Faculty News


Linda Armstrong's 
pedagogy currently focuses on research and development of new studio courses, from the establishment of a printmaking studio to mixing egg tempera paints and testing recipes for walnut ink for drawing. Armstrong attended the Southern Graphics Council International Conference in 2015, where she was introduced to a spectrum of low-tech innovative printmaking techniques that are currently being adapted to the new Printmaking and Drawing courses. Collaborating with Kerry Moore on the Foundations in Art Practices courses has been primary. In preparation for FAP, Armstrong had the opportunity to work with a SIRE research student in 2014. Her recent exhibitions include Gathering: Georgia Artists Selecting Georgia Artists at the Museum of Contemporary Art of Georgia in Atlanta (2015); Social and Politically Engaged Art, Fl3TCH3R EXHIBIT at the Reece Museum in Johnson City, TN (2014); and Dry, Tempus Projects, in Tampa, FL (2014).

Jean Campbell 
spent the past year on a number of different projects, ongoing and new. She contributed an essay to the catalogue for the exhibition Ornament and Illusion: Carlo Crivelli of Venice, which opens in the fall of 2015 at the Isabella Stewart Gardner Museum in Boston. Research for the essay “Grace in the Making: Carlo Crivelli and the Techniques of Devotion” took her to museum collections in the United States and Europe and culminated in a March visit to Berlin, where she participated as both speaker and chair in the three lively sessions dedicated to Crivelli at the annual meeting of the Renaissance Society of America. Earlier in the year, she joined a roundtable convened by Patricia Rubin at the Institute of Fine Arts in New York to consider the question of “fieldwork.” She was also recently appointed to the advisory board for Dante Studies, the flagship journal of the Dante Society of America. Campbell’s supervision of two of graduate students, Laura Somenzi and John Witty, in the projects they have undertaken for the Mellon Fellowship in Object-Centered Curatorial Research has occasioned several field trips. Their shared adventure in close looking has so far featured a group visit to the National Gallery in Washington for the extraordinary exhibition of the work of the great Florentine Renaissance painter Piero di Cosimo and an exhilarating day in Bologna tracking the extant and relatively humble works of local 15th-century painter of Madonnas, Giovanni Francesco da Rimini. Meanwhile, her ongoing research on the Veronese painter Pisanello and his techniques of invention took her to the splendid sites of his monumental paintings: the churches of Verona and the castle of the Gonzaga in Mantua. 

Todd Cronan 
Undoubtedly, the big news of 2015 for Todd Cronan was the birth of his second son, Leo, in February. And while the timing could not have been much worse, Cronan chaired a two-day Mellon-sponsored conference at the Los Angeles County Museum of Art on Photography and Philosophy in early March. In addition, he delivered talks on intentionality at Yale University, on Rodchenko at the College Art Association and at the Los Angeles County Museum of Art, on the Bauhaus at the University of Basel, and on Richard Neutra and Rudolf Schindler in Vienna at the Papanek Foundation. He was proud to receive reviews of his first book, Against Affective Formalism, in the Los Angeles Review of Books, Art Journal, The Burlington Magazine, and the Journal of European Studies as well as a review essay in Art History and a symposium devoted to the book published in nonsite.org. Cronan published two entries in the Encyclopedia of Aesthetics, an essay on Max Ernst in the Getty Museum catalog Apocalypse 1914: Artists and the First World War and reviews in Art Bulletin, History of Photography, and Radical Philosophy. A highlight of the year was a keynote talk delivered at the Museum of Modern Art around the exhibition Matisse: Cut-Outs.

Susan Elizabeth Gagliardi 
welcomed the February 2015 publication of Senufo Unbound: Dynamics of Art and Identity in West Africa and the publication of the book’s French translation in September. The Cleveland Museum of Art (CMA) and 5 Continents Editions published the English and French versions of the book in conjunction with the CMA’s major international loan exhibition Senufo: Art and Identity in West Africa. Gagliardi delivered related lectures at the CMA and the Saint Louis Art Museum (SLAM) in February and September. In addition, she and her CMA colleague Constantine Petridis presented the project at the CMA, SLAM, and Emory as well as at the Musée du quai Branly in Paris. With support from the Emory Center for Digital Scholarship, Gagliardi and Petridis continue their collaboration through development of the digital publication Mapping Senufo. A dedicated team of undergraduate research assistants has contributed significantly to the digital project. In addition, Gagliardi is working on several articles and a second book focused on the seen and unseen dimensions of West African power association arts. The studies draw on 22 months of fieldwork she conducted in western Burkina Faso as well as museum-based and archival research. She shared some of this research with audiences at Nanjing University in China in December 2014, at the European Conference on African Studies in France in July 2015, and at the University of Oregon in October.

