UC Berkeley History of Art Department

People / Graduate Students

    • Joseph Albanese

    • Bio

      Joseph Albanese (2018) studies fifteenth- and sixteenth-century Northern European art. Joseph has an interest in exploring the relationship between art of that period and performance as well as early sixteenth-century print culture. Joseph graduated with his double BA in Art History, History, and Spanish Literature from the George Washington University in 2017 and MA in Early Northern European Art from The Courtauld Institute of Art in 2018, where he wrote about depicting gender and supernatural identities in woodcuts from early editions of La Celestina. 

    • Mont Allen

    • Bio

      Mont Allen studies the art of ancient Greece and Rome, with the latter exerting the stronger pull on his heartstrings. Particular passions include mythological imagery in funerary art (especially Greek myths as they were carved on Roman sarcophagi) and ancient attitudes towards artistic facture and technique (notably as they bear on questions of iconography).  He is often spotted bicycling up and down the Berkeley Hills, his preferred local habitat. He is also something of a Teutonophile and confesses, rather sheepishly, to having occasionally taught the stylistic dating of Greek monuments through analogy with German synthesizer music.  2012-2013 will see him in Berlin for the year, pursuing dissertation research at the German Archaeological Institute, thanks to generous fellowships from the German Academic Exchange Service and the Charlotte Newcombe Foundation.

    • Bridget Alsdorf

    • Bio

      Bridget Alsdorf (PhD 2008) is Associate Professor at Princeton University. Her area of specialization is European art of the 19th and early 20th centuries, with an emphasis on art produced in France from the Second Empire to World War I. Alsdorf is the author of Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting, and essays on Poussin, Cézanne, Degas, Manet, Gaillard, Bonnard, Utrillo, Hammershøi, and Vallotton. She is also on the editorial board of nonsite.org. Her current research examines representations (across multiple media) of crowds and theatrical audiences in fin-de-siècle France, with particular interest in the cultural phenomenon of gawking (badauderie) and the relationship between art and emerging fields of social psychology.

    • Mathilde Andrews

    • Bio

      Mathilde Andrews (2017) studies nineteenth- and early twentieth-century American art. Her research interests include the history of science as it pertains to gender and race, and the picturing of these debates in visual culture. She received her BA in History of Art and French from UC Berkeley in 2016, and her MA from The Courtauld Institute of Art, London in 2017.  

    • Elise Archias

    • Bio

      Elise Archias is an assistant professor of art history at the University of Illinois at Chicago. She has made great progress this past year on her book manuscript, The Concrete Body -- Rainer, Schneemann, Acconci, and is looking forward to it being out in the world soon. She presented work at the School of the Art Institute of Chicago, at the ASAP and MSA conferences, chaired a panel at CAA, "Carolee Schneemann and the Long Sixties," and enjoyed participating in discussions at Gallery 400 (UIC) and the Block Museum at Northwestern. She was the recipient of the ICAH award for collaborative research at UIC in Spring 2014, and her graduate seminar, "Writing About Performance Art," has left her with ideas brewing and research files amassing. She has started taking Portuguese lessons, and is pleased to be getting to know her many new, vibrant colleagues throughout the city.

    • Meryl Bailey

    • Bio

      Meryl Bailey (Ph.D. 2011) is Assistant Professor of Art History at Mills College. She recently completed a lengthy research project on the Venetian seventeenth-century painter Antonio Zanchi, and is currently preparing a manuscript on Venetian confraternal art after the Council of Trent. In the past academic year, she enjoyed working with Mills' curators and librarians to incorporate the college's collection of medieval and Renaissance prints and manuscript leaves into her teaching practice. Thanks in part to a Mellon grant, undergraduates in her Northern European Art course worked with the director of the Mills College Art Museum to curate a wonderful exhibition of northern Renaissance prints. When not teaching or writing, she can be found at the baseball field or the basketball court with son Gus (age 9).

    • Jess Bailey

    • Bio

      Jess Genevieve Bailey is a PhD candidate studying Northern European medieval art and completing a concurrent degree in medieval studies. Her dissertation is supervised by Professors Beate Fricke (Universität Bern) and Elizabeth Honig (UC Berkeley). Her dissertation is about war and gender in medieval European manuscripts and turn of the 16th century works on paper. Her research engages the history of medicine, military technology, disability studies, and feminist critical theory. Jess is interested in the drawn horizons of bodily difference and the lines which divide, mark, and marginalise bodies in pictorial space. She studies violence, desire, and the abject; vagrants, doctors, and soldiers turned itinerant artists. Jess holds a B.A. in Art History from the University of California at Berkeley, where she studied 12th century Japanese Buddhist sculpture. She has taught for the Prison University Project in San Quentin State Prison and organised the inaugural Berkeley / Stanford symposium on migration and displacement in the arts at The San Francisco Museum of Modern Art.

    • Randip Bakshi

    • Bio

      Randip studies early modern art with a particular emphasis on Mughal art and architecture. He received a B.A. from the University of Toronto and an M.A. from the University of Victoria. At Victoria, he helped establish the graduate student journal, ARTicuate. His other interests include popular culture and gender & sexuality, especially queer cultures in modern South Asia. 

    • Catherine Becker

    • Bio

      Catherine Becker (Ph.D. 2006) continues as Assistant Professor of Art History at the University of Illinois at Chicago. Her book, Shifting Stones, Shaping the Past: Sculpture from the Buddhist Stupas of Andhra Pradesh was published by Oxford University Press on October 1, 2014. She had the pleasure of presenting her paper, "There is on 'I' in Stupa: Building Community at Buddhist Sites in Andhra Pradesh," for a panel organized by Sonal Khullar (PhD 2009) at the 2014 annual conference of the Association for Asian Studies. Catherine has received a research fellowship from the American Institute of Sri Lankan Studies for her new project, "Miracle-performing Monks and Relocated Relics: Artistic Exchange between Buddhist Communities in Andhra Pradesh and Sri Lanka." She plans to spend the summer of 2015 in Sri Lanka.

