For instance, inthe kitchen of one housewe found a pile of twenty-three plates stacked on thefloor. Although the platesare among the most com-mon type of Lydian pottery,the stack helps us estimatethe size of an ancientLydian household, whilegraffiti on many of them hintat particularly close socialrelations among some ofthe inhabitants. This as-semblage of material thusgives us a unique insightinto the lifestyles and socialstructure of Sardis at thishistoric moment.

In previous seasons,the destruction level alsoproduced weapons and theremains of two casualtiesof war: the skeleton of asoldier in his mid-twentiesfound just outside the citywall, and one of the inhab-itants of the houses, an oldman with arthritis. We arenow excavating the Per-sian destruction level nearwhere the first skeletonwas found, and just as Iwrite, we have found a thirdvictim of the capture ofSardis: two legs, part of anarm, and the shoulder of anadult, so far of unknownage and gender. Such re-mains are not only dra-matic witnesses of the sackof Sardis, but also attest tothe lives of the inhabitantsof the city, their diet, health,and personal histories. The

Prof. Nick Cahill with head of Commodus

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that he would destroy a greatempire, and it proved correct,but not as he expected. Cyrus,the king of the Persians, de-feated the Lydian cavalry, thencaptured and sacked Sardis;Croesus had destroyed hisown empire. Lydia became acapital city of the Persian em-pire, and remained one of the

great cities of Asia Minor un-der Alexander the Great andhis successors in the Hellenis-tic period. Under Roman rule,Sardis was hailed as the"mother city of Asia." Its majortemple of Artemis was refur-bished and shared with a jointcult of Artemis and the Romanemperors. The colossal headof the emperor Commodus inthe photograph is one of six im-perial portraits of the Antoninedynasty, four or five times lifesize, which have been foundaround the temple of Artemis.

We are studying the re-

mains of the early, Lydian city,particularly the destructionlevel caused by the Persiansack. While unfortunate for theinhabitants, a good catastro-phe is a blessing to archaeolo-gists. Because people often donot have an opportunity to re-move their belongings in sucha situation, buildings and their

contents are, paradoxically,well preserved. I am now work-ing on a monograph about agroup of Lydian housesburned and buried by Cyrus'troops, in which we found hun-dreds of whole pottery vessels,equipment for storing and pre-paring food, weaving, andother household activities, aswell as household industry in-cluding one for working a raretype of blood-red opaqueglass, among the earliest glassworkshops in this part of theworld. The material is signifi-cant in its own right, but find-

Chairing the Department since Fall 1997 has been a challenging experience made manageable by an extraordinary staff, Tom Gombar,Sandi Russell and Sunshine Jansen. We failed to persuade Jim Dennis (Ph.D. '63) not to desert us, when he retired after 34 years topursue his research unfettered. Otherwise, it has been remarkably rewarding as we tenured three faculty, hired three new, top tenure-trackassistant professors and two new lecturers. We also selected our first two-year visiting Chipstone Assistant Professor in the DecorativeArts/Material culture. These past two years we worked hard in the campus-wide effort to obtain the Visual Culture Cluster Hire from theChancellor. Our success means Gene Phillips will now participate in that national search. Faculty received the Chancellor's Award forDistinguished Teaching, the Vilas Young Researcher Award, and three fellowships at Wisconsin's Institute for Research in the Humanities.We enjoyed the residency of John Szarkowski ('47), Emeritus Curator of Photography at the Museum of Modern Art, who joined us for asemester to teach the history of photography through the auspices of the UW Arts Institute. We also have welcomed as an honorarymember of the Department, the distinguished Hispanist Professor Steve Orso, who moved to Madison as an independent scholar and hasbrought us his expertise, wit, and charm. The faculty have excelled in their devoted teaching (as have our graduate teaching assistants),indicated by our graduation of 17 MAs and 11 Ph.Ds. And faculty have brought distinction to us through their publications and their serviceto both the University and to the community. It is fair to say that an esprit de corps is palpable here!

We have enjoyed a quietly productive year in the Department after three hectic ones filled with tenure cases and new faculty recruit-ment. The graduating art history majors have been particularly outstanding. For the first time, five honors students presented their seniortheses in a colloquium to the community and then celebrated with a reception. Congratulations to all of them and to the senior class forwork well done!

The Chipstone Foundation and generous alumni have contributed to our well being. Alumni continue to help us produce the newsletter.Two years ago Douglas Schewe generously provided us with funding to award the outstanding annual graduate seminar paper. And thisyear the Muellers surprised us with a wonderful gift [see p. 8] to aid graduate students, for whom funding remains our greatest need. Ahappy discovery also came our way this spring: John Steuart Curry's Portrait of Oskar Hagen with his Cat, Chulalongkorn (1944), which Ipublished in the 1998 Newsletter, has unexpectedly come on the art market in New York. While the famous Regionalist served as theUniversity's artist-in-residence, he painted the portrait of the Department’s founder. We hope the painting can be returned to Wisconsin sothat everyone may enjoy it right here at the Elvehjem Museum! We encourage all of you to visit us at the Elvehjem, check our website [http://www.wisc.edu/arth/], and give us news to report next year. The Department continues to work with Beth Wells at the Foundation throughwhom all gifts should be directed. Please contact her at [bethw@uwfound.wisc.edu or 608-263-9337].

Finally, I have the privilege of turning over the administration to the capable hands of Gene Phillips who will become our new chair inlate August. While medieval Japanese studies may suffer from slightly less attention, the Department is fortunate indeed to have thisexcellent scholar and much admired teacher take the lead. And I look forward to returning to my work in Italian Renaissance studies.

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NOTE FROM THE CHAIR, Gail L. Geiger

UNDERGRADUATE ART HISTORY MAJORS

Congratulations to all of the following seniors who have graduated during the past year (H=with Honors):

Sara Bauer, Rebecca Beverstein, Amy Bookbinder, Marilyn Bowden (FALL 99), Lisa Braun, Melanie Brussat, Kelly Cassidy, JenniferConnor, Ryan Cowan, Graham Dean, Lori Dillon, Emily Durham, Kristopher Endicott, Jamie Finkelstein, Emily Frigo, Betsy Frye, CaseyGardonio (H), McKenzie Glynn, Andrea Gutiérrez (H), Samantha Hamady, Katie Hanson (H), William Heath, Christopher Hemauer (H),Olivia Hlavacek, Jeffrey Hoffman, Shanna House, Margaret Hutjens, Laura Johnholtz, Jennifer Johnstone, Rina Jorgenson, Marti Jonjak,Karis Kaiser, Angela Kim, Avital Lando, Jae-In Lee, Monica Mooberry, Tina Schinabeck, Shannon Schultz, Brooke Scull-McWilliams (H),Angela Speed (FALL 99), Colleen Von Der Osten, Claire Weissenfluh, Anne Weber, Judy Wells.

HONORS AND AWARDS:[* Senior Honors Thesis Presentations May 11]CASEY GARDONIO: received a Troxell Award (administered by the L&S Advising Center); a Hilldale Fellowship for Undergraduate/Faculty Research with Gail Geiger for senior thesis research on *"Mythology and Power in the Seventeenth Century: Symbolic Devicesof Maria Cristina di Francia, Regent of Savoy."; a Travel grant from the Office of International Studies and Programs (summer 2000), anda Wisconsin Idea Fellowship for the student volunteer organization ASPIRE (spring 2000); and was inducted into Phi Beta Kappa. Shepresented an aspect of her senior thesis at the Undergraduate Research Symposium, and received an Irwin Panofsky Fellowship for herfirst year of graduate study at NYU (full tuition and stipend, 2001).ANDREA GUTIERREZ: was one of two recipients of the Helen C. White Award, given to a student in the Humanities; received a PhiKappa Phi Summer Fellowship Award for travel to Spain; and was inducted into Phi Beta Kappa. She was one of three graduatingstudents from the College of Letters & Science to receive the Dean's Prize. Her senior thesis was *"Renovation in Decoration in the1920s: Graphic Illustration and Theater Art for a Modern Spain." (Buenger)CHRIS HEMAUER: received the Mark Mensink Award for research on his senior thesis, *"Theatricality in the Hellenistic 'Baroque:' TheTheatrical Style of the Pergamon Gigantomachy" (Cahill), for which he also won the Iwanter Prize from the UW Center for the Humanities,for its "creativity, originality and a clear commitment to interdisciplinary work in the humanities." He received full support for graduatestudy in Art History at the University of California-Berkeley.ERIN HAMMEKE: was inducted into Phi Beta Kappa.BROOKE SCULL-MCWILLIAMS: received an internship at the Peggy Guggenheim Foundation in Venice. She wrote her senior thesison *"Leon Battista Alberti's Theory in Practice: Adaptation and Contextualism." (Geiger)KATIE HANSON: wrote her senior thesis on *"Poiret and Delaunay: Cut Versus Color" (Buenger). She has been accepted at WilliamsCollege to do her M.A. in Museum Studies.

