On September 24th, American University hosted the 14th Annual Graduate Symposium in the History of Art. Four MA students from the American University Art History program presented the following papers:
–Erica Bogese, “Constructing Citizenship: Jacques Louis David’s Lavoisier Portrait”
–Sarah Hines, “Captivity, Resistance, and Female Empowerment: Narratives of Women’s Strength in the Work of Harriet Hosmer”
–Leah Haines, “The Temporalities of Work and Rest: Camille Pissaro’s Peasant Woman”
–Becca Blader, “Balance and Mirrors in Joseph Jachna’s Landscape Photography”
Each of these papers was drawn from the students’ ongoing or completed thesis projects. Congratulations to all those who presented, and to George Washington’s three speakers for their excellent contributions to the symposium.
AU Students Erica Bogese, Sarah Hines, Leah Haines, and Becca Blader (left to right) pose in Katzen Art Center
Leah Haines presents her paper, “The Temporalities of Work and Rest: Camille Pissaro’s Peasant Woman”
Erica Bogese presents her paper, “Constructing Citizenship: Jacques Louis David’s Lavoisier Portrait”
Professors Juliet Bellow (far left) and Helen Langa (far right) pose with their advisees after the symposium
Over the past year, Dr. Juliet Bellow has spearheaded a new initiative at caa.reviews, the College Art Association’s online reviews journal. About the project, Dr. Bellow said the following:
“If caa.reviews were performance.reviews” is the first installment of a new initiative at caa.reviews to cover dance, performance, and other time-based media staged in museums and galleries. The initiative grew out of my participation in a 2015 panel at CAA called “Dance in the Art Museum.” It occurred to me that caa.reviews ought to seize the opportunity to engage with the increasing number and prominence of live events in the museum setting–and that, in covering such events, the journal could become a venue for art historians to carry on a cross-disciplinary dialogue with scholars of dance, performance, film, and music. To that end, I commissioned three dance historians to write about Boris Charmatz’s marathon two-day intervention at the Tate Modern last year. I’m excited not only about the content of those reviews, but also the format. Wanting to capitalize on the fact that caa.reviews is the only one of CAA’s journals to be published entirely online, we used the digital platform Scalar to create a multimedia piece that includes images, video, and an interactive map. My hope is that, in the future, all of caa.reviews‘ content can take better advantage of such digital resources!
Check out Dr. Bellow’s introduction to the project by following the link: http://scalar.usc.edu/works/caa/introduction
Congratulations, Dr. Bellow!
On September 14th Dr. Joanne Allen took her Medieval Art class to the Walters Art Museum in Baltimore. Curator of Rare Books, Dr. Lynley Herbert, first gave the students a tour of her special exhibition ‘Waste Not: The Art of Medieval Recycling.’ The exhibition contains more than twenty objects, such as gold, stone, ivory, glass, and parchment—all drawn from the Walter’s collection—that display evidence of reuse.
Subsequently, Dr. Herbert gave students a private viewing opportunity with the highlights from the museum’s medieval manuscript collection. “I hope visitors will have a new appreciation for the rich histories behind medieval objects, and the cleverness of the craftsmen who made and transformed them,” she commented.
Virginia (Ginny) Lefler, a second year Master’s student in the Art History program, received a Carol Bird Ravenal Award for international travel to help fund her research trip to London. Below, Ginny shares her experience with us:
“While in England I visited London, Birmingham, and Oxford in order to see several collections of Pre-Raphaelite artwork from the second half of the nineteenth century. For my thesis research I am primarily focusing on a set of Morris and Company tapestries from the 1890s, which are housed at the Birmingham Museum and Art Gallery and depict King Arthur’s quest for the Holy Grail. While the tapestries themselves are in permanent storage, I was able to see several preliminary sketches and other Pre-Raphaelite works in the museum’s collection. I also visited Oxford to see the Oxford Union Murals, a cycle from 1857 that also depicts the quest for the Grail. The Arthurian Revival in Victorian England was a major theme explored by the Pre-Raphaelites, and so many of their paintings, prints, and drawings depict scenes of King Arthur and his knights. In London I spent time at the William Morris Gallery, which owns many of Morris’s early works, and also visited most of the major museums in the city to see as much Pre-Raphaelite work that I could. In all, the trip was an incredible experience: I was able to study the works in person and to develop a fuller understanding of how and why they were made.”