    • M. Elizabeth Boone

    • Bio

      M. Elizabeth (Betsy) Boone is professor of the History of Art, Design, and Visual Culture at the University of Alberta. Betsy works on nineteenth and twentieth-century art in the United States, Spain, and Latin America and is particularly interested in trans-nationalism, cultural diplomacy, art and masquerade, and animal studies. She is the author of essays and exhibition catalogues on such topics as the nineteenth-century reception of Jan Vermeer (1992), paintings of Spain by Mary Cassatt (1995), depression-era murals in San Francisco (2002), nineteenth-century variations on Velázquez’s Las meninas (2003), the use of illustration to mask political controversy in turn-of-the century travel literature (2005), and the use of masquerade and the tableau vivant in the art of William Merritt Chase and Joaquín Sorolla (2015). She published Vistas de España: American Views of Art and Life in Spain, 1860–1914 (Yale University Press, 2007) and has recently completed “The Spanish Element in Our Nationality”: Spain and America at the World's Fairs and Centennial Celebrations, 1876-1915 (Penn State University Press, 2019). Betsy spent the winter 2014 semester in Santiago de Chile, where she curated an exhibition of art from the United States and Chile for the Museo Nacional de Bellas Artes.

    • Kimberly Cassibry

    • Bio

      Kimberly Cassibry (PhD, 2009) is Associate Professor of Art at Wellesley College, where she specializes in the art and architectural history of the ancient Mediterranean. With support from the Getty Foundation and the Metropolitan Museum of Art, her publications have explored how the experience of entertainment was captured in glass cups depicting famous charioteers and gladiators (Theoretical Roman Archaeology Journal, 2018), how Roman arch monuments could be dedicated as diplomatic gifts (American Journal of Archaeology, 2018), and how ethnic stereotypes of Celts persisted in Greek and Roman art (Art Bulletin, 2017). Her book Destinations in Mind: Portraying Places on the Roman Empire’s Souvenirs is under contract with Oxford University Press. A second book project addresses the impact of empire on the Celtic, Greek, and Roman art of ancient France. She is also developing a digital humanities project called Digital Roman Arches, which will establish a searchable online database of the hundreds of commemorative, free-standing arches set up in the Roman Empire and beyond. 

    • Wen-Shing Chou

    • Bio

      Wen-Shing Chou (2011) is assistant professor of East Asian art history at Hunter College, City University of New York (CUNY). She and her husband welcomed the arrival of their daughter Beatrice in September of 2013. When she manages to peel herself away from watching the miracles of the baby’s growth, she works toward finishing her book manuscript on miraculous visions of the sacred mountain range of Wutai in Late Imperial and Modern China. Her article on early twentieth century wall paintings in the Potala Palace in Lhasa appeared in the April issue of the Journal of Asian Studies. This year, she is teaching at both Hunter and the Graduate Center, CUNY.

    • William Coleman

    • Bio

      Will Coleman (PhD 2015) is, as of August 2017, Associate Curator of American Art at the Newark Museum, with primary responsibility for the institution's major collection of 19th-century paintings. In addition to contributing to the exhibition 'The Rockies and the Alps: Bierstadt, Calame, and the Romance of the Mountains', on view through August 2018, he is coordinating a catalog of abstract paintings in the collection. His article "Painting the 'Baronial Castle': Thomas Cole at Featherston Park' was published in the December 2017 issue of Huntington Library Quarterly and was awarded the 2018 Landscape History Essay Prize of the Society of Architectural Historians.

    • Huey Copeland

    • Bio

      During his 2013-14 ACLS Fellowship year, Huey Copeland ('06) celebrated the publication of his first book with the University of Chicago Press, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, while making strides on his new project, currently titled In the Arms of the Negress: Race, Gender, and the Unmaking of Modern Art. He also co-edited a special issue of Nka on "Black Collectivities"; published shorter pieces on artists Eleanor Antin, Gardar Eide Einarsson, Theaster Gates, Dave McKenzie, and Zoe Leonard; and continued to lecture nationally, most memorably at Berkeley in October 2013, which provided a fitting homecoming and a wonderful kick off to the academic year!

    • Sharon Corwin

    • Bio

      Sharon Corwin (Ph.D. 2001) is the Carolyn Muzzy Director and Chief Curator of the Colby College Museum of Art and Professor in the Art Department. In 2013, she oversaw the Museum’s expansion and the construction of the Alfond-Lunder Family Pavilion. In 2017, she launched the Lunder Institute for American Art. Under her leadership the Museum has been integrated into the College’s curriculum in innovative ways. She has published several books and essays, including, Alex Katz: Maine/New York; American Modern: Documentary Photography by Abbott, Evans, and Bourke-White (with UCB alumna Jessica May); and “Picturing Efficiency: Precisionism, Scientific Management, and the Effacement of Labor.”  

    • Alexandra Courtois de Vicose

    • Bio

      Alexandra Courtois (2009) studies 19th century French art. Her interests encompass a variety of media, (including painting, drawing, printing processes and photography, all relevant to her dissertation research on Henri de Toulouse-Lautrec), as well as Disability Studies, proving to be a productive framework to analyze Lautrec's oeuvre and life in a new light.

    • Sarah Cowan

    • Bio

      Sarah Louise Cowan specializes in modern and contemporary art of the Americas. Her dissertation, “Mending Abstraction: Howardena Pindell’s Non-Representational Black Feminisms, 1967 – 1986,” the first comprehensive study of the multimedia work of visual artist Howardena Pindell, examines the changing relationships between race, gender, and modernisms in the United States in the wake of 1960s liberation movements. More broadly, Sarah's research concerns black feminist art histories, cross-cultural theories of modernism and abstraction, and histories of photography. She earned a B.A. from the University of California, Berkeley, in 2011 and an M.A. in 2015.