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Visiting Assistant Professor inAmerican Material Culture, Anna AndrzejewskiAnna Vemer Andrzejewski joined the faculty inFall of 2000 on a two-year appointment as theChipstone Visiting Assistant Professor in Ameri-can Material Culture. Anna comes to us fromthe University of Delaware, where she earnedher Ph.D. in Art History, specializing in Ameri-can art, architecture and material culture.

Anna's dissertation, "Architecture and theIdeology of Surveillance in Modern America,1850-1950," serves as the basis of her currentresearch, which focuses on re-examining theideology and practice of surveillance through anexploration of different building types and con-structions of the "gaze." Moving beyond earlierstudies of the architecture of surveillance (byMichel Foucault and others) which have cen-tered on its disciplinary manifestations, Annalooks at a more complicated landscape of sur-veillance, examining such varied settings as postoffices, factories, religious camp meetings, andVictorian houses to reveal a more complex andconflicted gaze and further critical debate sur-rounding surveillance and power relations. InMay, she traveled to Delaware to speak abouther work when she accepted the Wilbur OwingsSypherd Prize, an annual award given in recog-nition of the best dissertation in the Humanitiesat the University of Delaware.

Since coming to Madison, Anna has beenan eager and active faculty member. In additionto covering courses for Professor Martin (on

leave this past year), Anna taught the sur-vey of American art and led an undergradu-ate seminar on "The American Workplace"that examined the interrelationship betweenthe spatial layout of workplaces and workerbehavior. Anna also took the lead in orga-nizing a series of monthly workshops on ma-terial culture, and helped plan themini-conference at Kohler, Wisconsin inApril. She has worked closely with under-graduate students interested in material cul-ture, sponsoring a "material culture careerfair" in November and helping find intern-ships for students in architectural history andmaterial culture. With Glenn Adamson(Chipstone's curator), Anna is also develop-ing an internship program that would helpundergraduates interested in careers in thedecorative arts before going to graduateschool or entering the workforce. In the Fall,Anna will team teach a new course with ArneAlanen (Department of Landscape Architec-ture) on "American Vernacular Architectureand Landscapes," which broadens ourdepartment's strengths in material culture aswell as architectural history.

Coming to Madison is a "homecoming"of sorts for Anna. It brings her back to theMidwest (she grew up in Missouri), and backto the roots of her family. Her grandparents,whom she never knew, grew up in Oconto,

Anna Andrzejewski, photo courtesy ofNancy Rose Marshall

News from the Chipstone Foundation for American Decorative Artsby Ann Smart Martin

The material culture program at UWcontinues to grow. This past year faculty andstudents from across the University metmonthly to lay out the framework for a materialculture curriculum that would provide depth andbreadth for graduate and undergraduatestudents interested in study of the materialworld. The program focuses on a few coremethodological seminars that all students willshare, as they pursue their particular interestsin courses given by their home and allieddepartments. We hope to have the curriculumapproved before the start of the 2002-03academic year.

Multiple grants and fellowships in 2000-01indicate the level of enthusiasm for the inter-disciplinary study of material culture at UW. AChancellor's Award for team teaching enabledthe development of a new upper-level course,"Dimensions of Material Culture." This will bea foundational course in the material culturecurriculum, taught by faculty members from avariety of departments and Colleges, includingArt History, ETD [Environment, Textile, and De-sign], History, English, Landscape Architecture,English, and History of Science. A Mellon Grantthrough UW's Center for the Humanities sup-

ported a workshop series organized aroundthe theme of "The Ritual(s) of EverydayLife." Faculty, students, and staff membersfrom across the campus and museum com-munity met monthly to discuss and visit ritualsites, consider everyday ritual objects, andexchange ideas about what constitutes ritualand the relation of objects to ritual behav-iors. The workshop was so successful thatthe Group was awarded a second year ofMellon funding. The academic year wasbrought to a close with a mini-conference inKohler, Wisconsin, sponsored by the MellonGrant along with generous support from theKohler Foundation. Twenty-one faculty, stu-dents, and staff visited the John MichaelKohler Art Center, the Kohler Foundation'scollections and sites of self-taught artists,and the Kohler Village, built as a plannedindustrial community in the early twentiethcentury. We were pleased to be joined onthis trip by two leading scholars of materialculture, Katherine Grier (University of SouthCarolina) and Bernard L. Herman (Univer-sity of Delaware) who also helped us final-ize the curriculum.

The Chipstone Foundation generously

continues to offer funding and research op-portunities for graduate students. For thesecond year, the Foundation has providedfunding for Anna Vemer Andrzejewski as theVisiting Assistant Professor in American Ma-terial Culture. The new curator at Chipstone,Glenn Adamson (Yale dissertator), taught acourse last spring on contemporary craft fur-niture. Glenn will continue to teach a courseeach semester that will complement the ma-terial culture program. Chipstone's supportof the decorative arts and material cultureweb page continued, and we are pleased toannounce that Catherine Cooney (MLA '99;MA '00) has created the first part of the digi-tal library now opened at http://decorativearts.library.wisc.edu. Finally, theChipstone collection continues to step intothe public eye. I helped plan the new exhibi-tion that innovatively combines the decora-tive art collections of the Milwaukee Art Mu-seum and the Chipstone Foundation. Thenew permanent exhibition, which forms partof the American Collection, will be continu-ally updated and has just opened at thenewly renovated Milwaukee Art Museum.

Wisconsin (north of Green Bay), and in herspare time, Anna hopes to be able to retracesome lost family history. As a good studentof material culture, she has begun by visitingthe family cemetery and her grandparent'shome—to correct and augment the oral tra-dition passed down to her.

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As usual, this year faculty and students collaborated with theElvehjem Museum in many different ways. ProfessorsQuitman Phillips, Barbara C. Buenger, and Emeritus Profes-sor Frank Horlbeck served on the Museum Council. Espe-cially important were the collaborative efforts on two majorexhibitions. In the autumn, for the “Cabinets of Curiosities:Four Artists, Four Visions,” Professor Jane C. Hutchison spokeon "Cabinets of Curiosities in Northern Europe in the Four-teenth to Eighteenth Centuries" and Professor Buenger on"Cabinets of Curiosities in Contemporary European Art". Forthe exhibition “Heaven and Earth Seen Within: Song Ceram-ics from the Robert Barron Collection,” Professor Julia K.Murray worked actively in helping to schedule the series ofspecialists listed in our guest lectures for the year.

Two of our Ph.D. dissertators, Bob Cozzolino and JoannSkrypzak, worked during the summer as Project Assistantson preparation for new exhibitions, respectively on DudleyHuppler, 20th c. artist with Wisconsin ties and on early 20thcentury Viennese design.

Dissertator Lee Spurgeon worked on the cataloging ofthe Japanese print collection as Print Room Assistant andundergraduate art history major, Stacey Trauenfeld, aidedAndrea Selbig in the Registrar's office. Lori Dillon helped AnneLambert in Education and then Liese Pfeiffer in the museum'sgift shop.

Many others worked in the Education Department: Do-cent training for the exhibitions received teaching materialsfrom Lori Dillon for both the "Paris 1900" exhibition and forthat of "Progressive Printmakers." Dissertator JunhyoungMichael Shin offered Docent Training for the exhibition"Heaven and Earth Seen from Within," and Professor Buengergave a training session on the exhibition of "A Writer's Vision:Prints, Drawings, and Water Colors by Günter Grass." MaryBumann (MA '87) wrote teaching materials and trained do-cents for "Paris 1900."

