Monthly Archive for: ‘May, 2025’

Virtual Salon: African Arts

Please join us on Friday, April 21, at 1PM ET for “African Arts,” a Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/African-Arts.

For this event, we are fortunate to host three speakers and a moderator to discuss this important area of nineteenth-century studies: Kristen Windmuller-Luna (Moderator), Sandrine Colard, Helina Gebremedhen, and Constantine Petridis. Each speaker will give a brief presentation on an object drawn from their research, followed by discussion and then a Q&A.

Sandrine Colard is Assistant Professor of Art History at Rutgers University-Newark (USA), a researcher, and a curator-at-large at Kanal-Pompidou (Brussels). Holding a PhD from Columbia University, Colard is a historian of modern and contemporary African arts and photography and has lectured internationally (MoMA, Concordia University, EHESS, Wiels, Tate Modern, Bozar, Sorbonne, European Parliament, etc.) She has written for numerous publications (African Arts, Critical Interventions, etc.). Colard was the curator of the 6^th Lubumbashi Biennale, Future Genealogies: Tales from the Equatorial Line (Lubumbashi, DRC, 2019). Other exhibitions include: The Way She Looks: A History of Female Gazes in African Portraiture. Photographs from The Walther Collection (Ryerson Image Center, Toronto, 2019), and Recaptioning Congo (FOMU, Antwerp, 2022). Her research has been supported by fellowships from Quai Branly Museum, Institut National d’Histoire de l’Art, the Ford Foundation, and the Getty/ACLS. She is at work on her book about the history of photography in the colonial Congo.

Helina Gebremedhen is a PhD student at the Institute of Fine Arts, New York University, and currently the Cleveland Museum of Art’s Leigh and Mary Carter Director’s Research Fellow. Specializing in medieval Islamic and African art history, her research focuses on medieval Ethiopia within the context of the Red Sea and Indian Ocean regions, with a special interest in the cultural, political, and commercial networks that connected these spaces and societies. Research interests include the circulation of Islamic metalwork across East Africa, ajami texts, talismanic practices, and historiography of these regions and visual cultures. She earned a MA in History from McGill University, Montréal, and an honors BA in Near and Middle Eastern Civilizations from the University of Toronto, Canada.

Constantine Petridis, who earned a PhD in art history from Ghent University in his native Belgium, has been chair and curator of Arts of Africa at the Art Institute of Chicago since 2016. His most recent publications include Speaking of Objects: African Art at the Art Institute of Chicago (2020) and The Language of Beauty in African Art (2022), which accompanied a traveling exhibition of the same name. Before coming to Chicago, he held research, curatorial, and teaching positions at the Research Foundation-Flanders, the Metropolitan Museum of Art, the Cleveland Museum of Art, Case Western Reserve University, the Art Gallery of Ontario, and the Indianapolis Museum of Art.

Kristen Windmuller-Luna is the Curator of African Arts at the Cleveland Museum of Art. A first-generation college graduate, she received her PhD in African Art and Architecture from Princeton University. She has previously held curatorial positions at institutions including the Brooklyn Museum, the Princeton University Art Museum, and The Metropolitan Museum of Art, in addition to working as a museum educator and a university lecturer. Recent exhibitions include “Threads Across Time: African Textiles, 500-1993” in Stories from Storage (2021) at the Cleveland Museum of Art, and African Arts—Global Conversations (2020) and One: Egúngún (2019) at the Brooklyn Museum. Her publications have appeared in Res: Anthropology and Aesthetics; African Arts; Nka: Journal of Contemporary African Art; and the Metropolitan Museum Journal, among others. Her next exhibition considers links between northern and eastern Africa and the Byzantine Empire. She serves on the boards of the Arts Council of the African Studies Association and the journal African Arts.
Virtual Salon: Nineteenth-Century Caricature: It’s Okay to Laugh

Please join us on Friday, September 29 at 1:30PM ET for the Virtual Salon “Nineteenth-Century Caricature: It’s Okay to Laugh.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

In the past, caricature was of marginal interest to most art historians, but in the wake of visual culture studies it has now attracted a great deal of attention. Join us for a discussion among four scholars who are doing ground-breaking work on caricature in a variety of modes.