    • Matthew Culler

    • Bio

      Matthew Culler (2009) studies early modern art with a particular interest in Italian art and art theory.  He received a B.A. from Kenyon College and an M.A. from the University of North Carolina in 2007.

    • Michele D'Aurizio

    • Bio

      Michele D’Aurizio (2018) studies modern and contemporary art, with a focus on postwar Italy. His primary research interests include the cross-over between art and design (interior and furniture design and craft arts), the relationship between industry, technology, and art, and the political philosophy of Autonomism. He holds an MFA in Visual Arts and Curatorial Studies from the Nuova Accademia di Belle Arti in Milan. Between 2014 and 2018, he worked as the editor of the contemporary art magazine Flash Art. In 2016, he co-curated the 16th Quadriennale d’Arte in Rome. 

    • Jessica M. Dandona

    • Bio

      Jessica M. Dandona (Ph.D. 2010) is Associate Professor of Liberal Arts at Minneapolis College of Art and Design, where she teaches courses in 19th- and 20th-century art and visual culture. Her book, Nature and the Nation in Fin-de-Siècle France: The Art of Emile Gallé, was published by Routledge in 2017. She is on sabbatical in 2018-19 and will spend the year in Dundee, Scotland as a US-UK Fulbright Scholar. Other recent awards include fellowships from the Huntington Library, the Countway Library at Harvard, the Osler Library at McGill University, the Library Company, the American Philosophical Society, and the Consortium for History of Science, Technology, and Medicine. Dr. Dandona is currently at work on her next book, The Transparent Woman, which examines the visual aspects of medical discourse at the end of the 19th century.

    • Ramon De Santiago

    • Bio

      Ramón de Santiago researches the trans-Pacific transfer of visual and material culture between South Asia and Latin America in the Early Modern period, with a particular interest in pre-colonial systems of trade in both regions. His theoretical interests include questions of historiography in trans-oceanic systems and visual and material practices. His current project uses multidisciplinary methods to investigate the layers of exchange of objects, goods, and people through world oceanic systems. 

    • André Dombrowski

    • Bio

      On April 11, 2014, André Dombrowski (Ph.D. 2006) organized the conference "Manet: Then and Now" at the ICA, University of Pennsylvania, which many friends and colleagues associated with Berkeley attended, including the presenters Huey Copeland, Darcy Grimaldo Grigsby and Kaja Silverman. After lecturing on Monet in Giverny in May, André returned home to Philadelphia to find out that he had been promoted to Associate Professor with tenure starting in July 2014.

    • Karine Douplitzky

    • Bio

      Karine Douplitzky (2011) was born and raised in France and recently moved to the Bay Area. She has a non-typical profile: a Master's degree in Engineering and an M.A. in Film Studies, followed by many years as a documentary film director. One of her favorite subjects is the History of Paper: she wrote a book on the topic, as well as several articles on related themes such as the power of media. She then spent a year in Japan teaching French literature and cinema. Karine studies under Professor Elizabeth Honig. She is particularly interested in Dutch and Flemish art and hopes to continue research on the question of the Smile. She has eclectic interests, including photography, elaborating themed exhibits and restoring a 12th-century prieuré in France.

    • Thadeus Dowad

    • Bio

      Thadeus Dowad (2014) specializes in the art and architectural history of Europe and the Ottoman Empire in the eighteenth and nineteenth centuries, with a special interest in global methods of analysis that address the latent Orientalist residues of art historical research today. Thadeus’ dissertation will examine the first wave of experimentations with “Western” image genres and media on the part of the Ottoman government during an era of heightened reform known as the New Order (1789-1839). His study argues for an integration of Late Ottoman art history into a broader narrative of globalizing image forms that accompanied the expansion of French and British empires in the nineteenth century. Thadeus currently resides in Istanbul, where he is completing his first year of dissertation research as a Paul Mellon Fellow at the Center for Advanced Study in the Visual Arts (CASVA).

    • Nina Dubin

    • Bio

      Nina Dubin is Associate Professor of Art History and an affiliate of the Department of French and Francophone Studies at the University of Illinois at Chicago and the author of Futures & Ruins: Eighteenth-Century Paris and the Art of Hubert Robert (Los Angeles: Getty Research Institute, 2010; 2012). Her work has been supported by institutions including the Getty Research Institute; the Center for Advanced Study in the Visual Arts at the National Gallery of Art, where she was a Samuel H. Kress Senior Fellow from 2013 to 2014; the Clark Art Institute where she was a fellow in 2017; and Williams College where she held a Robert Sterling Clark Visiting Professorship in the Graduate Program in Art History in 2018. A specialist in European art since 1700, she is currently writing a book provisionally titled “Love, Trust, Risk: The Culture of Credit from the Eighteenth Century to the Present.”

    • Susan Eberhard

    • Bio

      Susan Eberhard is a 4th year, researching the histories of objects, art and architecture in the global 19th and 20th centuries, particularly in China and the US. Her theoretical interests include questions of value and exchange, material practices, race, and social realisms, using methods drawn from economic, social and political history, visual culture studies, history of design, and cultural anthropology. Her dissertation project examines the circulation of silver as coin, commodity, and crafted object through the Chinese port city of Guangzhou/Canton in the 19th century. She received her BA in art history and critical theory at Swarthmore College.

    • Charlotte Eyerman

    • Bio

      Alumna Charlotte Eyerman, Executive Director of the Monterey Museum of Art, was awarded the insignia of Chevalier in the Order of Arts and Letters on October 3, 2014. On behalf of the French Ministry of Culture and Communication, Consul General of France in Los Angeles Axel Cruau bestowed the honor (the equivalent of knighthood) at a private ceremony in Beverly Hills, CA.