Collaboration with the Elvehjem

On May 4-6, 2001 Wisconsin hosted the annual spring meeting of theNorth American Print Council , an organization that invites its membershipfrom scholars of prints, drawings and photographs. A substantial numberof the members are graduates of UW-Madison, which for many years of-fered some of the only courses in the history of the graphic arts, begun byWolfgang Stechow and James Watrous in the 1930's. The Council's Trea-surer, Tom Bruhn ('65)–the University of Connecticut's curator--is a Wis-consin alumnus, as are Dennis Michael Jon ('84 Art Ed), Minneapolis In-stitute of Arts; Karin Breuer (MA '76), California Palace of the Legion ofHonor; Joann Moser (MA '72, PhD '76), Smithsonian Institution; TrudyHansen ('75), Greenwich, NJ; and Sabine Kretschmar (MLS '90), Cleve-land; while several other members, including Marilyn Kushner, BrooklynMuseum, began their studies at Wisconsin. Martha Tedeschi (Chicago ArtInstitute) is the daughter of John A. Tedeschi, UW-Madison's EmeritusDirector of Special Collections, Memorial Library.

The group, which had held last spring's meeting at the J. Paul GettyMuseum, held its business meeting and presentation of talks, new booksand exhibition catalogues at the Elvehjem, with afternoon visits to Madison'sBalkin Editions, Tandem Press and Silver Buckle Press. Day trips weretaken to Taliesin, the Milwaukee Art Institute, and the private Milwaukeeprint and drawing collections of Esther Leah Ritz and Hope Melamed Win-ter. Wisconsin members of the Council include the Elvehjem's print cura-tor, Andrew Stevens, who with Milwaukee's curator, Kristin Makholm, sharedthe responsibilities for making all of the conference arrangements. I re-ported as recent expert witness testimony for the prosecution in federalcourt in New York regarding the authentication of an early Dürer drawing,the famous Women's Bath, missing from the Bremen Kunsthalle sinceWorld War II. The drawing, removed from wartime storage in northernGermany, had been taken to the Soviet Union, placed in a provincial mu-seum in Baku, Azerbaijan, from which it had subsequently been stolen,resurfacing in New York in 1997.

It has been an active and productive year in the Kohler Art Library. We have been able to build our collections through a slight permanentincrease to our base budget and through one-time supplemental funding for out-of-print and/or expensive publications. One splendid acquisition isa facsimile of the 15th century Dutch illuminated manuscript, Biblia pauperum: Kings ms 5, British Library, London, also called Die GoldeneBilderbibel. In addition, funding from the Chipstone Foundation directly supported our growing collection in the area of decorative arts and materialculture. Moreover, we obtained a grant from the Friends of the Library for library acquisitions. We continue to look for opportunities to enhance thequality of our collections through external sources of funding.

The art library has benefitted from strong donor support over the years, including this past one. Last summer we received the personal libraryof Emeritus Professor Frank Horlbeck. This marvelous gift includes over 2000 books on medieval art and architecture as well as approximately 2000pamphlets on historic buildings in Great Britain and elsewhere. It enhances substantially our book collection in this area. More recently, we becamethe fortunate recipient of a large monetary gift that supports an area of the library's special focus. The Lenora G. Bernstein Artists' Book Endowmentfund is intended for the "acquisition, support, and promotion of artists' books and related materials." We hope to build this endowment throughcreative activities that attract additional support.

On another front, we are seeking to develop closer ties with other areas on campus. For example, we would like to work more closely withstudents in the School of Library and Information Studies (SLIS) who also have an interest in the history of art. We had such an opportunity this pastspring through my involvement with library school student, Justine Martin, on a collection development practicum. Her project involved doing aquantitative analysis of the decorative arts materials (mainly NK class) housed in libraries across campus. We hope to engage in future jointactivities that successfully build on previous collaborative efforts among various campus units.

Another exciting development is in the area of art reference services. Because we were able to secure a 1⁄2 time art reference position in June2000, the library can now offer the new service of digital reference. This spring, the art library became a participant in the innovative Library ofCongress-sponsored Collaborative Digital Reference Service (CDRS). Through this cooperative effort involving libraries from around the world, weare able to take advantage of reference expertise and resources beyond our walls. Art reference librarian, Linda Duychak, is eager to work withpatrons needing both traditional and digital reference assistance (askart@library.wisc.edu). Linda continues to offer small-group and one-on-onetraining sessions on MadCat (the new version) and the art research databases. This past year, art library staff reached nearly 500 patrons throughbibliographic training sessions. We hope to expand our instructional efforts both in-person and online.

Our exhibition program continues to gain a lot of interest. Following our first display, "The Art of the Library of Congress and the WisconsinConnection" (March-December 2000), the library mounted "Celebrating Books at the Kohler Art Library" (January-June 2001). This second exhibithighlighted the formation of the Kohler Art Library in 1970, including the merger of Art History Professor Oskar Hagen's personal library with artbooks from other library collections on campus. We also worked with the Kohler Foundation in gathering ideas and material for the exhibit. We hopeto collaborate again with the Kohler Foundation in the area of exhibits and other library activities.

We very much look forward to working with everyone in the coming year!

2001 Meeting of the North American Print Councilby Jane C. Hutchison

Kohler Art Library Newsfrom Lyn Korenic, Director

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Editor's note: In his own work, thefounder of this department, ProfessorOskar Hagen, exemplified a passionateinterest in the interrelatedness of the arts[cf. 1998 Newsletter]. Although seldomremarked upon, many connected to theDepartment continue this tradition. Forexample, Lori Dillon (BA'00) was bothan AH major and a critically acclaimed(NY Times 17 October '00) lead dancerfor two major dance companies basedin Madison. Sage Fuller Cowles (BA'47),began her studies similarly. Since thattime, Ms. Cowles has gone on to be-come a teacher of dance, choreogra-pher, ACE certificate fitness instructor,philanthropist, co-chair of theCunningham Dance Foundation, boardmember of the Minnesota Dance Alli-ance and Dance USA in WashingtonD.C. In the Spring, she gave the key-note address at the Fifth Biennial Fo-rum on Women and Philanthropysponsored by the Council of Women'sGiving at the UW Foundation (cf. Wis-consin Women's Philanthropy, Spring2001). I asked Lori to discuss her viewof the two fields and to interview Ms.Cowles.

While I devoted many hours in my un-dergraduate years as a typical art his-tory major focused on reading, writingpapers and doing research, I spentnearly as many dancing. Dance, at onetime simply a hobby for me, became aprofessional endeavor and a passion.Art history studies refined and educatedmy artistic eye and helped me matureas a dancer. At the same time, the ap-preciation and awareness of aestheticsthat I acquired through my years ofdance training and performance with thedance companies of Professors LiChiao-Ping and Jin-Wen Yu, led me tobe a better art history student. Here Ioffer my thoughts on the connectionsbetween the two. I am not a pioneer incombining this academic/creative pair,however, as my concluding tidbits froma conversation with Sage Fuller Cowleswill indicate.

Essentially, the manner in which anart historian analyzes and discusses artis strikingly similar to the way in whichmodern dancers, choreographers andhistorians view dance. Formal elementsof a work of art and knowledge of social

Form and Content: The Common Language of Two Worlds of Artby Lori Dillon

(value of the tones projected on thedancers' bodies, faces, the backdropand the floor), and spatial arrangement(floor patterning of the movement, ar-rangement of the dancers both stagnantand in motion, utilization of different lev-els of space).

Borders also impact both. One no-tices both literal and environmentalframes of the work of art. Modern danc-ers and choreographers also pay spe-cial attention to the "frame" in which (orout of which) they perform (e.g. on aproscenium stage with a delineated"frame" separating the dancers fromtheir audience, a theater-in-the-round,where the dancers maintain separationfrom the audience and yet the framing

boundaries are expanded, or a site-specific work that explores movementwithin the frames of a specific envi-ronment).

We find that paintings, sculp-tures, prints and decorative arts mayhave social, cultural, and politicalmessages. Likewise, modern danceexhibits a wide range of thematic in-tentions. Just as some of the mostrecognized and studied paintings andsculptures in history, modern danceshave retold classic tales, taken po-litical stances, imitated nature andexisted simply as form for form’ssake.