Lisa Lee
completed her manuscript, Isa Genzken: Sculpture as World Receiver, during the 2014–2015 academic year. The monograph spans the 40-year career of this inventive contemporary artist. Her edited volume, Isa Genzken, in the October Files series from the MIT Press, appeared in February. In the context of its retrospective of the work of Columbian artist Doris Salcedo, the Museum of Contemporary Art in Chicago hosted a conversation between Lee and the Chicago-based artist Theaster Gates. Lee undertook research trips to Frankfurt and Berlin. She also attended the 56th Venice Biennale, which included contributions from Genzken and Thomas Hirschhorn, two artists of central concern in her scholarship.

Sarah McPhee
 served Art History as chair during the 2014–2015 academic year and is now director of graduate studies. She continued work on her monograph on the 17th-century Italian etcher Giovanni Battista Falda and on her digital humanities project, Virtual Rome, based on Falda’s great map of Rome and views of the city. She lectured on these projects at the University of Iowa in September. In March she traveled to Berlin, where she presented the paper “Falda’s Map as a Work of Art,” which she is currently preparing for publication. McPhee’s Bernini’s Beloved: A Portrait of Costanza Piccolomini was reviewed in the New York Review of Books in June and was named a “best book of the year” in the London Observer in July. She has been invited to speak on the subject in January at the Jaipur Literature Festival in India. There have been promises of elephants and palanquins. 

Walter Melion
 was the Lumsdem-Kouvel/Mellon/NEH Fellow at the Newberry Library for 2014–2015 and the Brill Fellow at the Scaliger Institute, Leiden University, during summer 2015. He concurrently held the Franqui Distinguished Visiting Professorial Chair at the Université Catholique, Louvain-la-Neuve, and the Katholieke Universiteit Leuven. He published four articles and a coedited volume, Imago Exegetica: Visual Images as Exegetical Instruments, 1400–1700 (Brill). The articles, in order of publication, were “Visual Exegesis and Pieter Bruegel’s Christ and the Woman Taken in Adultery” and “Meditative Exegesis and the Trope of Conversion in Dirk Vellert’s Calling of Peter and Andrew of 1523,” both in Imago Exegetica, 1–41 and 211–63, respectively; “Caelatum in transitu: Karel van Mander’s The Nativity Broadcast by Prophets of the Incarnation and its Visual Referents” in A. den Hollander et al. (eds.), Religious Minorities and Cultural Diversity in the Dutch Republic (Brill), 89–110; and “Religious Plurality in Karel van Mander’s The Nativity Broadcast by Prophets of the Incarnation of 1588,” in F. Dietz et al. (eds.), Illustrated Texts in the North of Europe, 1500–1800 (Ashgate), 77–112. He also published the encyclopedia entry “Hendrick Goltzius—Religious Imagery,” in D. C. Allison Jr. et al. (eds.), Encyclopedia of the Bible and Its Reception, Vol. 10: Genocide to Hamutal (De Gruyter), cols. 604–607; a book review on Boudewijn Bakker’s Landscape and Religion from Van Eyck to Rembrandt, in Renaissance Quarterly; and an exhibition and book review on Koenraad Jonckeere’s Michiel Coxcie, 1499–1592, and the Giants of His Age, in CAA Reviews 2014.

He gave 17 papers at conferences and colloquia, including the Ranke Institute for the Humanities at the University of Chicago, the Historians of Netherlandish Art Quadrennial Conference, the Sixteenth Century Studies Conference, the Newberry Library, and the Renaissance Society of America Annual Conference. He also co-organized multiple sessions at the Sixteenth Century Studies Conference and the Renaissance Society of American Annual Conference. Additionally, as Franqui Chair at Louvain-la-Neuve and Leuven, he gave eight public lectures. He co-organized the Fifth Lovis Corinth Colloquium, “Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1400–1700,” which took place at Emory from October 29 to 31. Melion is the recipient of the 2016 Distinguished Scholar Award from the American Catholic Historical Association.