      The Order of Arts and Letters (Ordre des Arts et des Lettres) was established in 1957 to recognize eminent artists and writers, as well as people who have contributed significantly to furthering the arts in France and throughout the world. The Order of Arts and Letters is given out three times annually under the jurisdiction of the Minister of Culture and Communication. American recipients of the award include Paul Auster, Ornette Coleman, Agnes Gund, Marilyn Horne, Jim Jarmusch, Richard Meier, Robert Paxton, Robert Redford, Meryl Streep, Uma Thurman, William S. Burroughs, and Philip Glass.

      Dr. Eyerman was recognized as Chevalier in the Order of Arts and Letters for her promotion of French culture and heritage as a scholar, curator, and museum professional over the past 20 years. Eyerman earned Master’s and Doctoral degrees in the History of Art at the University of California at Berkeley, with a specialization in 19th-century French art and culture.

    • Ellen C. Feiss

    • Bio

      E. C. Feiss (2015) is a critic and PhD candidate studying the history and theory of Modern and Contemporary art, specifically western socially and politically engaged art practices that articulate programs for justice and social utility. She also writes broadly about art after 1960.  Her work has appeared in Afterall, Frieze, Open! Radical Philosophy and Texte zur Kunst amongst others. In 2014–15, she was a resident at the Jan van Eyck Academie, Maastricht and an instructor at the Sandberg Instituut, Amsterdam. She holds an MA from Goldsmiths College, University of London and a BA from Smith College. She also works here.  

    • Amy Freund

    • Bio

      After five years at TCU in Fort Worth, Amy Freund (2005) moved down the road to Dallas to begin a new job in the art history department at SMU. Her first book, Portraiture and Politics in Revolutionary France, appeared with Penn State University Press this summer.

    • Jessica Flores García

    • Bio

      Jessica "Jez" Flores García (2012) is a PhD candidate studying contemporary art with a particular interest in Chicano art. She is writing her dissertation on the role of various types of camp, via queer culture, rasquache, and glam rock, in the eclectic artistic production of the East Los Angeles art collective Asco. After completing her MA at the University of Cincinnati, she served as curator for contemporary art at the Cincinnati Art Museum and acted as assistant to the creative director for the 11th Venice Biennale of Architecture. Jez earned her BFA from Moore College of Art and Design in Philadelphia.

    • Carl Gellert

    • Bio

      Carl is spending 2013-14 on a Japan Foundation Fellowship in Nara, Japan. While there he will be conducting research for his dissertation at the Nara National Institute for Cultural Properties and Archaeological Institute of Kashihara. His dissertation examines the Fujinoki tomb, focusing on an examination of grave-goods and other artifacts from the site as a means of better understanding 5th-8th century mortuary traditions, and Japan’s early relationship with China and Korea.

    • Aglaya Glebova

    • Bio

      Aglaya Glebova (Ph.D. 2014, "Photography’s Undoing: Aleksandr Rodchenko and the White Sea-Baltic Canal") is Assistant Professor in the departments of Art History and Film & Media Studies at UC Irvine. She is completing a book on Aleksandr Rodchenko’s photography during early Stalinism. A chapter of the book was published in the Spring 2018 issue of Representations; a version of another is forthcoming in Art History. In 2017-2018, she was a fellow at the Canadian Center for Architecture in Montreal and the American Academy in Berlin, as well as the UC President's Faculty Research Fellow in the Humanities. In July 2019 she will begin as Assistant Professor of modern art at Yale’s History of Art department.

    • Carma Gorman

    • Bio

      Carma Gorman, Ph.D., is an associate professor in the School of Design and Creative Technologies at the University of Texas at Austin. She is a member of the College Art Association’s (CAA) board of directors, a past president of the CAA affiliated society Design Studies Forum, and a former associate editor of the journal Design and Culture. She edited the primary-source anthology The Industrial Design Reader (Allworth/The Design Management Institute, 2003) and has published articles and reviews about US design of the long twentieth century in American Quarterly, Design and Culture, Design Issues, Journal of Design History, Studies in the Decorative Arts, and Winterthur Portfolio. She is currently completing a book manuscript that surveys the ways in which the USA’s distinctive laws, regulations, and standards have shaped the national character of American industrial design from 1890 to the present.

    • Lesdi Goussen

    • Bio

      Lesdi Goussen (2017) studies mid-20th century Latin American art in a transatlantic context, focusing on the exchanges taking place between Latin America, Europe, and the United States. Framed within this context, her work primarily looks at the development and dissemination of Central American aesthetics from the 1950s through the aftermath of the Central American crisis in the 1990s, a time marked by armed conflict, US intervention, and revolutionary struggle within several countries. Working alongside a range of fields, Lesdi's research interests include women of color feminisms, Latinx studies, postcolonial theory and decoloniality. Lesdi holds a B.A in Art History from New York University.

    • Robin Greeley

    • Bio

      Robin Adèle Greeley (PhD, 1998) teaches at the University of Connecticut, where she focuses on art and politics in modern and contemporary Latin America. She is Affiliate Faculty at the Massachusetts Institute of Technology (MIT), and has also held visiting faculty positions at Harvard and Stanford. A founding member of the Symbolic Reparations Research Project, she is currently engaged in analyzing policies and practices of aesthetic memorialization in symbolic reparations for victims of human rights violations in the Americas. Her books include Surrealism and the Spanish Civil War (Yale University Press, 2006); Mexican Muralism: A Critical History (co-edited, University of California Press, 2012); The Logic of Disorder: The Art and Writings of Abraham Cruzvillegas (Harvard University Press, 2015); A Companion to Modern and Contemporary Latin American Art (co-edited, Blackwell, 2019), and La interculturalidad y sus imaginarios: Conversaciones con Néstor García Canclini (Gedisa/Palinodia, 2018).