Modern dancers and dance mak-ers take on the practices of an art his-torian when creating and witnessingdance works. They look to otherdances in history for inspiration, sug-gestion, or as a means of reaction,and they utilize elements as concreteas line and color, and as abstract astheme and emotional content. In re-verse, art historians make ideal view-ers of dance – insightful, critical, andarmed with an educated, artistic eye.In fact, art historians have the poten-tial to view dance with the same vi-sion as they do a painting or sculptureand they can use the same languageto describe, critique and analyzemodern dance.

My Interview withSage Fuller Cowles

Years ago, when legendary Profes-sors Oskar Hagen and MargaretH’Doubler still were teaching in theunits they had founded--the Depart-ment of Art History (in 1925) and thedegree program in Dance (1926)--Sage Fuller Cowles was anundergrad at UW-Madison. As I did,she graduated with a BA ('47) in arthistory, yet had continued her dancestudies throughout her years at UWand has gone on to have an extraor-dinary career in the arts. I was eagerto hear her thoughts on the correla-tion between art history and moderndance. Earlier this summer, I had abrief but meaningful discussion withher.

At first, we talked about the simi-

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and cultural history play major roles inthe studies of both dance and art his-tory.

An art historian studies the impactof formal elements on the viewer. Like-wise, a successful modern choreogra-pher pays considerable attention to line(of each dancer's body, of dancers' bod-ies together on stage, of a dancer's re-lationship to the setting), color (tones oflight to be cast on the dancers and thestage, of costumes and props), light

Lori Dillon in Li Chiao-Ping’s “Mandala”;photo courtesy of the UW-Madison

Dance Program

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Reports from the Field

2000-01 Lectures

During the past academic year, I have hadthe privilege to take leave time as Coleman Fel-low in the Department of Medieval Art and TheCloisters at the Metropolitan Museum of Art andas Visiting Scholar in the Department of Art His-tory and Archaeology at Columbia University inNew York. I made use of the museum's incom-parable collection of Romanesque art, the filesof its Medieval Department, the research facili-ties and archives of the Watson Library and theCloisters Library to pursue research and writingrelated to my book in progress, provisionallytitled, Romanesque Corporealities: The Body asImago and Dissimilitude in European Art, ca.1050-1215.

During the Fall term, I focused primarily onthe topics of portraiture and the monstrous. Inthe Spring term, I researched two new topicsfor my book. I explored the Catalan apse paint-

I have just returned to the United Statesafter a fascinating sabbatical research trip toIndia where I was studying the arts, history, andculture of Africans (known as Siddis) in Indiaunder a six-month American Institute of IndianStudies Senior Fellowship. Afro-Indians havebeen contributing to the socio-cultural landscapeof India since the early Medieval era when theycame with Persians, Turks, and Arabs as mer-chants, sailors, soldiers, and "slaves." Many roseto great prominence as nobles, regents, gener-

Henry J. Drewal, Evjue-Bascom Professor in India

Thomas E. A. Dale: Report on Fellowship Year at the Metropolitan Museum of Art, New York

ing of San Juan de Tredós (now at the Clois-ters) as a case study for my chapter on theBody of the Virgin as tabernacle and"Throne of Wisdom". I also began researchfor a second chapter of my book focusingon the meaning of the nude in Romanesqueart. For this topic, I am looking at the nudein a broad range of contexts both as posi-tive image (imago) in the similitude of Christor the God-given soul and as deformed im-age of the body as object of desire and asimage of spiritual and physical degenera-tion. I also gave a series of lectures relatedto my recent research. Throughout the year,I took time out from my book to work brieflyon smaller projects. In November, I workedwith Maria Saffiotti Dale of the ElvehjemMuseum and with Charles Little and MelanieHolcomb of the Metropolitan Museum to

select a dozen objects to be exhibited on loan(initially for one year) in Gallery I of theElvehjem starting in Spring 2002. These ob-jects will provide instructive examples of me-dieval material culture–reliquaries, drinkingvessels, metal-work objects of personal at-tire–monumental sculpture and ivory devo-tional objects ranging in date from the 7th to13th centuries. Finally, towards the end of mystay in New York, I began research in the Ar-chives of The Cloisters on George GreyBarnard, the sculptor who brought many ofthe finest examples of French Romanesquesculpture to America, including the cloistercapitals form Saint-Michel-de-Cuxa now inThe Cloisters Museum. It has been a veryrewarding year and I look forward to publish-ing the fruit of this research.

Special Chinese Art HistoryLectures in Spring 2001

Alfreda Murck, Adjunct Professor, HistoryDept., Peking University: "Objects of Medi-tation: Song Dynasty Tea Wares"

Regine Thiriez, Institut d'Asie Orientale,Lyon, France: "Early Photographic Imagesof China"

Virginia Bower, Princeton: "Beauty and El-egance: The Subtle Splendor of Song Ce-ramics"

Robert Mowry, Curator of Chinese Art atHarvard University Art Museum: "Blue andGreen: Chinese Ceramics of the Song Dy-nasty (960-1279)"

Ronald Egan, Department of East AsianLanguages and Cultural Studies, Univer-sity of California-Santa Barbara: "The Elu-sive Bowl: Locating Ceramics in Song Dy-nasty Culture"

Jules D. Prown, Professor Emeri-tus of the History of Art at the YaleCenter for British Art: "WinslowHomer: Beneath the Surface"

Richard Wollheim, University ofCalifornia-Berkeley: "On PictorialOrganization"

Jan Stuart, Assoc. Curator of Chi-nese Art, Freer-Sackler Galleries,Smithsonian Institution: "PortableUpholstery: Textiles for ChineseFurniture"

Steven Orso (Ph.D. Princeton)Honorary Fellow in Art History: "ThePrimacy of Toledo: CardinalBernardo de Sandoval y Rojas andthe Chapel of Our Lady of theSagrario"

James Elkins, Prof. Art History,Theory and Criticism, School of theArt Institute of Chicago: "On theInconceivable and the Un-representable in Skin andMembrane Metaphors"

W.J.T. Mitchell, Professor of En-glish and Art History at the Uni-versity of Chicago."The Work ofArt in the Age of BiocyberneticReproduction"

Bernard Herman, Director of theCenter for American MaterialCulture Studies and Edward &Elizabeth Rosenberg Professorat the University of Delaware:"The Merchant Family's Parlor:Architecture and Material Life inthe Early American City"

Katherine Grier, Department ofHistory and Public History, Uni-versity of South Carolina: "Petsin America: Reconstructing aPopular Practice through Mate-rial Culture"

Catherine Glynn, former curatorof LA County Museum of Art:"Emulation or Envy: Rajput-Mughal Relations"

Nicholas Mirzoeff, Department ofArt at the State University of NewYork-Stonybrook: "Intervisuality:

Working Out Visual Culture in theEra of Global Capital"

Dept. Colloquia:

Gene Phillips, "The Jôfukuji Ver-sion of the Ten Kings of Hell"

Laurentia Cincoski: "In Search ofMaria van Oosterwyck"

James Dennis: "Robert Koehler:‘Der Streik'"

Robert Cozzolino: "SprainedAnkles in Rome, Bathtub-Brewin Manchester: An American onthe Grand Tour," Paul Mellon/Alisa Mellon Bruce PredoctoralFellowship report

Alicia Volk: "The Zen of Surreal-ism: Painting and Politics in1930s Japan"

Michelle Paluch-Mishur, "Futur-ist Aeropittura under Italian Fas-cism," Margaret DavisonSchorger Fellowship report We are grateful for varied support from the UW

Lectures Committee and collaborativedepartments and programs.

als, admirals, prime ministers and rulers be-tween the 15th and 19th centuries. One ofthe most famous was Malik Ambar, whoruled the Western Deccan from Aurangabadfrom 1600-1626. He is renowned for hispublic works (mosques, palaces, schools,tombs, and water systems) and for his mili-tary and administrative achievements.Other Afro-Indians/Siddis ruled from theirmarine fort at Janjira, controlling the watersof the Malabar coast for almost 300 years.

I worked in the formerly Portuguese archivesat Goa, visited many sites where Siddis livedand worked, surveyed Siddi arts as expres-sions of history and identity, and worked withseveral Siddi communities in NorthernKarnataka as they formed a performancetroupe to present their culture (songs anddances) to Indian and international audiences.I plan to return to India in December-Januaryto complete this initial phase of my research.

