newsMcIntire Department of ArtWinter 2013/14
from the chairLike the University at large, the Art Department is going through a process of rapidtransformation. We are all in debt to past Chair Howard Singerman, who is now thePhyllis and Josef Caroff Professor of Fine Arts and Art Department Chair atHunter College, for his guidance in the past three years. His inspiring and dedicated work putthe Art Department in a great position to face the upcoming changes.McIntire Department of ArtWe are hiring four new colleagues—two in Studio Artand two in Art History. A Lecturer in Drawing will joinus to meet the increasing demand for art classes,a testimony to the transformative work of the StudioFaculty with undergraduate students at the University,while the Ruffin Distinguished Artist in Residence willenrich the curriculum for our major in Studio Art.David Summers has announcement his retirement inSpring 2015 and following his legacy we are conductinga Legacy of Distinction hire in World Art History andTheory. We are also enriching our offerings in AncientArt with a position in Pre-classical Mediterranean Artand Archeology. Matthew Affron accepted the position2of Muriel and Philip Berman Curator of Modern Art atthe Philadelphia Museum of Art. Bernie Frischer is nowProfessor of Informatics at Indiana University. MaurieMcInnis has been appointed Vice Provost for AcademicAffairs at the University.Among this turn of events, some things remain thesame. The Art Department continues to stress itsinternational programs for undergraduates, graduates,post-doctoral scholars and for alumni, as well as itscollaboration with units across the University. One ofthe most enduring is the collaboration with the UVAArt Museums and four faculty members curatedexhibitions in the past year. Lawrence Goedde curatedan exhibition on prints and drawing that emergedfrom his graduate and undergraduate seminars. SarahBetzer wrote an essay for the exhibition catalogueÉmilie Charmy, which Matthew Affron curated. WilliamWylie curated an exhibition on landscape photographyand another on Ansel Adams.The PhD program in the History of Art and Architecturecontinues to thrive. In 2012–2013 thirteen studentsreceived their doctorates and now hold visiting,research, post-doctoral and tenure-track positions atuniversities in the US and abroad. Current PhDstudents were awarded fellowships from distinguishedinstitutions, in addition to receiving competitive UVAfellowship funding.The undergraduate program in Art History addedsmall topical classes to its curriculum to enhancestudents’ analytical skills and their close interactionwith professors.If you are in Charlottesville, please stop by. We wouldbe delighted to share with you in person the manyevents that are happening in the Art Department.— Francesca Fiorani, Chair
from the associate chairTaking over as the new Associate Chair of Studio Art has been an eye-opening experience, tosay the least. The previous chair, Dean Dass, deserves our gratitude for guiding us into ournew home in Ruffin Hall and getting our improved program going. Under Dean’s leadershipthe Studio Art program took off and we now serve more than 75 majors and minors, as well ascountless students from the general University population, in over 70 ARTS courses offered each year.We hang 25–30 Studio Art major thesis exhibitions each spring in the halls and galleries of Ruffin.More broadly, we have expanded opportunities for all UVA students to be involved in the visual arts,from making it in classes to experiencing it through exhibitions, visiting artist activities, or workshops.Other events kept the students and faculty busy throughout the year. The Festival of the Moving Creature, conceivedin part by our own Eric Schmidt, culminated in April withparades and exhibitions featuring the products of theyearlong collaborations. Over 1000 people attended theevent. Thanks go to the family of UVA alumnus StanWinston for providing much needed additional fundingfor the festival. The continued support of alum Lee EllenFleming’s Painter-in-Residence Program brought JulieHeffernan last October and will bring additional paintersto UVA over the next two years. Off grounds last summerthe Study Abroad in Italy course took fourteen studentsto Rome, Tuscany and to the 55th Venice Biennale tostudy photography and contemporary art and the Mountain Lake Biology Station courses and residency programswere expanded. The Studio Art faculty has been active intheir research and in the interest of space here I directyou to the Faculty News page for all the details.Finally, the biggest news this past year was theestablishment of the Ruffin Endowment for DistinguishedArtist-in-Residence. The Peter B. and Adeline W. RuffinFoundation have provided funding for an outstandingvisual artist to come work at UVA and teach advancedcourses. An artist is selected for a one-year appointmentand brings fresh perspectives and exciting opportunitiesto Studio Art. The inaugural Ruffin Artist-in-Residenceis Cindy Bernard, who comes to us from Los Angeles.She is running our Distinguished Major seminars and willteach a course on “Place and Memory” this spring.Stop by and see us when you are in the area and keep usupdated on what is happening in your life.