    • Diana Greenwold

    • Bio

      Diana Greenwold (Ph.D., 2016) is the Associate Curator of American Art at the Portland Museum of Art in Portland, Maine. Her dissertation, "Crafting New Citizens: Art and Handicraft in New York and Boston Settlement Houses, 1900-1945," explored the intersection between art and social work in early 20th-century America. In 2013, Greenwold was the Douglass Foundation Fellow in the American Wing at the Metropolitan Museum of Art. Her recent projects have included Of Whales in Paint: Rockwell Kent's Moby Dick and Model Citizens: Art and Identity in Colonial and Federal America. She is currently curating exhibitions about the Haystack Mountain School of Crafts and the art of Winslow Homer and Frederic Remington.

    • Andrew Griebeler

    • Bio

      Andrew Griebeler (2010) studies medieval and Byzantine art with Diliana Angelova and Beate Fricke. Andrew graduated with a B.A. in art history and biology at the University of Puget Sound in Tacoma, Washington. Andrew’s research interests include manuscripts, spolia, and medieval science and image theory.

    • Anthony E. Grudin

    • Bio

      Anthony (Ph.D. 2008) is associate professor of art history at the University of Vermont. He is the author of Warhol’s Working Class: Pop Art and Egalitarianism (University of Chicago Press, 2017). His essays have appeared in Warhol: Headlines (National Gallery, 2011), 13 Most Wanted Men: Andy Warhol and the 1964 World's Fair (Queens Museum/Andy Warhol Museum, 2014), ON&BY Andy Warhol (Whitechapel/MIT, 2016), American Masters (National Gallery of Australia, 2018), October, Criticism, and Oxford Art Journal. He is working on a second book on Warhol and animal life, and coediting a volume on the present prospects of social art history with Robert Slifkin (NYU). 

    • Sarah Hamill

    • Bio

      Sarah Hamill (PhD, 2008; dissertation title “David Smith in Two Dimensions: Photography, Sculpture, and Space”) is Assistant Professor of Modern and Contemporary Art at Sarah Lawrence College (formerly Associate Professor of Modern and Contemporary Art at Oberlin College). She is the author of David Smith in Two Dimensions: Photography and the Matter of Sculpture (University of California Press, 2015) (awarded a Meiss/Mellon Author’s Book Award and a Wyeth Foundation for American Art Publication Grant from the College Art Association in 2013), and, with Megan R. Luke, co-editor of Photography and Sculpture: The Art Object in Reproduction (Getty Publications, 2017). Hamill has published essays on modern sculpture, the history of art reproduction, and contemporary photography, and is currently completing a book on Mary Miss’s 1970s sculptures and films. She has received fellowships from the American Council of Learned Societies, the Getty Research Institute, and Villa I Tatti, the Harvard Center for Italian Renaissance Studies.

    • Grace Harpster

    • Bio

      Grace Harpster (PhD 2018) studies the religious art of Counter-Reformation Italy and its wider missionary networks. She recently filed her dissertation, "Carlo Borromeo's Itineraries: The Sacred Image in Post-Tridentine Italy," a project that follows the reforming cardinal-archbishop on five different pilgrimages in order to examine his interactions with sacred images. Currently, she is a Mellon postdoctoral fellow in Columbia University's art history department.

    • Sharon Hecker

    • Bio

      Sharon Hecker (MA History of Art 1994, Ph.D. 1999), specializes in modern and contemporary Italian Art. A leading expert on Medardo Rosso, she has authored over 20 publications on the artist, including A Moment’s Monument: Medardo Rosso and the International Origins of Modern Sculpture (UC Press, 2017), awarded CAA's Millard Meiss Prize and recently published in Italian.
      Sharon has curated numerous exhibitions on Rosso, including Medardo Rosso: Second Impressions (Harvard University Art Museums, 2004), the retrospective Medardo Rosso: Experiments in Light and Form (Pulitzer Arts Foundation, 2017) and, with Julia Peyton-Jones, Medardo Rosso: Sight Unseen and His Encounters with London (Galerie Thaddaeus Ropac, 2018).
      For her work on Rosso, Sharon has received fellowships from the Getty, Fulbright and Mellon Foundations.
      She also writes about key twentieth century Italian artists such as Lucio Fontana and Luciano Fabro, and is co-author of Postwar Italian Art History Today: Untying 'the Knot’ (Bloomsbury Academic, 2019).
      She is currently working on a volume on the recovery of lost-wax casting and a volume on lead in modern and contemporary art.

    • Samantha Henneberry

    • Bio

      This past year, Samantha Henneberry (2008) completed museum study and fieldwork in Greece for her dissertation on Lakonian warrior-hoplite iconography and the role of diverse craft traditions in shaping warrior identity and social memory. While the Jacob Hirsch Fellow at the American School in Athens, she researched in various collections, including the National Archaeological and Acropolis Museums in Athens, Sparta Archaeological Museum, and Altes Museum in Berlin, and traveled throughout the archaic landscapes of the southern Peloponnese (by tiny Peugeot!). This year, with funding from the Frank E. Ratliff Fellowship, Sam will focus on research and writing in Berkeley.

    • Stephanie Hohlios

    • Bio

      As an art historian of twentieth-century Japan, Stephanie Hohlios’s research focuses on the visual and material culture of performance. Her dissertation (forthcoming), titled "Obuje on the Move: Performance, Mobility, and Social Engagement in 1960s and 1970s Japan," explores the intersection of theater and artistic exhibition practice, specifically a turn in the 1960s and 1970s toward traveling experimental events. Stephanie spent the 2017 - 2018 academic year doing language study and independent research at the Inter-University Center for Japanese Language Studies in Yokohama, Japan. In 2018 - 2019 she will be conducting dissertation research in the U.S. and Japan.