Kathryn Desplanque, Moderator, is Assistant Professor at the University of North Carolina, Chapel Hill. She is a mixed Black multigenerational immigrant who studies the impact of global capitalism’s emergence on the art world. She has published numerous articles on caricature; her first book, Inglorious Artists: Art-World Satire and the Emergence of a Capitalist Art Market in Paris, 1750–1850, is currently under review at the University of Delaware Press.

Douglas Fordham is Professor of Art History at the University of Virginia, author of two monographs on British Art, most recently Aquatint Worlds: Travel, Print, and Empire (2019). As a Mellon Indigenous Arts Fellow, he recently worked with UVA PhD students and the Kluge-Ruhe Collection of Aboriginal Art to produce an exhibition and catalogue, Boomalli Prints and Paper: Making Space as an Art Collective (2022).

Richard J. Powell, is John Spencer Bassett Professor of Art & Art History, Duke University. He has published numerous books on topics ranging from primitivism to postmodernism, including Going There: Black Visual Satire (2020). He was Editor-in-Chief of The Art Bulletin, and has organized numerous art exhibitions. In 2022 he delivered the 71st Andrew W. Mellon Lectures at The Center for Advanced Study in the Visual Arts, National Gallery of Art, on “Colorstruck! Painting, Pigment, Affect,” currently being revised for a forthcoming book from Princeton University Press.

Allison Stagg, Research Associate, Technical University of Darmstadt, Germany, has published widely on the subject of historical caricature, articles in Print Quarterly and Imprint: The Journal of American Historical Print Collector’s Society, and, most recently, Prints of a New Kind: Political Caricature in the United States, 1789–1828 (2023). Previously, she was the Terra Foundation Visiting Professor in American Art History at the Freie Universität of Berlin.

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This event is free and open to the public, but registration is required at: https://tinyurl.com/19-cen-caricature
Virtual Salon: Expanding the 19th Century: Trial and Error in the Classroom

Please join us on Friday, October 27 at 2pm ET for the Virtual Salon “Expanding the 19th Century: Trial and Error in the Classroom.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

Our October salon is organized by AHNCA’s Emerging Scholars Working Group and will consider innovative approaches to teaching more inclusive histories of nineteenth-century art and visual culture. Our discussion will feature three of our colleagues who have been engaging with experimental course design and new approaches to the art historical survey that depart from geographical, methodological, and material canons. We’ll cover their successes and failures in various learning environments and reflect on how our field can continue to stay relevant in the contemporary classroom.

Nicole Georgopulos (moderator) is an historian, curator, and educator specializing in European art of the nineteenth century. She is an Assistant Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia, where she teaches eighteenth- and nineteenth-century European art as well as curatorial practice. Her research and teaching focus broadly on the intersections of visual art with histories of science, philosophy, and cultural constructs of gender.

Shana Cooperstein is an Assistant Professor of Art History at IE University in Madrid. She specializes in the art of the long nineteenth century, particularly as this concerns the material practices of artistic production, representational theory, and the history of scientific imaging. Her interdisciplinary scholarship is motivated by unresolved questions about the role of human sense perception in the development of art-making strategies. Drawing Pedagogy in Modern France: Habit’s Demise, a book manuscript under contract with Routledge, examines schematization, the education of the eye and other problems central to the history of art instruction in the modern era. Her research has been supported by The Osler Library of the History of Medicine, the Institut Français d’Amérique, Media@McGill, The Wolfe Chair Graduate Fellowship in Scientific and Technological Literacy and The Max Stern Museum Fellowship.

Aaron Slodounik received his doctorate in art history and a certificate in women’s studies from the Graduate Center of the City University of New York in 2021. He is currently at work on a book project, tentatively entitled Savage Whiteness: Paul Gauguin and the Birth of Modernism. He is the 2022 recipient of the Teaching Prize from the British Society for Eighteenth-Century Studies. This semester he is teaching honors and introductory courses as an adjunct assistant professor at The City College of New York and at Lehman College. He welcomes inquiries about potential collaborations and career opportunities.

Allison Leigh is an Associate Professor of Art History and the SLEMCO Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. She is a specialist in European and Russian art of the eighteenth and nineteenth centuries and the author of Picturing Russia’s Men: Masculinity and Modernity in 19th-Century Painting and co-editor of the volume Russian Orientalism in a Global Context: Hybridity, Encounter, and Representation. She is currently completing a book on misogyny and modern art that will be published by Abrams Press in 2025.