Linda Merrill
 coordinates the department’s historical survey course, serves as the director of undergraduate studies in art history, and teaches American and 19th-century European art. In connection with her supervision of graduate student teaching assistants, she took part in both the Institute for Pedagogy in the Liberal Arts at Oxford College and the Annual Teaching Professor Conference, which took place in Atlanta in 2015. She also continued her collaboration with the Freer & Sackler Galleries at the Smithsonian Institution, on an exhibition that will open in early 2016, The Lost Symphony: Whistler and the Perfection of Art. She appeared in the PBS documentary James McNeill Whistler and the Case for Beauty, for which she also served as a consultant. At an international scholars’ colloquium at the University of Glasgow Merrill presented “Revisiting ‘The Ten O’Clock,’” establishing the scope of her current research on Whistler’s radical late-night lecture of 1886. Last summer she spent six weeks in Oxford, England, teaching Victorian art and design in Emory’s British Studies Program.

Kerry Moore 
developed and implemented the sculptural phase of the new Foundations in Art Practices course sequence. In a series of projects that ranged from carving to assemblage, students gained experience in a range of techniques used from prehistory to the present. A visit to Florence and Venice afforded him an opportunity to study many of the great examples of sculpture of the Renaissance. He spent a portion of the summer planning a sculptural installation that will be put in place early next year at the southern end of Hartsfield-Jackson Atlanta International Airport’s Concourse E. 

Elizabeth Pastan
 contributed to two developments of importance for medievalists on campus this year: overseeing the arrival of the Lyman Madonna, a rare medieval sculpture in wood given by the family of Thomas and Mollie Lyman (founding members of the art history and studio faculties at Emory, respectively) and, along with English professor James Morey, arranging for Emory to host the spring 2018 meeting of the Medieval Academy of America. Continuing in her role as president of the American Corpus Vitrearum, Pastan obtained a Kress History of Art grant for the organization. With her edited volume of the Journal of Glass Studies appearing in September and her book, The Bayeux Tapestry and its Contexts, out in December 2014, Pastan focused on a new research project on rose windows and debuted new material in conference papers in Boulder and Montréal. Some of her findings will appear in the volume on medieval stained glass she is editing with Brigitte Kurmann-Schwarz for Brill’s series on Medieval sources. The most unexpected event of last year was that Pastan's article on the Charlemagne window at Chartres Cathedral was translated into Czechoslovakian for Peter Kovác's anthology on the cathedral. It appears as “Karel Veliký jako svetec?”

Gay Robins'
 chapter on “Gender and Sexuality” was published in M. Hartwig (ed.), A Companion to Ancient Egyptian Art (Chichester: Wiley Blackwell, 2015), 120–140. In February Robins gave a lecture in the Michael C. Carlos Museum on “The Color of Creation,” in conjunction with the exhibition African Cosmos: Stellar Arts. In April she presented the paper “Nefertiti Pours a Drink for Akhenaten in the Tomb of Her Steward Merira” at the annual meeting of the American Research Center in Egypt. She spent six weeks at the Sackler Library in Oxford, England, in July and August reworking and expanding the paper for publication. She was later commissioned by Oxford University Press to contribute an article on ancient Egypt to the new online publication Oxford Bibliographies in Art History.

Judith Rohrer
 is on sabbatical this academic year prior to her retirement in August 2016. Her lead essay, “La Sagrada Família Overview,” in the exhibition catalog Sagrada Familia: Gaudí’s Unfinished Masterpiece. Geometry, Construction, and Site at the CUNY Spitzer School of Architecture was cited in a New York Review of Books essay on the show (June 25, 2015). She formed part of the academic committee that organized the 2nd International CoupDefouet Conference on the Art Nouveau held in Barcelona in June, where she presented the keynote address “Before We Break the Glass Ceiling, Let’s Find Out Who Designed It: Some Thoughts About Women and the Art Nouveau.” She is looking forward to a reunion with students who participated in her “Architecture on Display: the Venice Biennales” seminar at the 2016 Biennale next summer. 

Renée Stein
received the Sheldon and Caroline Keck Award from the American Institute for Conservation in recognition of her long-standing commitment to the education and mentoring of conservation professionals. With Emily Farek 13C, Stein developed a new docent-led public tour of the Carlos Museum, using examples of conservation treatment, research, and preventive care to highlight the role of science in the preservation of museum collections. With Jasper Gaunt of the Carlos Museum, Susan Blevins 14PhD, and others, she completed a multiyear project to determine ancient quarry sources for marble sculptures in the Carlos Museum’s Greek and Roman collections, summarizing these results for the 11th International Conference of the Association for the Study of Marble and Other Stones in Antiquity. With Courtney Murray 11C and Jeannette Taylor of Emory’s Apkarian Integrated Electron Microscopy Core, Stein coauthored a poster on imaging cyclododecane for the conference Subliming Surfaces: Volatile Binding Media in Heritage Conservation at University of Cambridge. She contributed to symposia at the Walters Art Museum on ancient Andean textiles and on science in art museums. She also presented a session on fresco painting and using hands-on workshops to teach technical art history at the Summer Teacher Institute in Technical Art History at Yale University.