    • Aaron Hyman

    • Bio

      Aaron M. Hyman (PhD 2017) has moved to Baltimore to begin as an Assistant Professor in the Department of the History of Art at Johns Hopkins University. A specialist of early modern art in the Spanish Empire, he has published in Colonial Latin American Review, Representations, Art Bulletin, and Print Quarterly, among other venues. He was recipient of the 2018 Arthur Kingsley Porter Prize from the College Art Association.

    • Claire Ittner

    • Bio

      Claire Ittner studies twentieth-century modernisms, with an emphasis on the arts of America and the African diaspora. Her research interests include the spaces of creation and display, race and national identity, questions of influence, and archival theory and practice. She earned a B.A. from Davidson College in 2013. 

    • Riad Kherdeen

    • Bio

       Riad Kherdeen (2016) studies global modern art and architecture, with a focus on the Middle East and North Africa (MENA) region. His interests include comparative and alternative modernisms, postcolonial and critical theory, modes of abstraction, the built environment, cross-cultural exchange, intermateriality, and technical art history. Riad holds a B.A. in Art History and a minor in Chemistry from New York University (2013) and an M.A. in the History of Art and Archaeology from the Institute of Fine Arts (2016). His M.A. thesis “Masdar City: Oriental City of the Twenty-First Century,” advised by Jean-Louis Cohen, looks at the urban design and architecture of Masdar City in the United Arab Emirates as a new iteration of the “Orientalized” city within a genealogy of recent urbanism in the Arab world, one that still succumbs to the imagined representations of the region created by European imperialism yet embraces those stereotypes to construct new narratives about its people and its nascent nation.

    • Sonal Khullar

    • Bio

      Sonal Khullar (Ph.D. 2009) prepared her book manuscript, Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990 (forthcoming spring 2015 from the University of California Press), for publication. She was awarded an ACLS Charles A. Ryskamp Research Fellowship for a new book project, The Art of Dislocation: Conflict and Collaboration in Contemporary Art from South Asia. In 2013-14 she presented research on this project in Los Angeles, Portland, and Colombo, Sri Lanka, and chaired a session on collaboration at the Association for Asian Studies meeting. She is completing an essay on murals by George Keyt at a Buddhist monastery and temple complex outside Colombo for a special Sri Lanka issue of Marg edited by Sujatha Meegama (Ph.D. 2011).

    • Kristen Kido

    • Bio

      Kristen Kido (2014) specializes in comparativism,  cultural heritage and the law, with a particular emphasis on ancient art in the contemporary world. Her dissertation focuses on the intersection between the cultural and legal matrices generated and encountered by the so-called "Goddess of Morgantina," from the time of its making to its contemporary repatriation to Sicily. Having received her M.A. in Comparative Art an Archaeology from University College London, Kristen is interested in cross-cultural and comparative issues in art history, and her research is rooted in contemporary athropological and sociological theory. Kristen advanced to candidacy in Spring 2017, and will continue dissertation work while completing her J.D. at University of California, Irvine, School of Law.

    • Sunglim Kim

    • Bio

      Sunglim Kim (Ph.D. 2009) is Assistant Professor of Art History and Asian and Middle Eastern Studies at Dartmouth College. In 2013-14 Sunglim presented her research on chaekgeori screens at the 2013 AAS annual conference in San Diego and at the Triangle East Asia Colloquium at the University of North Carolina, and her research was developed into an article, “Chaekgeori: multi-dimensional messages in late Joseon Korea,” that was published in Archives of Asian Art (Spring 2014). In September, she lectured on the emergence of Korean consumer culture in late Joseon Korea in concert with the exhibition, “Treasures from Korea: Arts and Culture, 1392-1910” at LACMA. With a Junior Faculty Fellowship and her sabbatical leave in 2014-15, Sunglim will focus on completing her upcoming book, Flowering Plums Bloom: 19th-Century Korean Art.

    • Jinah Kim

    • Bio

      Jinah Kim (PhD 2006) is Gardner Cowles Associate Professor of History of Art & Architecture at Harvard University. Her first book, Receptacle of the Sacred: Illustrated Manuscripts and the Buddhist Book Cult in South Asia (UC Press, 2013) earned AAS Bernard Cohen Prize honorable mention in 2015. She is currently finishing her second book, "Garlands of Visions: Color, Tantra, and a Material History of Indian painting,” which demonstrates how “pothi” manuscripts transformed Indian painting into a portable media that can transfer a vast amount of visual knowledge in color. Her research and publications explore a wide range of topics, from issues of female representation and patronage of art to re-appropriation of religious sites and objects in post-colonial contexts of South and Southeast Asia. In addition to her academic research, she is developing a digital humanities project on color, which will serve as a searchable, open database for research on pigments. 

    • Sabine Kriebel

    • Bio

      Sabine Kriebel's (2003) book, Revolutionary Beauty: The Radical Photomontages of John Heartfield was published in February 2014 by University of California Press, thus ending the project where it began, in Berkeley, California. After a brief visit home to Southern California, she is looking forward to giving talks on aspects of her next project -- photography and the so-called New Objectivity -- in Zagreb, Potsdam, and Helsinki this summer. Her co-edited volume on Photography in Doubt is currently under review for publication.

    • Katherine Kuenzli

    • Bio

      Katherine Kuenzli (Ph.D. 2002) is very happy to be starting a one year sabbatical and leave from her position as Associate Professor of Art History at Wesleyan University. She received an ACLS Fellowship for the 2014-15 year to work on her book manuscript, "Designing Modernism: Henry van de Velde from Neo-Impressionism to the Bauhaus." This past academic year she published an article, "The Birth of the Modernist Museum: The Folkwang as Gesamtkunstwerk," in "The Journal of the Society of Architectural Historians" (December 2013). She also published an essay, "Expanding the Boundaries of Modern Art: The Blue Rider, Parisian Modernism, and Henri Rousseau" in an exhibition catalogue "Expressionism in Germany and France: From Matisse to the Blue Rider" (LACMA, 2014). Her husband, Michael Printy (Ph.D. 2003), accepted a position as Western European Humanities Librarian at Yale University.