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FacultyVisiting Assistant Professor AnnaAndrzejewski: Published "The Gaze of Hierarchyat Methodist and Holiness Religious CampMeetings, 1850-1925" in Perspectives inVernacular Architecture 8 (2000), 138-57;"Architecture and Agriculture in Snyder County,Pennsylvania" in Snyder County Historical SocietyBulletin (Middleburg, PA: The Society, 2000) 27-55. She presented "Surveillance and Service in theVictorian House in America" at meeting of theVernacular Architecture Forum in Duluth MN. Sheis currently preparing a paper on images ofservants in Victorian America that derives from herchapter on surveillance in the Victorian housewhich will be presented at the 2002 meeting of theCollege Art Association.

Barbara C. Buenger: Published "Das Italienbildder deutschen: Wilhelm Worringer und MaxBeckmanns Bilder von Italien" in the 2001Braunschweig symposium papers, DieKunstgeschichte Wilhelm Worringers (Munich:Wilhelm Fink Verlag, 2001); presented "MaxBeckmann's ‘Temptation': Four Years in NationalSocialist Berlin" at the German Studies AssociationConvention in Houston. She is collaborating withKristin Malkholm of Milwaukee Art Museum to plancataloguing 480 new German expressionist prints,a project which will involve several students fromthe Art History department over the next threeyears. Has in progress Max Beckmann in Germany,1904-1937.

Nick Cahill: Published "Olynthus and Greek TownPlanning," Classical World 93.5 (2000) 497-515;had accepted for publication "Lydian Houses,Domestic Assemblages and Household Size," inNear Eastern Archaeology; presented "Sardis inthe Lydian Period: Old and New Discoveries" atthe Seminar für Klassische Archäologie, UniversitätMünchen; presented "Household Industry inAnatolia and Greece" at the Archaeological Instituteof America Annual Convention in San Diego CA;gave lectures on Sardis in San Antonio, Houston,and Dallas TX, Munich, UW Anthropology Dept.,Center for the Humanities, and for UW On the Roadat the Milwaukee Public Museum. He was awardedUW Humanities Institute Fellowship and a UWGraduate School Research Grant. In progress isa monograph on Lydian houses at Sardis, to bepublished in the series Archaeological Explorationof Sardis by Harvard University Press; a webversion of his book Settled in an Orderly Fashion:Household and City Organization at Olynthus (Yale01); a monograph on Greek housing and domesticlife, commissioned by Yale University Press; anda monograph on the architecture, stucco andmosaics of the Hellenistic building at Tel Anafa,Israel, to be published as a supplementary volumeof the Journal of Roman Archaeology.

Thomas E.A. Dale: Chaired session at CAA on"Fantasy and the Religious Imagination." His"Monsters, Corporeal Deformity and Phantasmsin the Romanesque Cloister Capitals of Saint-Michel de Cuxa: A Response to Saint Bernard" isin press for the Art Bulletin (September 2001).During his Fellowship in NY, he gave "Epiphanyand Revelation in the Romanesque Apse Fresco

of San Juan de Tredos" at The CloistersMuseum; spoke on "The Romanesque Nude:The Body as Image and Phantasia" for theFellows colloquium at the Metropolitan Museumof Art; gave "The Display of Byzantine Relics,Icons and Spolia and the Renovation of SanMarco in Venice in the Thirteenth Century" atThe Johns Hopkins University. He also lecturedfor Henry Maguire's seminar on MedievalVenice at the Johns Hopkins University,"Byzantine Artefacts in Venetian Settings: TheRitual and Politics of Display."

He co-chaired a session with Maria SaffiottiDale at the International Congress of MedievalStudies in Kalamazoo, MI on "The Art of Displayin Ritual Space: Holy Images, Reliquaries,Liturgical Furnishings and Books in the HighMiddle Ages and Renaissance." He wasappointed Editor of the Newsletter of theInternational Center for Medieval Art (ICMA);gave "Monsters, Deformed Bodies andPhantasms in the Cloister of Saint Michel-de-Cuxa" at Keane College in Elizabeth, NJ andgave a variation of the same talk focusing onthe monastic liturgy of compline to SusanBoynton's seminar in historical musicology atColumbia University; spoke to the BrannerForum for Medieval Art at Columbia Universityon Romanesque portraiture; and gave a finaltalk at The Cloisters on "Monsters, Phantasiesand the Religious Imagination in RomanesqueArt."

He completed final editing and revisedintroduction to a book of essays onRomanesque mural painting, Shaping SacredSpace and Institutional Identity in RomanesqueMural Painting: Essays in Honor of Otto Demusand completed a book review of the collection,Imaging the Early Medieval Bible for CAAReviews On-line.

Henry J. Drewal: Was on sabbatical leaveduring the 2000-01 academic year, researchinghis new book on the arts of the African diaspora.He was awarded, through WisconsinHumanities Council, the Governor’s HumanitiesAward for Excellence in Public HumanitiesProgramming for the "Beads, Body and Soul"exhibition; participated in the re-opening of theDapper Museum in Paris; gave "Présence desdieux Yorubas" at its first MuseumConference.contributed an essay on "Terre etTonnerre: L'Art Yoruba destinéaux ancêtres etaux dieux" in the inaugural exhibition catalog,Arts d'Afrique.

Gail L. Geiger: Has in progress "Art andSpirituality in Fifteenth-Century Florence: FraAngelico and Dominican Reform at San Marco,"and a shorter study on decorative arts and racein late 17th century Venice. She presented atthe first of the Center for the Humanities' VisualCulture Mellon Workshops and was an outsidereviewer of the Art History Department at theUniversity of Kentucky, Louisville.

Jane C. Hutchison: Published Albrecht Dürer:A Guide to Research (New York & London,Garland/Taylor & Francis, 2000 GarlandReference Library of the Humanities, vol. 2177);published "Alberto Durero", in Summa Pictorica

vol. III: El Siglo XV Europeo, John Sureda,ed. (Barcelona, Editorial Planeta, S.A.,Historia Universal de la Pintura), pp. 261-278; also "Master E.S." and "Master of thePlaying Cards" in Medieval Germany: AnEncyclopedia, John M. Jeep, ed. (New York& London: Garland, 2001). She attendedthe 16th Century Studies Conference inCleveland OH, as a member of the editorialboard for the monograph series; attendedthe Print Council of America in St. Louis,MO; and the Wisconsin Legislative CouncilSpecial Committee on Arts Funding at thePaine Art Center in Oshkosh, WI. She ison the planning committee for the "MuseumWorlds: Past, Present, Future" a UW MellonWorkshop. She also was elected Treasurerof the Midwest Art History Society, andchaired two sessions on NorthernRenaissance art history at the Society's2001 conference in Minneapolis, MN.

Nancy Rose Marshall: Published a review,"Joseph Crawhall, One of the GlasgowBoys, by Vivian Hamilton" in VictorianStudies (Winter); presented "‘The Townwithout a Frown', or What Happened toAsbury Park?" at the Popular CultureAssociation Conference in New Orleans;"‘Colored Photographs of Vulgar Society"at the Interdisciplinary Nineteenth-CenturyStudies Conference in New Haven; co-chaired a session at CAA, "Homecomings:Intersections of Public Art and Cultures ofDomesticity"; and presented "Jane Austenand the Gothic" at the Jane Austen in the21st Century Humanities Festival, UW-Madison. She received a Vilas YoungResearcher Award from the UW College ofL&S.