—William Wylie, Associate ChairMcIntire Department of ArtLooking back at the highlights of the past year, I will startwith Ruffin Gallery, the main public face for our department.Leslie Cozzi (Art History, Ph.D. 2011) was the ﬁrst outsidecurator invited to put together an exhibition of facultywork. She opened the academic year with a two-partexhibit featuring work by the entire full-time and part-timefaculty, which gave many students the opportunity to seethe art of their teachers for the ﬁrst time. Megan Marlatt,Dean Dass and Lydia Moyer curated exhibitions thatdrew fantastic crowds on Final Fridays and presentedstudents with occasions to interact with cutting edge artand artists. In particular, Professor Moyer’s groupexhibition Terrestrial Transmissions ﬁlled the gallery withexperimental works that explored science ﬁction throughvideo art and offered a Professional Practice Panel withﬁve of the international artists from the exhibit.3
Patrick Dougherty [email protected] Camp. What was it like to work withPatrick Dougherty and the volunteers? What sortsof tasks did you and the volunteers complete inputting together the structures?Where did the sticks come from? Was it challengingto manipulate them?Sticks were donated by two landowners in southeast Albemarle county. The Sticks wereBill Bennett. Patrick is all about the Physical part ofharvested and chosen for the flexibility. Eachsculpture making. We worked daily for three weeksof the thousands of sticks were placed in thefrom 8–noon and 1–5, rain or shine. Patrick is asculpture under tension from bending. Thisvery warm person and a joy to work with. He is antension is what holds the sculpture together.excellent teacher gently coaching 200 untrainedThere are no fasteners, rope, or wire used to holdvolunteers in his unique way of working withthe sculpture together. The bent sticks, eachsaplings. The volunteers worked right alongsideunder tension with its neighbors is what holdsof Patrick and did everything from harvesting thethe work together.saplings, stripping leaves, drilling post holes andweaving the structure. Volunteers did everythingexcept for the basic Design which was Patrick’s.How do the Stickworks respond to their speciﬁcchosen location? What is the signiﬁcance of thetitle for the piece, “On the Fly”?About how many volunteers participated? Werethe volunteers mostly UVA students?The sculpture as designed by Patrick, is a seriesMcIntire Department of Artof cylindrical rooms, open to the sky, that cascade4There were about 200 volunteers, about halfdown the hill in a semi circle open to the east.from UVA and half from the Charlottesville/A serpentine river of sticks weaves its way aroundAlbemarle community.the tops of these circular structures. “On the Fly”,
with Bill Bennettalludes to the cascading aspect of the designand also to the improvisitory/jazz like methodthat Patrick employed to create this sculpture.What will happen to the sculpture in the future?The Sculpture will stay in place for at least oneyear and perhaps more depending on how itreacts to the weather etc. It will not be allowedto fall into ruin. It will be be taken down when itit is no longer beautiful.What did you enjoy most about working onthe project?Working with the 100's of volunteers. It takes acommunity to build a Stickwork Sculpture. Thecommunity spirit created by this sculpture willchange the Arts at UVA and the Charlottesvillecommunity for years to come. Jennifer Camp is a PhD canidate in the Graduate Programin the History of Art and Architecture. Associate ProfessorWilliam Bennett has taught sculpture at UVA since 1979.5