    • Grace Kuipers

    • Bio

      Grace Kuipers studies 20th century American art. She is particularly interested in theories of display and collecting, as well as concepts of citizenship. She earned her B.A. from Wesleyan University in 2014. She interned in Washington, D.C. at the National Gallery of Art’s Department of Photographs before spending 2015-2016 in Berlin, Germany on a fellowship supported by the Fulbright commission. 

    • Namiko Kunimoto

    • Bio

      Namiko Kunimoto is an Associate Professor at The Ohio State University. She is a specialist in modern and contemporary Japanese art, with research interests in gender, race, urbanization, photography, visual culture, performance art, transnationalism, and nation formation.

      Her essays include “Olympic Dissent: Art, Politics, and the Tokyo Games” in Asia Pacific Japan Focus, “Tactics and Strategies: Chen Qiulin and the Production of Space” forthcoming in Art Journal and “Shiraga Kazuo: The Buddhist Hero” published in Shiraga/Motonaga: Between Action and the Unknown. Dr. Kunimoto’s awards include a Social Sciences and Humanities Research Council of Canada Fellowship, Japan Foundation Fellowships (2007 and 2016), a College Art Association Millard/Meiss Author Award, and the OSU Alumni Award for Distinguished Teaching (2018). She has been a panelist for the National Endowment for the Arts and is an executive member of Japan Arts and Globalization and Vice-President of the Japanese Art History Forum. Her book, The Stakes of Exposure: Anxious Bodies in Postwar Japanese Art, was published in February 2017 by the University of Minnesota Press.

    • Rosaline Kyo

    • Bio

      Rosaline is a PhD candidate specializing in 20th century Chinese and Tibetan art. Her dissertation focuses on visual cultures and the codification of body standards and behavior as it pertains to the process of nation building in 20th century China. She examines specific visual propaganda projects and their intersection with contemporaneous political campaigns and practices of image production. She has conducted research for extended periods of time in Nepal, China and the Tibetan Autonomous Region with support from the History of Art Department and the Institution of East Asian Studies.

    • Christoper Lakey

    • Bio

      Christopher Lakey is Assistant Professor of Medieval Art at Johns Hopkins University. His first book, Sculptural Seeing: Relief, Optics, and the Rise of Perspective in Medieval Italy, was awarded a Millard Meiss Publication Fund grant by the College Art Association in Fall 2017 and will be published by Yale University Press in October 2018. Last year (AY 17/18), Lakey was CRIA Fellow at Villa I Tatti, the Harvard Center for Italian Studies in Florence, Italy.

    • Rebecca Levitan

    • Bio

      Rebecca Levitan studies the art and architecture of the ancient Mediterranean world. She received her B.A. in Art History from Emory University and her M.Litt in Ancient History from the University of St Andrews. She has excavated in Belgium, Greece, and Italy. Her research interests include polychromy, numismatics, and the reception of antiquity in Europe and the United States.  

    • Mary Lewine

    • Bio

      Mary Lewine works on objects deposited into Buddhist statues in East Asia, with a particular focus on stamped and printed replications of Buddha images. She is interested in conceptions of sacred presence, iconicity, ontologies of the relic, and the poetics of the hidden. Her research explores transregional circulations of knowledge and material culture through Buddhist networks; the agency of the seal; and iconographic development. Her dissertation focuses on a particular category of statue deposit prevalent among the deposit assemblages of 13th and 14th century statues from Kansai region statuary workshops and religious contexts, inbutsu kechien kyōmyō. She received her BA in Chinese at Vassar College and an MA at UC Berkeley in the Group of Asian Studies prior to joining the department.

    • Evie Lincoln

    • Bio

      Evie Lincoln's (Ph.D. 1994) new book, Brilliant Discourse: Pictures and Readers in Early Modern Rome is out with Yale University Press. She noted with pleasure that the Renaissance being dead has had an improving effect on the papers and cheerfulness of colleagues at this Spring's Renaissance Society of America conference. So here's to the rebirth of Renaissance Studies!

    • Andrea Jung-An Liu

    • Bio

      Andrea Jung-An Liu (2018) studies Modern East Asian Art, with a focus on the artistic productions across the Japanese Empire. She takes a special interest in tracing the trans-national and trans-medial history of Japanese modern art while interrogating the formation of art historiography and art criticism in the first half of the twentieth century. She is also interested in critical and postcolonial theory, the politics of display, and the relationship between war, propaganda and art. Before moving to Berkeley for her PhD studies, she interned at MoMA in NYC and worked for the Museums Association in Taiwan. She received her Mst. in art history and visual culture from the University of Oxford, where she wrote her Mst. thesis on the art of Foujita Tsuguharu to discuss the limits of self-orientalization and the historical construction of the East-West binary which in many ways contested with the promise of universalism in the dominant discourse of modern art.  

    • Josephine Lopez

    • Bio

      Josie Lopez (2009) is currently conducting research and writing her dissertation in New Mexico with the support of the SMU Eleanor Tufts Fellowship. Her dissertation examines nineteenth-century political satire and caricature in the prints of Mexican lithographer Constantino Escalante.

    • William Ma

    • Bio

      William H. Ma (2008) is writing a dissertation on the art and craft workshops at the French Jesuit Orphanage Tushanwan in Shanghai in the early twentieth century. His main areas of interest include the artistic exchange between China and the West (Europe and America) during the late-imperial period, regionalism in Chinese art, and Chinese export art in Guangzhou (Canton).