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This event is free and open to the public, but registration is required at: https://tinyurl.com/19-cen-class
Virtual Salon: Reinstalling Nineteenth-Century American Art in US Museums, Part 1: Art/History

Please join us on Tuesday, November 14 at 7PM ET for the Virtual Salon “Reinstalling Nineteenth-Century American Art in US Museums, Part 1: Art/History.” This event is organized by Nineteenth-Century Art Worldwide and is part of a series of online events cosponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

Join us for a discussion among four curators who are in the process of reinstalling the American galleries at their museums. They will consider what it means to install nineteenth-century American art now, reflecting on (1) the shift in emphasis from art to history as an organizing principle; (2) concurrent efforts toward greater inclusivity and diversity; and (3) strategies employed to “fill gaps” in the narratives they want to tell. The panel will be moderated by Isabel L. Taube, Co-Managing Editor, and Kimberly Orcutt, Executive Editor, Nineteenth-Century Art Worldwide.

Erin Corrales-Diaz is the Curator of American Art at the Toledo Museum of Art. Before coming to Toledo, Corrales-Diaz was the Assistant Curator of American Art at the Worcester Art Museum. She has also held dual posts as Curator of the Johnson Collection and Visiting Scholar at Wofford and Converse Colleges. She is a specialist in nineteenth- and early twentieth-century American art with a particular focus on art of the American Civil War and African American art. Corrales-Diaz received her doctorate from the University of North Carolina and an MA in art history from Williams College.

Kathleen A. Foster is The Robert L. McNeil, Jr., Senior Curator of American Art and Director of the Center for American Art at the Philadelphia Museum of Art, and Adjunct Professor in the History of Art at the University of Pennsylvania. With publications on topics ranging from eighteenth- to twentieth-century American art (most recently about Thomas Eakins and watercolors), she is currently leading the team planning for the reinstallation of the Museum’s collection: the new Early American Galleries (1650–1850) opened in the spring of 2021, with the second-floor galleries (1850–1950) to follow.

Eleanor Jones Harvey is Senior Curator at the Smithsonian American Art Museum. She earned a BA with distinction in art history at UVA, and a PhD at Yale University. Dr. Harvey studies the intersection of landscape painting and American culture. She organized The Civil War and American Art (2012–13) and Alexander von Humboldt and the United States: Art, Nature, and Culture, (2020–21). She was the curator of American art at the Dallas Museum of Art from 1992 to 2002. At both Dallas and SAAM she has participated in building-wide reinstallations of the permanent collection.

Sylvia Yount is the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art. Previously, she held senior curatorial positions at the Virginia Museum of Fine Arts, the High Museum of Art, and the Pennsylvania Academy of the Fine Arts. Yount has completed numerous collection reinstallations and organized major exhibitions on a variety of topics, especially women and artists of color. She is currently leading an American Wing reinstallation to mark the department’s centennial in 2024. She continues to lecture and publish on American art and history as well as on contemporary museum practice.

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This event is free and open to the public but registration is required at: https://tinyurl.com/us-museums.
Virtual Salon: Artists’ Friendships

Please join us on Thursday, December 7, at 7PM ET for the Virtual Salon “Artists’ Friendships.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

In this Virtual Salon, three distinguished curators, Emily A. Beeny, Ashley E. Dunn, and Kimberly A. Jones, will discuss past, present, and future exhibitions that focus on dialogues between three pairs of artists: Manet and Degas, Manet and Morisot, and Cassatt and Degas. The panel will be moderated by Michelle Foa.

Emily A. Beeny is Curator in Charge of European Art at the Fine Arts Museums of San Francisco, where she is preparing an exhibition on Manet and Morisot. She received her PhD from Columbia University and has held curatorial appointments at the Getty Museum, the MFA, Boston, and the Norton Simon Museum.

Ashley E. Dunn is Associate Curator in the Department of Drawings and Prints at The Metropolitan Museum of Art, where she is responsible for nineteenth-century French drawings, prints, and illustrated books. Her exhibition projects at The Met include Manet/Degas (2023), Devotion to Drawing: The Karen B. Cohen Collection of Eugène Delacroix (2018) and Rodin at The Met (2017).