faculty newsDaniel EhnbomMatthew Affron contributed essays on Bloomsbury,Sonia Delaunay, and Fernand Léger in: Leah Dickerman,Inventing Abstraction: 1910–1925 (New York: The Museumof Modern Art, 2012). Dr. Affron also curated theexhibition Émilie Charmy, which was on view at The FralinMuseum of Art from August 23 through December 22,2013. The exhibition will travel to the Arts Club ofChicago in the spring of 2014.Paul Barolsky’s essay, “Michelangelo and the Power ofMcIntire Department of Artthe Imagination” is the introduction to the catalogue forthe current exhibition of the artist’s work at the NationalMuseum of Western Art in Tokyo.6Sarah Betzer had a fruitful year: not only did she receivetenure from the university; in March, 2013 she publishedthe well-received essay “Ingres’s Shadows” in thecentennial edition of The Art Bulletin. Dr. Betzer alsocontributed a catalogue entry on Gertrude Kasebier forthe exhibition A Generous Medium: Photography atWellesley 1972–2012 and an essay on Marie d’Agoult forthe compendium Plumes et Pinceaux—Discours de femmessur l’art en Europe (1750–1850). With the support of aFranklin Research Grant from the American PhilosophicalSociety, she spent the summer of 2013 in Paris pursuingresearch for a book project that is underway: Antiquityand the Body after Archaeology.Bruce Boucher lectured on Bartolo di Fredi at theMuseum of Biblical Art and gave a “More than the Score”lecture on Palladio and Jefferson on September 1.In addition to serving on the College Art Association’sMuseum Committee, Dr. Boucher also served on theUniversity’s Arts Strategic Planning Committee and waselected to the Association of Art Museum Directorsin December 2013. Dr. Boucher’s online bibliography ofAndrea Palladio was recently published by OxfordUniversity Press.Daniel Ehnbom co-directed the National Endowmentfor the Humanities July 2013 Institute, in which 24competitively chosen U.S. college and university professorsNEH Institute: India’s Past and the Making of the Presentfrom two- and four-year institutions participated in theproject, “India’s Past and the Making of the Present,”conducted in Delhi, Agra, and Varanasi. In May,Dr. Ehnbom gave the lecture, “For Gods and Kings:Themes and Styles of Indian Painting,” at the PortlandMuseum of Art in Portland, Oregon.Francesca Fiorani co-edited with Alessandro Nova thevolume Leonardo da Vinci and Optics: Theory and PictorialPractice (2013) and wrote four essays on various aspectsof the scientiﬁc knowledge of the young Leonardo daVinci. She co-organized with Marcia Hall two sessionson the Materiality of Colors at the annual conference forthe Renaissance Society of America in San Diego andhas given papers in Berlin, Paris and Florence.Douglas Fordham has been developing a series of newundergraduate classes for a range of new teachingformats including a Pavilion Seminar on “Nature asSymbolic Form”, an upper-level colloquium on “Art andthe British Empire,” and an introductory seminar on“Art and War.” He also completed the last two essays inwhat he half-jokingly refers to as his ‘George StubbsTrilogy’: “The Thoroughbred in British Art,” now appearingin The Cambridge Companion to Horseracing (CambridgeUniversity Press, 2013), and “George Stubbs’s The Zebraand the Spectacle of Fine Art,” to appear in The Cultureof the Seven Years’ War: Empire, Identity, and the Arts.(University of Toronto Press, late 2013). Douglas has hadthe pleasure of seeing thirteen PhD candidates receivediplomas that were completed and defended thispast academic year and will be continuing his work asDirector of Graduate Studies for 2013–2014.Larry Goedde’s essay surveying Renaissance andBaroque landscape traditions appeared in A Companionto Renaissance and Baroque Art (Wiley Blackwell, 2013).He also curated the exhibition, Traces of the Hand:Master Drawings from the Collection of Frederick and Lucy S.Herman, shown at UVA’s The Fralin Museum of Artduring the spring semester 2013. Highlighting 70 of the256 drawings in the collection and surveying the styles
Maurie McInnnisand subjects the collection embraces, the show alsooffered the opportunity to publish student research onthese drawings in the form of an on-line catalogue thatcan be found at: /index.html. The student research wasconducted in Larry’s graduate and undergraduateseminars from 2005 through 2012.Megan Marlatt’s most recent exhibition, Substitutionsfor a Game Never Played, held at the True F. Luck Galleryof The Visual Arts Center in Richmond, VA, opened inearly 2013 to high praise. In addition to her studio work,she also recently conducted a Big Head (or “Capgrosso”)making workshop with the Spanish artists Ventura andHosta at UVA and The Visual Arts Center of Richmondduring the spring of 2013. Ms. Marlatt just ﬁnishedorganizing and participating in “ArtLab @ MLBS,”a program that brought 12 artists, art students andalumni to the UVA Mountain Lake Biological