Rebecca Stone
had a big academic year in that on the heels of the successful exhibition based on her book,The Jaguar Within, at the Carlos Museum, the reinstallation of the Americas permanent collection opened in February 2013. Lots of programs and press coverage kept her busy, as did final tweaks to misprinted labels and the usual snafus. Graduate students Jennifer Siegler, Meghan Tierney, Andi McKenzie, Shelley Burian, and Jenny Butterworth kept moving through the stages of their dissertation projects. Research turned into an article co-written with Laura Brannen Wingfield on Costa Rican ceramic effigies of "Grandmother Jaguar," the world creatrix, and the talk "Disability as Divine" at the Society for Disabilities Studies conference in June in Orlando. The drafting of a College Art Association talk on Quechua concepts as expressed in Andean textiles and committee work to orient high school teachers to the new Advanced Placement Art History curriculum and exam (redesigned with 33 percent non-Western art now) completed the summer schedule. She looks forward to working with interns on two Carlos Museum projects: a small installation of Huichol beadwork and yarn paintings to take the place of the Southwestern ceramics in the new gallery dedicated to Native North American art at the Carlos, and selecting the objects for a large temporary exhibition of indigenous textiles produced in the Americas and drawn from the permanent collection, to open in spring 2017 (There are only 700 or so to choose from, so it shouldn't be much!).

Eric Varner's
 most recent article, “Fluidity and Fluctuation: The Shifting Dynamics of Condemnation in Roman Imperial Portraiture,” appeared in Bodies in Transition: Dissolving the Boundaries of Embodied Knowledge, edited by D. Boschung, A. Shapiro, and F. Wascheck. The volume is based on papers presented at a 2011 conference at the Center for Advanced Studies Morphomata in Cologne. Last spring Varner was invited to deliver the keynote address for the fifth annual Visual Culture Symposium sponsored by the Art History Graduate Forum at Georgia State University. The title of the symposium was “Out of the Ashes: Creative Destruction” and Varner’s paper is titled, “Destructive Aesthetics: Mutilating Portraits in Ancient Rome.” This fall he presented research on Nero’s portraits at a colloquium for the graduate students in ancient Mediterranean art at the University of Pennsylvania. In May and June he had the great pleasure of leading 12 wonderful students on the Art History Summer Study Abroad Program in Rome.

Bonna Wescoat
 spent the 2014–2015 year at the National Humanities Center in Research Triangle Park, N.C., during which she worked on a new book on Samothrace. In conjunction with the return of the newly cleaned Winged Victory (Nike) to its splendid perch on the Daru Staircase at the Louvre, Wescoat lectured on Samothrace, and particularly on the work in the Sanctuary centered on the Nike Precinct, in North Carolina, Ohio, New York, New Orleans, Aarhus, Turin, and Paris. In June Wescoat presented recent work in the Sanctuary of the Great Gods at a symposium held at the Akropolis Museum in Athens in conjunction with the exhibition Samothrace: The Mysteries of the Great Gods. Several publications came out within the year, most notably Wescoat’s contributions to The Winged Victory of Samothrace, published in French and English by the Louvre (eds. M. Hamiaux and L. Laugier), and “Building and Patronage in the Greek and Roman World” for The Oxford Handbook of Greek and Roman Art and Architecture (ed. C. Marconi). Also this year, Wescoat was appointed Samuel Candler Dobbs Professor of Art History, joining the strong cohort of named chairs within the department.

Additionally, in 2015 the Samothrace team had very strong success with external funding sources, receiving a grant from the Malcolm Hewitt Wiener Foundation to pursue scientific initiatives in the Sanctuary, a National Geographic grant to enhance the 3-D digital model and animations tracing the path of the pilgrim into the Sanctuary, a Partnership University Fund (PUF) Fellowship with Université de Bordeaux-Montaigne to investigate architectural networks of the northern Aegean, and an NEH collaborative Research Grant to publish the performative heart of the Sanctuary centered on the theater, stoa, and Nike Monument. The team will center its work on these projects for the next three years.