Kimberly A. Jones is Curator of Nineteenth-Century French Paintings in the Department of French Paintings at the National Gallery of Art, Washington. Among her many exhibitions and catalogues are Degas at the Races (1998); Edouard Vuillard (2003–2004); In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet (2008); Degas/Cassatt (2014); and Degas at the Opéra (2019–2020).

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This event is free and open to the public, but registration is required at: https://tinyurl.com/art-friendships.
Virtual Salon: New Books on Nineteenth-Century Art by AHNCA Members

Please join us on Thursday, January 25, at 7PM ET for the Virtual Salon “New Books on Nineteenth-Century Art by AHNCA Members.” The Virtual Salon is a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

This New Books Salon is the first of what we hope will be an annual event featuring books by our members. This panel will be moderated by Nancy Locke; the authors who will discuss their books are:

Kaylee P. Alexander, University of Utah, A Data-Driven Analysis of Cemeteries and Social Reform in Paris, 1804–1924 (NY: Routledge, Research in Art History series, 2023).

Nina Athanassoglou-Kallmyer, University of Delaware, Art and Monist Philosophy in Nineteenth Century France. From Auteuil to Giverny (NY: Routledge, and UK: Oxford, 2023).

Andre Dombrowski, University of Pennsylvania, Monet’s Minutes: Impressionism and the Industrialization of Time (New Haven: Yale UP, 2023).

Flemming Friborg Jensen, Copenhagen Business School, Paul Gauguin. The Master, the Monster, and the Myth (Copenhagen: Strandberg Publishing, distr. by DAP and Thames & Hudson, 2023).

Laure de Margerie, French Sculpture Census/Répertoire de sculpture française, French Sculpture, An American Passion / La sculpture française, une passion américaine, with a contribution by Antoinette Le Normand-Romain (Paris: INHA/Snoeck, 2023).

Donald A. Rosenthal, Independent Scholar, Richard Wagner and the Art of the Avant-Garde, 1860–1910 (Lanham, MD: Rowman & Littlefield, 2023).

Leanne M. Zalewski, Central Connecticut State University, The New York Market for French Art in the Gilded Age, 1867–1893 (New York: Bloomsbury Visual Arts, Contextualizing Art Markets series, 2023).

Moderator: Nancy Locke, Pennsylvania State University, and President, Association of Historians of Nineteenth-Century Art.

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This event is free and open to the public, but registration is required at: http://tinyurl.com/VS-new-books.
Virtual Salon: Reinstalling Nineteenth-Century American Art in US Museums, Part 2: Innovation/Interpretation

Please join us on Tuesday, February 27 at 7PM ET for the Virtual Salon “Reinstalling Nineteenth-Century American Art in US Museums, Part 2: Innovation/Interpretation.” This event is organized by Nineteenth-Century Art Worldwide and is part of a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

Join us for a discussion among four curators who are in the process of reinstalling the American galleries at their museums. Building on part 1 of this Virtual Salon series, Art/History, held in November 2023, part 2: Innovation/Interpretation will move from theory to practice. Panelists will discuss such issues as (1) balancing new voices with the curatorial voice; (2) strategies for providing multiple interpretive options in the galleries; (3) prototyping new types of installations; and (4) gathering feedback from visitors, community groups, and education and interpretation staff. The panel will be moderated by Isabel L. Taube, Co-Managing Editor, and Kimberly Orcutt, Executive Editor, Nineteenth-Century Art Worldwide.

Virginia M. G. Anderson is the Curator of American Art and Department Head of American Painting & Sculpture and Decorative Arts at the Baltimore Museum of Art (BMA) and is an Adjunct Professor in the Program in Museums and Society at Johns Hopkins University. Since arriving at the BMA in 2018 she has organized six exhibitions focused on work by women artists, including Art/Work: Women Printmakers in the WPA (November 5, 2023–June 30, 2024). In 2022, she reconceived and reinstalled the American Modernism galleries in the Dorothy McIlvain Scott American Wing at the BMA.

Leo Mazow has been the Louise B. and J. Harwood Cochrane Curator of American Art at the Virginia Museum of Fine Arts (VMFA) since 2016. He was previously Associate Professor of Art History at the University of Arkansas and Curator of American Art at the Palmer Museum of Art at Penn State University. His recent projects include the exhibitions and publications Edward Hopper and the American Hotel (2019–20) and Storied Strings: The Guitar in American Art (2022–23). He is currently organizing the reinstallation of American art for VMFA’s upcoming expansion.