Stationfor a 3-week artist-in-residency program.Douglas FordhamPavillion Seminar: Nature as Symbolic FormIn 2013, Pamela Pecchio participated in several groupand solo exhibitions. Her work was shown at the RISDMuseum of Art in Providence, RI, the Indianapolis Museumof Contemporary Art, the North Carolina Museum of Artin Raleigh, NC, among several other venues.Eric Ramirez-Weaver wrote the article “CarolingianManuscript Illumination” for Oxford Bibliographies Online:Medieval Studies. In addition, he presented his paper,“Reading the Heavens: Revelation and Reiﬁcation in theAstronomical Anthology for Wenceslas IV,” for the5th Annual Lawrence J. Schoenberg Symposium onManuscript Studies in the Digital Age at the SchoenbergInstitute for Manuscript Studies, University ofPennsylvania and Free Library, Philadelphia.Congratulations are in order for Maurie McInnis, whoin January, 2013 was appointed Vice Provost for AcademicAffairs. Over the past year, she has given severallectures related to her most recent book, Slaves Waitingfor Sale: Abolitionist Art and the American Slave Trade.This exceptional book was awarded both the Library ofVirginia Literary Award for non-ﬁction (2012) andthe Smithsonian American Art Museum’s Charles C.Eldridge Prize for outstanding scholarship in the ﬁeld ofAmerican Art, 2012.Over the past year, Tyler Jo Smith has publishedseveral articles and given a number of lectures, includingher most recent, “Teaching Death on Site,” presented atthe annual meeting of the Classical Association of theMiddle West and South at the University of Iowa.In April, 2013, Dr. Smith accompanied four graduatestudents from the Classical Art and Archaeology Programto this annual meeting held in Iowa City. There, theypresented papers at a panel, co-organized by Dr. Smithand recent PhD recipient Carrie Sulosky Weaver,on the topic “Between Hypnos and Thanatos: TeachingGreek Death.” During the summer of 2013, Dr. Smithaccompanied several current UVA students and alumnito the excavations at Hacimusalar, Höyük, Turkey, whereshe served as a Pottery and Sculpture Specialist.Alyssa Mumtaz joined the department in 2012.Dorothy Wong’s edited volume, China and Beyond in theMs. Mumtaz participated in both group and solo exhibitionsover the past year, including the group exhibitionIlluminated Geographies: Pakistani Miniaturist Practice inthe Wake of the Global Turn at Tufts University Art Gallery.The exhibition was featured in “Origin, Departure,”a collaborative project with art history graduate studentMurad Khan Mumtaz. In August, 2012, Alyssa wasan artist in residence at Santa Fe Art Institute.below, top to bottomMegan Marlatt. The Big HeadBrigade at SkowheganPERFORMS,Socrates Park, NYMegan Marlatt. The Big HeadBrigade at The March of theColonels, Louisville, KYDorothy WongMedieval Period: Cultural Crossings and Inter-regionalConnections (co-editor Gustav Heldt) was published infall, 2013, as part of the Nalanda-Sriwijaya Series(New Delhi: Manohar Publishers; Amherst, NY: CambriaPress). The twenty-one chapters (including one chapterby Wong, another chapter by Eric Ramiréz-Weaver,an epilogue by David Summers and chapters by twoother UVA faculty) in the volume examine trans-regional7
and cross-cultural exchanges between China andneighboring cultures in Central, South, Southeast, andNortheast Asia, as well as contacts among thosecultures from the beginning of the Common Era to thetenth century and beyond. In 2012–13, Wong has alsogiven various talks, including the Robert L. KelloggLecture for the Medieval Studies Program at UVA.In April, 2013, Elizabeth Schoyer lectured at JamesMadison University on the subject of her 2012 soloshow, Natural Histories: Egypt, Antarctica, Suriname andthe Amazonia, shown at Hobart and William SmithColleges in Geneva, New York.William WyliePompeii Steps, 2013Pigmented ink print, 40 x 50 inches8William Wylie was on leave in the fall and inresidence at ART342 in Fort Collins, CO while shootinghis documentary ﬁlm Prairie, about the six-man footballteam at a small rural school. He followed the teamthrough the entire 2012 season. After that he wasawarded the Yale University Art Museum’s Doran/LeWitt Residency in Praiano, Italy on the Amalﬁ Coast.He produced a new series of photographs and videopieces in Pompeii and on Mount Vesuvius. His workwas featured in solo and group exhibitions at Yale,The Joslyn Museum of Art and the Amon Carter Museum.He ended the academic year teaching another of thebi-annual Study Abroad classes in Italy where hisstudents made unique pinhole cameras to photographin Rome, Tuscany and Venice.