Ann Smart Martin: Has in progress:Sukey's Mirror: Buying into the World ofGoods in the Virginia Backcountry, 1750-1815. She published "Commercial Spaceas Consumption Arena: Retail Stores inEarly Virginia" in Sally McMurry andAnnmarie Adams, eds., People, Power,Places: Perspectives in VernacularArchitecture VIII (Knoxville: University ofTennessee Press); served on advisorypanel to the Charles Warren Center forStudies in American History at HarvardUniversity; spoke at UW Center for theHumanities' 2nd Annual Visual CultureWorkshop; organized and participated inthe Material Culture Workshop "Rituals ofEveryday Life". She presented "The Ritualsof Everyday Life: Eating and Drinking inEarly America" at the 33rd Annual TryonPalace Decorative Arts Symposium "Dinneris Served: The Dining Room in theEighteenth and Nineteenth Centuries," heldin New Bern, NC; addressed the PublicHistory Graduate Students Forum at NorthCarolina State University in Raleigh with"Interpreting the Material Culture ofEveryday Life in Eighteenth-CenturyAmerica"; presented "Mothers andDaughters, Cousins and Friends: Readingand Writing of a Family Receipt Book" at

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8

Graduate StudentsM.A. Program

M.A. Candidates: Margo Baxter, NicholeBridges, Calvin Eriksen, Jacob Esselstrom,Amanda Flaata, Ryan Grover, Jean Janecki,Sanghyun Park

M.A. Degrees Awarded:

CLOUD, SARAH E., (8/19/00), "Mannerismand Mass Production: The Antwerp AltarpieceTrade and its Interactions with Germany", Dale,*Hutchison

COONEY, CATHERINE E., (8/19/00), "TheBody as Mediator", Dale, *Geiger

MORRILL, ANDREA M., (8/19/00), "TheTriumph of Maximilian I: Sources andMotivations for the Emperor''s Art on PaperPropaganda Campaign", *Hutchison, Menocal

PURISCH, LEAH C. (8/19/00), "RepublicanFamily Values: Family Portraiture in Sixteenth-Century Venice", Dale, *Geiger

Ph.D. Program

Ph.D. Candidates: Robert Cozzolino,Elizabeth Hooper-Lane, Linda James, SaadiaLawton, Catherine Louis, Laura Mueller, AmyOrtiz-Holmes, Soo Yeon Park, Ruth Ruege,Janet Spurgeon, Izumi Takasaki

Ph.D. Degrees Awarded:

FUNKENSTEIN, SUSAN L. 2001 August."Figurations of Women Dancers in WeimarGermany (1918-1933): Hannah Hoech, OttoDix, and Paul Klee" (Buenger)

MC MANAMY, KEVIN W. 2000 August.“Fourteenth Century Sculpture in Westphalia,Germany: The Apostle Cycle Figures of theWiesenkirche in Soest” (Hutchison)

SHIN, JUNHYOUNG. 2001 August. “AMaterialized Vision as Meditative Exemplar: Albrecht Duerer’s Marienleben 1502-1511" (Hutchison)

Dissertations in Progress:

Renaissance:

BACON, PAUL, “A Mirror for Princes: Frederickthe Wise and Art Patronage at the ElectoralSaxon Court 1486-1525” (Hutchison)

CINCOSKI, LAURENTIA, "17th Century DutchStill Life Painter Maria van Oosterwyck"(Hutchison)

the 5th Southern Conference on Women'sHistory in Richmond VA.; and presented"The Black Box of HouseholdConsumption: Women and the RetailTrade in Virginia, 1750-1820," to theResearch Triangle Early AmericanistsGroup at the National Humanities Centerin Chapel Hill NC.

Narciso G. Menocal: Had accepted forpublication, "The Charnley House: AnArchitectural Embryo", in volume on FrankLloyd Wright's Charnley House, Chicago,ed. by the Society of ArchitecturalHistorians (University of Chicago Press);and "Poetry in the Republican Period", inHerencia (2000) [Journal of the CubanNational Heritage Society], marking thecentennary of the Cuban Republic (1902-1958). In progress is a book on Cubannationalism in literature, painting, andarchitecture, 1825-1964. He attended the2000 Toronto conference of the Society ofArchitectural Historians, of whose Boardof Directors he is a member.

Julia K. Murray: Contributed to Essay inDiscovering Chinese Painting: Dialogueswith American Art Historians, ed. by JasonC. Kuo; published "The Evolution ofPictorial Hagiography in Chinese Art:Common Themes and Forms" in ArtsAsiatiques 55 (2000): 81-97; "FromTextbook to Testimonial: The Di jian tushuo/Teikan zusetsu (The Emperor'sMirror, An Illustrated Discussion) in Chinaand Japan" in Ars Orientalis 31 (2001). Shepresented "Bringing Confucius to theSouth: Relics and Representations at theQingpu Kongzhai" at the Association forAsian Studies conference in Chicago, inan interarea panel called "Relics andReliquaries in Asian Art and Culture";"Pulling the Kong Connection: LocalHistory and the Rise of Qingpu in the 17thCentury" at the international conference on"Political and Economic Uses of LocalHistory: Anthropological and HistoricalPerspectives" at Harvard; and "ChercherLa Femme: Who Was Zhang Hua's‘Instructress'?" at the internationalconference of the British Museum andPercival David Foundation in London.

Quitman (Gene) Phillips: Published ThePractices of Painting in Japan, 1475-1500(Palo Alto: Stanford University Press,2000); has in press: "Problems inDiscussing Classicism in Japanese Art" inClassicism in Japanese Art of the EarlyEdo Period, Elizabeth Lillehoj, ed.(Honolulu: University of Hawaii Press); inprogress: "The Jôfukuji Version of the TenKings of Hell"; editing Vol. 4 of theCambridge History of East Asian Art; anda book manuscript dealing with latemedieval Japanese narrative painting.

Adjunct Faculty

Glenn Adamson: Participated in the rein-

stallation of the decorative arts collection at theMilwaukee Art Museum. He has had recent ar-ticles published in American Craft and Wood-work. He anticipates his Ph.D from Yale byChristmas

Gautama Vajracharya: Nears completion of hiscatalogue for the Elvehjem, "Continuity andChange in Indic Miniature Painting from theWatson Collection." This spring, while workingwith Pratapaditya Pal, Visiting Curator at theChicago Art Institute, he discovered anunpublished 15th c. Nepali portrait. He willpublish this in Orientations in 2003.

Emeriti Updates

Jim Dennis: Gave an art talk related to the"Illusions of Eden: Visions of the AmericanHeartland" exhibition at the Madison Art Center(Feb 24-May 13); and a lecture at the DubuqueMuseum, Iowa, entitled, "Wood on Stone: GrantWood's $5.00 Lithos for Associated AmericanArtists." He continues his research on RobertKoehler's Der Streik in Berlin during the summerof 2001.

Robert Beetem: Continues to work on hisCézanne study and to enjoy his return to the BayArea.

Frank Horlbeck: Has been in Europe thesummer of 2001.

"A Generous Gift from aModest Class Auditor"

Several years ago, Shirley LieschMueller enrolled in a mini-course inart history at the Memorial Union,which was taught by dissertatorMichelle Paluch-Mishur. Capti-vated, Mrs. Mueller began to auditclasses in the Department, oftenforming lasting friendships with stu-dents, particularly Art History gradstudents who frequently sat nearby[the back-of-the-room group!] Thisspring she and her husband, Emeri-tus Professor W. Fritz Mueller, mostunexpectedly offered a generousgift of thanks. As a result, the De-partment will be able to offer theMueller Travel Award for disserta-tion research conducted by an out-standing graduate student. We areextremely grateful to the Muellersand hope they will continue to joinus at departmental events, classes,and for next year's awarding of thefirst travel grant.

9

News from Current Students

Awards and Internships:

PAUL BACON received a short-term Re-search Grant from DAAD (DeutscherAkademischer Austauch Dienst); he will bestudying in Weimar, Germany from Septem-ber 2001 to January 2002. MARGOBAXTER received a FLAS (Foreign Lan-guage Area Studies) award to study Japa-nese in Summer 2001. NICHOLE BRIDGESwas accepted to the Summer 2001 paidGraduate Internship Program at the Metro-politan Museum of Art. She will be workingin the Department of Arts of Africa, Oceania,and the Americas with curator of African art,Alisa LaGamma. BOB COZZOLINO won theL&S Teaching Fellowship for 2001. RENATAHOECKEL was awarded the University Fel-lowship for one semester at the Dissertator,or Advanced, Level. ANNE GREVSTADNORDBROCK received the DAAD Bonn Re-search Grant for Summer and the Vilas TravelGrant for 2001-02. KIM MILLER received agenerous grant from the David and BettyJones Development Program (throughTransylvania University) to return to SouthAfrica for a few weeks of research in Sum-mer 2001. LAURA MUELLER received 2000Monbusho Research Scholarship, which sheused to do research for her dissertation atGakushin University in Tokyo. MICHELLEPALUCH-MISHUR was awarded theWolfsonian-FIU Fellowship from TheWolfsonian in Miami Beach, Florida. The fel-lowship will enable Michelle to travel to Mi-ami Beach for a period of four weeks in orderto research materials related to her disserta-tion. JAE-SUK PARK has been awarded aresearch/travel grant to conduct dissertationresearch in Taiwan. Administered by the UWCenter for East Asian Legal Studies, the grantis made from funds presented to UW-Madi-son by Tien Hung-mao, the Taiwan Ministerof Foreign Affairs. JOANN SKRYPZAK hasbeen awarded a Fulbright grant for 2001-02.She will be in Germany from September2001-May 2002, researching her dissertation.LEE SPURGEON was awarded a FLAS (For-eign Language and Area Studies) for 2001-02 academic year.