Jeremiah William McCarthy is Chief Curator at the Westmoreland Museum of American Art. During his tenure, he has transformed the museum’s permanent collection galleries into dynamic, rotating displays and has strengthened its holdings of historical and contemporary women artists. He is the curator or co-curator of the exhibitions Inspired Encounters: Women Artists and the Legacies of Modern Art (2022–23); For America: Paintings from the National Academy of Design (2019–22); and Women Artists in Paris, 1850–1900 (2017–18). Previously, he held curatorial positions at the National Academy of Design, the American Federation of Arts, and the Metropolitan Museum of Art.

Sarah Kelly Oehler is the Field-McCormick Chair and Curator, Arts of the Americas, and Vice President of Curatorial Strategy at the Art Institute of Chicago. A specialist in late nineteenth and twentieth century painting, Oehler has organized numerous exhibitions for the museum, including Charles White: A Retrospective (2018). Her current project is Georgia O’Keeffe: “My New Yorks” (2024). She is also leading the team reenvisioning the phased reinstallation of the Americas galleries; those featuring late nineteenth century through mid-twentieth century art were realized in 2019 and 2022, and the team’s focus is now on the earlier American galleries.

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This event is free and open to the public, but registration is required at: http://tinyurl.com/reinstall-2.
2024 AHNCA/Dahesh Graduate Student Symposium

TWENTY-FIRST ANNUAL GRADUATE STUDENT SYMPOSIUM

IN NINETEENTH-CENTURY ART

Saturday & Sunday, March 16–17, 2024, 1 to 4 PM ET

Co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and

the Dahesh Museum of Art. This event will be held online.

Register for Saturday, March 16 at: http://tinyurl.com/Symposium-1

Register for Sunday, March 17 at: http://tinyurl.com/Symposium-2

Special thanks to the Dahesh Museum of Art for the Dahesh Museum of Art Prize for the Best Paper(s), a gift from the Mervat Zahid Cultural Foundation

Saturday, March 16, 2024

1 PM: Welcome: Nancy Locke, Pennsylvania State University, President, Association of Historians of Nineteenth-Century Art; Amira Zahid, Trustee, Dahesh Museum of Art.

1:10 – 2:30 PM: First Session & Discussion:

Marilyn Satin Kushner, New-York Historical Society, Moderator.

Rebecca Yuste, Columbia University, “Nature’s Neoclassicism: Antiquity and Extraction in the Palace of Mines, Mexico City (1797-1813).”

Yuste examines the life of Neoclassicism as it moved from Europe to the Americas, using the Palace of Mines, designed by Manuel de Tolsà, as a case study. Here, the aesthetic theory of buen gusto came together with Bourbon economic reforms to create an architecture designed, ultimately, to know and control the earth.

Rebecca Yuste is a doctoral candidate at Columbia University, where she is completing her dissertation, “The Drawing, the Garden and the School: Natural History and the Visual Arts in the Novohispanic Enlightenment (1787-1813).” She holds an AB from Princeton University, where she won the Frederick Barnard White Award in Architecture. Rebecca has held positions at the Institute for Studies on Latin America Art (ISLAA), the Whitney Museum of American Art, and the Princeton University Art Museum, and, most recently was the Rockefeller Brothers Curatorial Fellow at the Hispanic Society of America. She is editing a forthcoming issue of VISTAS: Critical Approaches to Modern and Contemporary Latin American Art, and her translation of Viollet-le-Duc’s “Flore” will appear in West 86th in 2025.

Kiki Barnes, City University of New York, “‘Fiercely the red sun descending’: Thomas Moran and The Song of Hiawatha.”

Barnes analyzes the American painter Thomas Moran’s attempt to produce an illustrated edition of Henry Wadsworth Longfellow’s Ojibwe-inspired epic poem The Song of Hiawatha (1855). Unique in the context of his career, Moran’s extant illustrations help reexamine the perception of Indigeneity around the 1876 U.S. Centennial.