vrc newsWe’ve transitioned from thumb-tacking mounted studyphotographs to the walls, to implementing websites forimage study in the mid-1990’s, and ﬁnally to postingimages directly into the ARTstor image database wherefaculty, teaching assistants, and students can create theirown collections of images for study. For several decadeswe were known as the “Slide Room,” but with the adventof digital media we became the VRC. As the Universityﬁrst sought to equip each faculty member with a computer,we naturally grew into a departmental resource fortechnological assistance. The Teaching TechnologyInitiative supported our effort to develop a database andwebsite automation tool with a grant in 1999, and theresulting ARTemis database and ARTgus tool provideda working system that met faculty needs when nocommercial solution was available. When digital projectorsgained ubiquity we assisted the faculty still using 35mmslides in making the transition to teaching digitally.For more than ten years, we successfully leveregedARTemis/ARTgus, making tweaks to it along the way.When ARTstor, an image database subscribed to bythe University library, began a pilot program hostinguniversity image collections, the VRC blazed the trailfor other collections at the University. Once that pilotprogram ended, ARTstor offered a fully functionalcataloging subscription service, Shared Shelf, which wehave been working with for three years. New imagecollections from faculty and students have grownorganically from this, and we continue to see a strongdemand for the service of assisting individuals indeveloping their own cataloged image archives.The incredibly rapid pace of technological advancementover past two decades presented a broad range ofchallenges and opportunities, which I believe we met withenthusiasm and creativity. I’m so proud and grateful tohave been a part of this period in the Department’shistory, and I feel conﬁdent the next two decades will beequally transformative. Unfortunately, I won’t get toparticipate directly in the future of the VRC and thedepartment, as my family will relocate to Houston in thesummer of 2014. I’m deeply saddened at the prospect ofsaying goodbye to so many good friends and colleagues,and at leaving the community of UVA and Charlottesville,but I look forward to reading about all the excitingdevelopments in the Department and in the lives andcareers of our alumni in future newsletters. With deepestappreciation to all of you who made this such a specialplace over the years.—Leslie RahubaMcIntire Department of ArtWith each passing year the Visual Resources Collection(VRC) continues to grow and evolve in both its reachand services. Having now served as the Director of thecollection for 18 years, I’ve had the pleasure to witnessand facilitate a large portion of that evolution andgrowth, and I’d like to take this opportunity to reﬂect onthat development.9
alumni newsgraduateart historyLarry Ball (PhD, 1987), professor of Art History at theUniversity of Wisconsin, recently co-authored areport on the Pompeii Forum Project with University ofVirginia’s Dr. John Dobbins for the July 2013 issue of theAmerican Journal of Archaeology. Dr. Ball spent muchof his summer working on the second part of the report,also co-authored with John Dobbins. In addition, Dr. Ballspent three weeks in June and July leading a UWSPInternational Programs Art History course in Italy.Katherine Eve Baker (PhD, 2013) successfullydefended