Papers and Lectures:

BOLAJI CAMPBELL gave a talk "Myths,Rituals and Yorùbá Oracles: The Legend ofOrisa Olu Orogbo". Presented "Mapping andRedefining the Terrain: Contemporary AfricanArt Practice in the 21st Century" at the 2001

CAA Conference. BOB COZZOLINO pre-sented "Ivan Albright Wrestles with Saint An-thony and the Surrealists" at CAA. RYANGROVER spoke at the Wisconsin Distin-guished Graduate Fellowship dinner May 3as Art History's first recipient of the Watrous/Chipstone Distinguished Fellowship.SAADIA LAWTON presented "The HaitianMarketplace: Defying Notions of Isolationthrough Imagery of the Collective", at theThird Triennial of the Arts Council of AfricanStudies Association, St. Thomas, Virgin Is-lands. KIM MILLER presented "Truth andthe Illusion of Truth: Contemporary SouthAfrican Artists Speak" at CAA, where shewas also elected to Secretary of the newVisual Culture Caucus. She will be co-chair-ing the Visual Culture Caucus CAA panel for2003. In addition, she recently published"Cross-Dressing at the Crossroads: Mimicryand Ambivalence in Yoruba Masked Perfor-mance" in Dandies: Fashion and Finesse inArt and Culture, Susan Fillin-Yeh, ed. (NewYork University Press). JUNHYOUNGMICHAEL SHIN presented "The PhysicalManifestation of the Immaculate Conceptionas the Proof of God's Promise: TilmannRiemenschneider's Assumption Altarpiece inCreglingen (1505-1510)" at the Midwest ArtHistory Society Conference in Minnesota,MN. LEE SPURGEON presented "YanagiSoetsu's Mingei [Arts and Crafts] Theoriesand Ethnic Nationalism in Imperial Japan"at the Midwest Conference for Asian Affairsat Indiana University, Bloomington. She alsopresented "Koyabashi Kiyochika: Art, Nationand ‘Landscape' in the Early Meiji Period"at the Art Institute of Chicago Graduate Stu-dent Seminar.

Jobs:

SUSAN FUNKENSTEIN will start a tenure-track position in September as Assistant Pro-fessor in the Dept. of Art at UW-Parkside.JUNHYOUNG MICHAEL SHIN will also starta tenure-track position in the Fall as Assis-tant Professor in the Art Department at Ar-kansas State University, Johnsboro. He alsotaught our 203 course in Summer 2001.

Material Culture:

BRYAN, JAMES, “Historic Dolls’ Houses asMaterial Culture” (Smart Martin) 19th and Early 20th Century European:

GILDERHUS, KIRSTEN ELOISE, “KarlHubbuch: Drawings and Graphic Works,1927-1930" (Buenger)

GREVSTAD-NORDBROCK, ANNE, “IlseBing in Frankfurt and Paris: Inter-WarPhotography of Modern Architecture andthe City” (Buenger)

HOECKEL, RENATA (WILK), “Images andIdentity: Jewish Artists in Berlin Re-Inventthe ‘Ostjuden’ in German Jewish VisualCulture, 1900-1924" (Buenger)

PALUCH-MISHUR, MICHELLE, “TheMutable Perspectives of Flight: FururistAeropittura Under Italian Fascism”(Buenger)

SKRYPZAK, JOANN, “Sporting Modernity:German Artists and the Athletic Body, 1918-1945" (Buenger)

SMITH, JENNIFER, “The Art of EverydayLife: Alltagsleben as Subject and Strategyin Contemporary German Art” (Buenger)

Pre-1945 North American and SouthAmerican:

MASON, PAUL, “The Light of Progress:Electric Light at Chicago’s 1933-34 Centuryof Progress International Exposition. ASymbol of American Modernity” (Menocal) Post-1945 North American, SouthAmerican, and European:

BUBENZER, BRIAN, “The Reevaluation ofH.H. Richardson in ContemporaryAmerican Scholarship” (Menocal)

Asian:

HUANG, YUN-JU MICHELLE, “TheChanged and the Unchanged, Shih-t’ao’s(1642-1707) Paintings after Shen Chou(1427-1509)” (Murray)

PARK, JAE-SUK, "Su Shi Wearing BambooHat and Clogs" (Murray)

African:

CAMPBELL, BOLAJI V. “Yoruba ShrinePainting Traditions: Color, Cosmos,Process and Aesthetics” (Drewal)

HILL, SHANNEN L., “Horror and Heroism:Visual Appropriations of Bantu Stephen

Douglas Schewe Award

The department’s “DouglasSchewe Award” for best graduatepaper of 2000 was won byCatherine Cooney (MA 2000)."The Body as Mediator" waswritten as a seminar paper inThomas Dale's 515 course, Spring2000.

Biko in South Africa” (Drewal)

MILLER, KIMBERLY ANNE, “Women,Violence, and Visual Representation in theRecent History of South Africa” (Drewal)

10

Alumni NewsGORDON ORR (MA ‘71) died in Madison on November 24,2000. Mr. Orr, a Fellow of the American Institute of Archi-tects, had been the UW-Madison campus architect beforehis retirement in 1985. A graduate of Choate, he held de-grees from the Renssalaer Polytechnical Institute and UW-Madison, and had been in private practice in Wallingford,CT and Winter Park, FL. He taught the history of architec-ture in Madison's Department of Art History in the late 1960s.

THALIA GOUMA-PETERSON (PhD ‘63) died June 20, 2001.Emeritus Professor of Art at the College of Wooster, she re-ceived her BA (‘54) and MA (‘57) from Mills College. For 32years, she taught courses in ancient and medieval art andWomen Artists in America. She was editor of the Bibliogra-phy on Women in Byzantium and published extensively onByzantine art and culture. In the 1980s she was director ofWooster Art Museum, and showcased works of contempo-rary female artists such as Faith Ringgold, Audrey Flack,and Hung Liu. Her last book, Anna Komnene and Her Timeswas a collection of essays about a 12th century Byzantineprincess and author, and she also published a book about acontemporary artist, Miriam Schapiro: Shaping the Fragmentsof Art and Life.

SARAH CLOUD (MA ‘00) presented "The Saint AgilolphusAltarpiece (Elvehjem Museum, Madison, Wis.): An AntwerpMannerist Exemplar and Exception" at the Midwest Art His-tory Society Conference in Minneapolis, MN.

CHARLENE ENGEL (MA '74) will curate an exhibition of theprints of George Bellows for the San Diego Museum.

BRADEN FRIEDER (PhD '98) will be Assistant Professor atGeorgia Southern University; he gave "The Perfect Prince:A Pageant Garniture by Desiderius Colman for Phillip II ofSpain" at the Midwest Art History Society Conference in Min-neapolis, MN.

ROSALIE ALSCHULER GOLDSTEIN (BA ‘52) received anMA in Art History from UWM and served for ten years as acurator at the Milwaukee Art Museum. She is now retired,but writes grants for non-profit organizations, especially inthe arts.

CORINNE GRANOF (BA ‘83; MA ‘86) is the curator for theexhibition and web site project "The Last Expression: Art fromAuschwitz" at the Mary and Leigh Block Museum of Art, North-western University.