Kiki Barnes is a doctoral candidate completing her dissertation at the City University of New York on landscapes of the Americas and their connections to popular literature, 1865-1900. She holds a BA from Brown University and an MA from the Institute of Fine Arts, New York University. She has been a Curatorial Intern at the American Federation of Art and Mellon Curatorial Fellow in the American Wing of the Metropolitan Museum of Art.

Colton Klein, Yale University, “Material Reconstruction: Ecologies of Metal in an 1887 Photograph of Disabled Union Veterans.”

In 1887, eighteen disabled Union veterans of the American Civil War posed for a photograph wearing badges—composed of copper forged by enslaved metalworks—recast from Confederate cannons implicated in their disabilities. Klein applies ecologies of metal to mine the photograph’s shadow histories of extraction, race, violence, and disability.

Colton Klein is a doctoral student at Yale University where he is a Whitney Humanities Center Fellow in the Environmental Humanities. His dissertation studies intersectional ecologies of materials and environmental histories in the United States in the visual culture of the nineteenth-century United States. He holds a BA from Washington and Lee University and an MA from Columbia University. He has been a curatorial intern at the Crystal Bridges Museum of American Art and at the Whitney Museum of American Art, where he was also a curatorial assistant in prewar art.

2:30 – 2:40 PM: Break

2:40 – 3:40 PM: Second Session & Discussion. Petra ten-Doesschate Chu, Seton Hall University, and Nineteenth-Century Art Worldwide, Moderator

Arielle Fields, Pennsylvania State University, “It’s Very Middle Class: The Visual Culture of Nurseries in Britain, 1880-1900.”

Fields explores the entangled ideals of middle-class identity, motherhood, and visual culture in nineteenth-century Britain. By analyzing nursery objects, she demonstrates that the commerce in nursery furnishings established a nursery aesthetic, and that the visual culture of the nursery transformed Victorian motherhood into a performance of femininity.

Arielle Fields is a doctoral candidate at Pennsylvania State University completing her dissertation on the emergence of nurseries as a social and literal construct in nineteenth-century Britain. She holds a BA from Kenyon College and an MA from the Institute of Fine Arts, New York University. She has presented aspects of her research at SECAC.

Caitlin Chan, Stanford University, “Beyond the Window: Searching for Invisible Origins, from William Henry Fox Talbot’s “The Oriel Window” (1835) to Artificial Intelligence-generated Images.”

Chan’s presentation is the culmination of her ongoing project to ground Artificial Intelligence aesthetics in a longer genealogy of art history, ultimately finding resonance in another pioneering moment of image-making in the early nineteenth century.

Caitlin Chan is a doctoral student at Stanford University, having previously completed a BA at George Washington University. She has presented her research at College Art Association annual conferences, the Association for Art History annual conference, and Columbia University. At Stanford, she is a Leadership in Inclusive Teaching Fellow and the recipient of the Jeanette and William Hayden Jones Fellowship in American Art and Culture. Previously she was an intern at the Hirshhorn Museum and Sculpture Garden.

3:40 – 4:00 PM: Discussion among Participants

Sunday, March 17, 2024

1:00 PM: Welcome: Nancy Locke, President, AHNCA, and J. David Farmer, Director of Exhibitions, Dahesh Museum of Art

1:10 – 2:30 PM: Third Session & Discussion, Patricia Mainardi, Graduate Center, City University of New York, AHNCA Program Coordinator, Moderator

Eve Rosekind, Washington University in St. Louis, “Costume à l’Algérienne: An Empire of Fashion and Mass Consumption in Charles Cordier’s Paris.”

Algeria – its people and products – became highly visible in Paris after French colonization in the 1830s when art, fashion magazines, and stores offered Algerian-inspired, mass-produced objects to consumers. Rosekind examines the production of Charles Cordier’s Algerian sculptures and the transformation of the burnous, a long cloak with a pointed hood, as part of this larger display of empire in Paris.

Eve Rosekind is a doctoral candidate at Washington University, where she is completing her dissertation, “France Producing Egypt: The Material Cultures of Orientalism, 1869-1922.” She holds a BA from Johns Hopkins University and an MA from Williams College. She has been an intern at the Smithsonian National Museum of Asian Art and the Washington DC National Portrait Gallery; previously she was Curatorial Assistant for European Decorative Arts and Sculpture at the Fine Arts Museums of San Francisco.