her dissertation this past year and now livesand works in Paris, France as a Chercheure Accueillir forthe Institut National d’Histoire de l’Art.Adjunct Assistant Curator for Research and Exhibitions,McIntire Department of ArtCatherine Craft (MA, 1989), recently published a10book on Robert Rauschenberg (Phaidon Press, 2013) inaddition to essays for Katharina Grosse: Wunderblock(Dallas: Nasher Sculpture Center, 2013) and Return toEarth: Ceramic Sculpture of Fontana, Melotti, Miro, Noguchi,and Picasso, 1943–1963 (Dallas: Nasher Sculpture Center,2013). In January, 2013 Ms. Craft gave a paper at theUniversity of Pennsylvania for the Intimate CollaborationConference entitled “Falling in Love and OtherCollaborative Acts.” Ms. Craft also co-chaired a panelsession on “The Photographic Object” for the 2013College Art Association conference.In addition to working as a Curatorial Associate for theHammer Museum in Los Angeles, Leslie Cozzi (PhD,2012) recently published “Notes on the Index: ItalianFeminism and the Art of Mirella Bentivoglio and Ketty LaRocca” in Cahiers d’Etudes Italiennes (vol. 16).Anne Derbes (PhD, 1980), Professor of Art History atHood College, has been working on a forthcoming essayentitled “Patronage, Gender and Generation in LateMedieval Italy: Fina Buzzacarini and the Baptistery ofPadua,” in Medieval Patronage: Patronage, Power and Agencyin Medieval Art, edited by Colum Hourihane and to bepublished by Penn State University Press. In February2013, Dr. Derbes gave a talk with Mark Sandona at thesymposium, “Florence at the Dawn of the Renaissance,”held at the J. Paul Getty Museum.Jill Deupi (PhD, 2006), Founding Director and ChiefCurator of the Bellarmine Museum of Art at FairﬁeldUniversity, has recently published several exhibitioncatalogues including Excavation: Recent Photographs byStanley Greenberg (April 2013) and Collen Browning(January 2013). In November 2013, Dr. Deupi delivereda lecture entitled “The Art of Seeing: Collaboratingwith Students in the Medical Arts,” at the NEMA AnnualConference.In addition to being kept busy by his two young children,Andrew Graciano (PhD, 2002), Associate Professorof Art History and Associate Chair and GraduateDirector of the Department of Art at the University ofSouth Carolina, has been hard at work on hisforthcoming edited volume, Alternative Venues: Solo andThematic Art Exhibitions, 1775–1999.Joyce Bernstein Howell (PhD, 1988) is a Professor ofArt History at Virginia Wesleyan College in Norfolk, VA.Carolyn W. Ihde (MA, 1981) works as the Director ofLucas Public Library in Lucas, Kansas.Fredrika Jacobs (PhD, 1979), Professor Emeritus inthe Department of Art History at Virginia CommonwealthUniversity, recently published Votive Panel Paintings andPopular Devotion in Italy, circa 1470–1610 (CambridgeUniversity Press, 2013).SeungJung Kim (MA, 2004) is a MellonInterdisciplinary Fellow at the Interdisciplinary Centerfor Innovative Theory and Empirics (INCITE) at ColumbiaUniversity. In the fall of 2013, SeungJung worked asan Assistant Professor in Greek Art and Archaeology inthe Department of Art, University of Toronto.Gretchen Kreahling McKay (PhD, 1997), AssociateProfessor of Art History for McDaniel College and Chairof the Department of Art and Art History, will presenttwo “Reacting to the Past” modules at the 13th annualReacting to the Past Faculty Institute at Barnard College.The modules will focus on Byzantine iconoclasm and artin Paris, 1888–89.