STANLEY GRAND (MA '86, PhD '95) has become the Di-rector of the University Museum and Associate Professor inthe Art Department at Southeast Missouri State University,Cape Girardeau (MO). He contributed "Michael Thomas'Vision of Everyday Rightness" to the catalog for the "MichaelThomas: Gables. Architectural Photography" exhibition(which he also co-curated) at Sordoni Art Gallery, WilkesUniversity.

CHRISTOPHER HENIGE (PhD '97) will be Assistant Pro-

fessor of Art History in the Department of Art at UW-Whitewater.

RAY HERNÁNDEZ-DURÁN (MA '94) is completing his PhD inthe Department of Art History at The University of Chicago withProf. Tom Cummins. His dissertation in the area of ColonialLatin American Art concerning specifically the arts of ColonialMexico is titled "Reframing Viceregal Painting in Nineteenth-Century Mexico: Politics, The Academy of San Carlos, andColonial Art History.” Most recently he has published "Entreespacio y texto: La producción moderna de lo colonial" ["Be-tween Space and Text: The Modern Production of the Colo-nial"] part of a multi-vol. anthology devoted to modernism. Itwill be published in English with the title "Towards a New His-tory of Modern Mexican Art, 1761-2000. He will use his newFulbright-Hays Doctoral Dissertation Abroad Fellowship for2001-2002 to continue research in Mexico and hope to finishthe dissertation by 2003. He has been teaching at Depaul Uni-versity.

JASON JOSVAI (BA ‘93) became the new executive directorof the Rock County Historical Society this March. He was theregistrar at the Wisconsin Veterans Museum in Madison forfive years after working as assistant registrar for the ElvehjemMuseum of Art. He also attended the Cooper-Hewitt NationalDesign Museum on a scholarship from the Helena RubensteinFoundation, and received a scholarship from the American LawInstitute-American Bar Association Committee to attend theMuseum's Legal Problems Seminar at Harvard, co-sponsoredby the Smithsonian and the American Association of Museums.In 1999, he participated in a study of museum collection data-bases funded by the Ministry of Education from Japan. Lastyear, he conducted a collection management seminar at theMuseo del Canal Interceanico de Panama through the Ameri-can Embassy in Panama. He worked with staff members asthey prepared to open a new, permanent exhibit and install atraveling exhibit. Josvai participated in the seminar to demon-strate a computerized collection management software system.

MARY KINNECOME (PhD ‘00) is now an adjunct faculty mem-ber half time at Corcoran College of Art & Design, WashingtonDC.

ELIZABETH LAPINA (BA ‘00) will be attending graduate schoolin Art History and History at Johns Hopkins University.

KEVIN MCMANAMY (PhD ‘00 ) presented "Paris, Cologne,and the Formation of Hanseatic Art: A Case Study for theWiesenkirche in Soest (Germany)" at the Midwest Art HistorySociety Conference in Minneapolis, MN.

ANDREA MORRILL (MA ‘00) spoke on "The Triumph ofMaximilian I: Adapting the Antique for Contemporary Advan-tage" at the Midwest Art History Society Conference in Minne-apolis, MN.

ELIZABETH BRONNE ROOT NATHAN (BA '99)has been ac-cepted to the graduate program in Museum Studies at theAmsterdam School of the Arts beginning in January, 2002.

STEPHEN SAVAGE (BA ‘87 and MFA 1996 School of VisualArts, NYC) is an illustrator living and working in Brooklyn NY.

Department of Art HistoryUniversity of Wisconsin-MadisonElvehjem Museum of Art800 University AvenueMadison, WI 53706-1479 USA

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first skeleton had sustained and survived two head injuries, awound in his side, and died fighting, his left arm broken in aparry fracture, his right still clutching a stone. Further study ofthis skeleton should tell us much more about this Lydian of themid-sixth century BC.

I also have been engaged in a mapping project at Sardis,surveying the terraces and remains of buildings to reconstructthe layout of the city. This summer I am using a Global Posi-tioning System to map the city more accurately than has ever

Cahill, cont’d from page 1

been done before. By programming the GPS to take itsposition every 5 seconds and then simply walking the sitein a systematic pattern, I can create an extremely precisetopographic map which reveals, among other things, themodern terracing system. Most of these terraces result fromearlier building, both Roman and Lydian, some of whosewalls are still visible. Such mapping is a critical part of un-derstanding the urban structure of the city. A group of Turk-ish geophysicists is surveying another of the terraces. Us-ing variations in the earth's magnetic field, in the electricalresistivity and seismic conductivity, and other properties ofthe soil, they can distinguish anomalies which may repre-sent buried walls and other ancient features. All these meth-ods need to be followed up with excavation, but this sort ofdigless archaeology both helps to plan an organized cam-paign of excavation, and to interpret the relatively smallareas which we can dig in a wider urban context.

The archaeological expedition consists of about 25people, including archaeologists, architects, conservators,recorders, geographers and geophysicists, photographer,draughtsman, and specialists studying architecture, findsand other aspects of the site. We live in a comfortable com-pound built for the expedition in the shadow of the Templeof Artemis, with laboratories, depots, and workspaces. Thestaff of professors, students and specialists comes fromvarious universities, both American and foreign; and weexpect that UW students will be an important part of thefuture at Sardis.

His work appears in the New Yorker, GQ, Entertainment Weeklyand the New York Times.

WAYNE SAYLES (MA ‘86) published Classical Deception: Coun-terfeits, Forgeries, and Reproductions of Ancient Coins (Iola [WI]Krause, c 2001) and Ancient Coin Collecting II: Numismatics ofthe Greek World (same publisher). The former book was dedi-cated to Jane Hutchison; the latter to the memory of Warren G.Moon.

STEPHANIE SOLUM (BA ‘91 also English) is Assistant Profes-sor at Williams College.

JENNIFER STOFFLET (BA ‘91) is the Elvehjem's new Associ-ate Registrar. Before coming to the Elvehjem, she was artistand gallery coordinator for Guild.com, and also worked at theMadison Art Center.

Department of Art HistoryUniversity of Wisconsin-MadisonElvehjem Museum of Art800 University AvenueMadison, WI 53706-1479 USA

Nonprofit Org.U.S. Postage

PAIDPermit No. 658

Madison, WI

Form and Content, cont’d from page 5

larities between the ways of workingand the finished products created byboth dancers and visual artists. Ms.Cowles emphasized the power of"rhythm" to the work of both dancersand artists and even cited the tech-nique of Jackson Pollock to exemplifyhow a painter can truly find a rhythm inhis work and almost dance with histools. Ms. Cowles also pointed out thatmany modern dance choreographers(Merce Cunningham, e.g.) documenttheir choreography on paper and thatthis notation often resembles contem-porary art.

The body is the most essentialcomponent of the art of dance. Danc-ers use their bodies as the tools withwhich to perform their functions. More-over, for most dancers, the body actsas the life force, the source of inspira-tion, and the key ingredient to successand happiness both in the professionof dance and in life generally. One ofthe most compelling things Ms. Cowles

addressed was that, for those of us inthe United States at least, the bodycoexists as both an extremely familiarand a terribly foreign entity – a trickycombination for any dancer. Shepointed out, however, that art historyreveals to dancers specifically, and toall people generally, images of thebody and concepts of how the bodyhas been portrayed throughout time.It has documented the body in a per-manent manner, through sustainable,tangible media such as painting, sculp-ture and drawing. In this way, art his-tory provides a means of making thebody more familiar. Modern dance has,in part, drawn upon this art historicaldocumentation to develop its own his-tory of the body through its moreephemeral art.

Toward the end of our conversa-tion, Ms. Cowles remarked that "…sooften art reflects what is going on in itstime." This statement reiterates whatart historians practice on a regular

basis – i.e., observing artworks and art-ists not only for their formal elements, butalso for what they reveal about their timeand place in history. Modern dance is,according to Ms. Cowles, simply a partof the whole aesthetic culture. Thus, amodern dance reflects its place in his-tory as much as does any painting orsculpture. The goal of any art historian,dance historian, or even artist, is to rec-ognize this place in history, notice the pre-cedents of that place, and, from thatplace, construct a vision of the future.

Many thanks to those whocontributed to the Newsletter, toGene Phillips and Nancy RoseMarshall, who proofed all or some ofit, and especially to Sunshine Jansenwho turned all into final form. Theerrors remaining belong to me! GLG