Benjamin Price, Princeton University and the Museum of Modern Art, “Nihilism and the Anarchist Imagination in Camille Pissarro’s Turpitudes Sociales (1889).”

Price studies Camille Pissarro’s Turpitudes Sociales (1889) in order to interrogate the role of nihilistic critique in the artist’s political imagination. His argument centers the response of Esther Isaacson (Pissarro’s niece) and, following her, asks whether the philosophical position of the drawings might be an inescapable one for anarchist thinking in the late nineteenth century.

Benjamin Price is completing his dissertation, “Anarchist Art and Cultures of Science in Fin-de-Siècle France,” at Princeton University. He holds a BA with honors from Trinity College, Dublin, and an MA from the Courtauld Institute of Art where he received the 2018 Paule Vézelay Prize for the best dissertation on modern and contemporary art. He is currently a Mellon-Marron Research Consortium fellow at New York’s Museum of Modern Art.

Zhu Wenqi, The University of Hong Kong, The New Oriental “Other”: Understanding Racial Stereotypes in Western Satirical Magazines of Meiji Japan.”

Zhu investigates the portrayal of Japanese people in manga and comic magazines that were published during the Meiji era (1868–1912). She argues that periodicals such as Tôbaé and La Vie Japonaise intentionally depicted the Japanese as an inferior race, despite rising Japanese military and industrial power, in order to safeguard the ethnocentric views of their expatriate readership.

Zhu Wenqi is a doctoral candidate at the University of Hong Kong, where she is completing a dissertation analyzing imagery of East Asia in Western illustrated newspapers and magazines during the nineteenth century. She completed her BA and MPhil at the University of Hong Kong and was an exchange student at the University of Nottingham, UK. She is the recipient of numerous awards and grants, including the Louis Cha Postgraduate Research Fellowship, HKU Conference and Travel Grant, Hong Kong Museum Society’s Travel Grant, Pilot Scheme for International Experience, and Andrew Wyld Research Support Grant.

2:30 – 2:40 PM: Break

2:40 – 3:40 PM: Fourth Session & Discussion, J. David Farmer, Dahesh Museum of Art, Moderator

Maur Dessauvage, Columbia University, “Building an Imperial Body: Karl Friedrich Schinkel and the German Constitution, c. 1817.”

Dessauvage examines the relationship between architectural and legal-political issues in post-Napoleonic Prussia through a close analysis of Karl Friedrich Schinkel’s Triumphal Arch, arguing that the painting visualized the transition between the eighteenth-century ancien régime and nineteenth-century bourgeois society.

Maur Dessauvage is a doctoral candidate at Columbia University, currently completing his dissertation “The Sovereignty of Style,” examining the relationship between architecture, law, and state-building in nineteenth-century German lands. His research has been supported by the Getty Institute and the Buell Center. He has presented his research at the College Art Association Conference and University of Cambridge among other venues.

Samantha Small, City University of New York, and the Metropolitan Museum of Art, “Fremdkörper: Franz von Stuck and Blackness in Wilhelmine Germany.”

Small interrogates Bavarian Symbolist artist Franz von Stuck’s Black figures in light of contemporary perceptions of race in Wilhelmine Germany (1890-1918). Examined here for the first time, these figures are positioned amidst social and artistic trends, including Germany’s belated colonialism, and visual spectacles such as advertisements and “Human Zoos”

(Völkerschauen).

Samantha Small is a doctoral candidate at the City University of New York, where she is completing her dissertation “Franz von Stuck, Painter Provocateur.” She holds a BA from George Washington University and an MA from the Institute of Fine Arts, New York University. Her dissertation has been supported by the Fulbright Program and a Gladys Krieble Delmas Foundation Venetian Research Grant. She has held positions in the curatorial departments of the Guggenheim Museum and the Blanton Museum, and is currently Jane and Morgan Whitney Fellow in the Department of European Paintings at the Metropolitan Museum of Art.