Catherine CraftAnne DerbesNorman Land (PhD, 1974) is a Professor of ItalianRenaissance Art and Baroque Art at the University ofMissouri-Columbia. In 2012 he published two articles inSource: Notes in the History of Art.Faith Lee (MA, 1990) is employed as a ReferenceLibrarian for the Falmouth Public Library in Falmouth, MA.In February, 2013, Ismini Miliaresis (Ph.D., 2013)successfully defended her dissertation, “Heating andFuel Consumption in the Termo del Foro at Ostia.” Overthe past year, Dr. Miliaresis has presented papers at the2012 Annual Meeting of CAMWS Southern Section inTallahassee, the 2013 Annual Meeting of the ArchaeologicalInstitute of America in Seattle, and the Annual GraduateArchaeology Conference at Oxford, UK.Robin O’Bryan (PhD, 2000), adjunct faculty memberof Harrisburg Area Community College in Harrisburg,PA, presented a paper at the Renaissance Society Conference of America in San Diego, CA. Her most recentarticle, “Grotesque Bodies, Princely Delight: Dwarfs inItalian Renaissance Court Imagery” appeared in the 2012issue of Preternature: Critical Studies on the Preternatural.Eric E. Poehler (PhD, 2009), Assistant Professor ofClassics at the University of Massachusetts, Amherst,has been busy working on several publications, includinghis most recent book, still in preparation, entitled TheTraffic System at Pompeii. Dr. Poehler is the recent recipientof several grants and awards, including The AmericanCouncil of Learned Societies Digital Innovation Fellowship.Etta Marie Sepe (Saunders) (PhD, 1998), aContract Specialist for the Defense Threat ReductionAgency in Fort Belvoir, VA, recently delivered the talk“Patents, You, and the DD 882” at the DTRA Contract’sOffice Training Week.Monica Shenouda (PhD, 2010), teaches the History ofItalian Renaissance Art at Pepperdine University in Florence.Jill DeupiFredrika JacobsAmerican Culture Association on the subject, “WhatWould You Do?: Mike Malloy’s Insure the Life of an Ant.”Linda Crocker Simmons is a Curator Emerita of theCorcoran Gallery of Art, Washington, DC. She consultswith the Alice Ferguson Foundation and frequentlywrites for their publications and websites.Paula Warrick (MA, 1988) is employed as theDirector of the Office of Merit Awards for the AmericanUniversity Career Center.After successfully defending her dissertation in January,2013, Carrie Sulosky Weaver (PhD, 2013)subsequently was named the Kenneth P. Dietrich Schoolof Arts and Sciences Postdoctoral Fellow at theUniversity of Pittsburgh in Pittsburgh, PA. Dr. Weaveralso presented a paper at the 109th Annual Meeting ofthe Classical Association of the Middle West and Southon the topic, “Between Hypnos and Thanatos: TeachingGreek Death. Perceptions of Death and Disease.”In April 2013, Dan Weiss (PhD, 2012), AssistantDirector of the Visual Resources Collection at theUniversity of Virginia, gave a lecture at Virginia Techentitled Mapping the War Zone: Digital Archaeologyon the Roman Frontier. In addition, Dr. Weiss hascomposed a forthcoming entry in the Dictionary of LateAntiquity on “Frontier, Roman Military, Danube.”Barbara Zabel (PhD, 1978), Professor Emeritus of ArtHistory at Connecticut College, recently curated andwrote the catalogues for two exhibitions at the LymanAllyn Art Museum in New London, CT: America @ Work:New Deal Murals in New London and Beyond (2012)and Pop Goes the Easel: Pop Art and Its Progeny (2013).In addition to her curatorial work, she has also been busygiving a lecture series for the Florence GriswoldMuseum in Old Lyme, CT entitled “Ashcan to Soup Can:The Vernacular in American Art.”Gerald Silk (PhD, 1976), Professor of Modern andContemporary Art and Chair of the Department of ArtHistory of Temple University, recently gave a lecture inWashington, DC for the Popular Culture Association and11
alumni newsundergraduateart historyPhD Candidate Kelly Ann Accetta (2010) studiesarchaeology in the Department of Anthropology andArchaeology at the University of Cambridge, UK.Ms. Accetta has given several conference papers overthe past year, including, “King of Kings—The Life andDeath of Ramses the Great,” given at the 2013 SidneySussex College Graduate Conference in Cambridge, UK.An essay by Ms. Accetta may be found in CurrentResearch in Egyptology 2012: Proceedings of the ThirteenthAnnual Symposium.Katherine Wright Baumgartner (1983) is theDirector of Godel & Co., Inc., a ﬁne arts gallery in NewYork City that specializes in 19th- and early 20th-centuryAmerican paintings.Artist Stephanie Beck (1998) lives and works inBrooklyn, NY. In
international programs for undergraduates, graduates, post-doctoral scholars and for alumni, as well as its collaboration with units across the University. One of the most enduring is the collaboration with the UVA Art Museums and four faculty members cura