3:40 – 4:00 PM: Discussion among Participants

2023–2024 Jury: Petra ten-Doesschate Chu, J. David Farmer, Marilyn Satin Kushner, Nancy Locke, Patricia Mainardi; Technical Director: Caroline Koch

The symposium is free and open to the public but registration is required at:

For the complete program: https://www.ahnca.org; www.daheshmuseum.org. For further information: info@daheshmuseum.org
Virtual Salon: Upcoming Projects on Nineteenth-Century Prints

Please join us on Friday, April 5 at 1PM ET for the Virtual Salon “Upcoming Projects on Nineteenth-Century Prints.” The Virtual Salon is a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. In this Salon, three curators will share forthcoming exhibitions and books related to the history of prints and ephemera in Europe and the United States during the nineteenth century. Panelists will discuss their work in the context of recent scholarship on the topic and the evolving place of these works and initiatives within museums. The conversation will be moderated by Britany Salsbury, Curator of Prints and Drawings at the Cleveland Museum of Art. Panelists include:

Nikki Otten, Associate Curator of Prints and Drawings, Milwaukee Art Museum.
Nikki Otten stewards a collection of more than 15,000 works on paper spanning the 15th century to the present. She has curated numerous rotations from the collection, and her most recent exhibition was “Always New: The Posters of Jules Chéret” (2023). She holds a PhD in art history from the University of Minnesota.

Fleur Roos Rosa de Carvalho, Senior Curator of Prints and Drawings at the Van Gogh Museum in Amsterdam.
Fleur Roos Rosa de Carvalho specializes in fin-de-siècle art with a particular interest in the history of printmaking and collecting. She has curated numerous larger and smaller exhibitions and received grants from the Getty Paper Project and the INHA in Paris to complete her catalogue raisonné of the Vollard suites (1899) created by the four Nabis in close collaboration with Auguste Clot.

Allison Rudnick, Associate Curator, Drawings and Prints, The Metropolitan Museum of Art.
Allison Rudnick oversees the visual culture and ephemera collections at the Metropolitan Museum of Art. Her recent exhibitions include “The Art of the Literary Poster: Works from the Leonard A. Lauder Collection” (2024) and “Art for the Millions: American Culture and Politics in the 1930s” (2023).

This event is free and open to the public, but registration is required at: http://tinyurl.com/Print-Exh.
Virtual Salon: Global Perspectives: Plaster Casts in 19th-Century Academies

Please join us on Tuesday, May 28, at 11AM ET for the Virtual Salon “Global Perspectives: Plaster Casts in 19th-Century Academies.” The Virtual Salon is a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. In this Salon, three specialists will share perspectives on how plaster casts and other copies were negotiated with the curriculum and pedagogy of academies, and in the face of national difference and indebtedness. The conversation will be moderated by Oscar E. Vázquez, Professor of Art History, University of Illinois at Urbana-Champaign. Panelists include:

Eleonora Vratskidou, Assistant Professor in the Department of Art Theory and History at the Athens School of Fine Arts. She earned her Ph.D. in History and Civilizations from the École des Hautes Études en Sciences Sociales (Paris). She has held research and teaching positions in Berlin at the Dahlem Humanities Center at the Free University [Freie Universität] and the Technical University [Technische Universität], and a May Seeger O’Boyle Postdoctoral Research Fellow in Hellenic Studies at Princeton University. She is a specialist in modern Greek art and cultural history and is the author of L’émergence de l’artiste en Grèce au XIXe siècle (2023), co-editor of Disrupting Schools: Transnational Art Education in the 19th Century (2021) and has written articles on art historiography and the history of art education.

Josefina de la Maza, Assistant Professor of Art History at the Universidad Adolfo Ibáñez in Santiago, Chile. She earned her Ph.D. in Art History and Criticism from the State University of New York, Stony Brook. She specializes in nineteenth-century Chilean and Latin American Art and criticism, as well as the production and reception of modern textiles and applied arts. She has published on the critical reception of nineteenth-century history painting as well as the circulation of plasters casts as models, among other topics.

Milena Gallipoli received her Ph.D. in History from the Universidad Nacional de San Martín (UNSAM) in Buenos Aires, and a postdoctoral fellowship from Argentina’s National Council of Scientific and Technical Research (CONICET). She has written extensively about the circulation and criticism of plaster casts in Argentina and is presently completing a catalogue raisonné of the plaster sculptures in the collection of the Museo Cárcova, Buenos Aires.

This event is free and open to the public, but registration is required at: https://tinyurl.com/VirtualSalon-May28.

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Monthly Archive for: ‘May, 2025’

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