    • Daniel Marcus

    • Bio

      Daniel Marcus is currenlty working at Oberlin College and previously was a visiting scholar in the History of Art Department at the University of Pennsylvania at the invitation of Professor Kaja Silverman. He is working on a dissertation titled The Banality of Speed: Automotive Modernity in Interwar France, which investigates artistic responses to the vulgarization of the automobile. Alongside his dissertation work, he has written regularly on contemporary art and politics, contributing a catalogue essay to the Boston ICA’s upcoming survey of artist Amy Sillman, a reply to October’s questionnaire on Occupy Wall Street (with Jaleh Mansoor and Daniel Spaulding), and numerous exhibition reviews to Artforum and Art in America. For the coming year, he has accepted a position as Teaching Fellow in the Histories of Art, Media, and Design at the Pasadena Art Center College of Design in Los Angeles.

    • Laure Marest-Caffey

    • Bio

      Laure Marest-Caffey (Ph.D. 2017) is the Cornelius and Emily Vermeule Assistant Curator of Greek and Roman Art at the Museum of Fine Arts, Boston. She oversees with her colleagues one of the largest and most encyclopedic collections in the United States. She is currently working on several new permanent galleries and a catalog of the MFA's world-class collection of ancient engraved gems. Laure received in 2018 an award from the Archaeological Institute of America (AIA) for her research on social networks evidenced in the clay sealings excavated at Seleucia on the Tigris, Iraq. She has published in the American Journal of Numismatics and is currently finishing a study of glyptic finds discovered at Pompeii, Italy.

       

       

    • Elizabeth McFadden

    • Bio

      Elizabeth McFadden specializes in early modern fashion and dress. She is writing a dissertation on fur clothing in sixteenth- and seventeenth-century England and Holland. In the past she has interned at The Museum at FIT and the V&A. She earned her MA from the Courtauld Institute of Art in London where she was recently a Kress Fellow. She currently resides in Paris.

    • Cristin McKnight Sethi

    • Bio

      Cristin McKnight Sethi (Ph.D., 2015) is Assistant Professor of Art History at the Corcoran School of the Arts and Design at George Washington University where she teaches a variety of courses on visual and material culture from South and Southeast Asia. She is completing a book on the production, circulation, and display of embroidered textiles in pre- and post-Partition Punjab.

    • Ara H. Merjian

    • Bio

      Ara H. Merjian is Associate Professor of Italian Studies and an affiliate of the Institute of Fine Arts and the Department of Art History, New York University. He is the author of Giorgio de Chirico and the Metaphysical City: Nietzsche, Paris, Modernism (Yale University Press, 2014). Forthcoming from the University of Chicago Press in 2019, and funded by a Creative Capital/Andy Warhol Foundation Art Writers Grant, is the new volume, Against the Avant-Garde: Pier Paolo Pasolini, Contemporary Art and Neocapitalism, 1960-1975. He is at work on a new book titled "The Mimesis of the Gaze" - a theoretical examination of shared vision and intersubjectivity in modernist painting.

    • Kappy Mintie

    • Bio

      Katherine "Kappy" Mintie finished her PhD in 2017. Her dissertation is entitled "Rights and Reproductions?: Commercial Photography and Copyright Law in the United States, 1884-1909." For 2017-19, she will serve as the Postdoctoral Scholar in American Art History at DePauw University.

       

    • Verónica Muñoz-Nájar

    • Bio

      Verónica Muñoz-Nájar studies colonial Latin American art with a focus on the visual and material culture of the Viceroyalty of Peru. Her interests include the transatlantic circulation of objects, the biopolitics of colonial tropicalism during the Bourbon era, and early modern print culture. Verónica’s dissertation explores the understudied visual culture of the lower Amazon basin under missionary and governmental dominion during the eighteenth century. She is particularly interested in the unorthodox measures of control that were implemented in the region in accordance with European Enlightenment initiatives, resulting from decades of social rebellions, such as the use of art (primarily drawing) as a strategy to reinforce civility in the Amazon communities. In 2018, Verónica became the Mellon Curatorial Intern in Latin American Art at the Museo de Arte de Lima, Peru. Previously, she was the Thoma Visiting Scholar in Spanish Colonial Art at the Blanton Museum and the Research Assistant at the Los Angeles County Museum, where she assisted in the production of Painted in Mexico, 1700-1790: Pinxit Mexici. Verónica holds an M.A. from the Institute of Fine Arts, New York University as well as a B.A. in History of Art from the Universidad Autónoma de Madrid.

    • Julian Myers-Szupinska

    • Bio

      Julian Myers-Szupinska (Ph.D. 2006) is Associate Professor of Curatorial Practice at California College of the Arts. He celebrated the tenth anniversary of that program, which he helped to found in 2003. His essays have appeared in magazines, journals and catalogues for Keith Haring: The Political Line, When Attitudes Became Form Become Attitudes, and in Sterling Ruby: Soft Work. An essay considering transformations in the political economy of space in the wake of Henri Lefebvre’s The Production of Space, will appear in the forthcoming Critical Landscapes on UC Press. He presented “Lynda Benglis in Process” at CAA in Chicago this year, on an excellent panel chaired by fellow Berkeley-ites Sarah Evans and Elizabeth Ferrell. He was recently appointed Senior Editor of the Exhibitionist, a journal of exhibition making founded in 2010 by Jens Hoffmann and Tara McDowell. In Summer 2014 he was digging into the Harald Szeemann archive at the Getty Research Institute, and spent time with his partner Joanna, who is curator at the California Museum of Photography at UC Riverside, and with whom he collaborates under the title grupa o.k.

    • Richard Neer

    • Bio

      Richard Neer (PhD 1998) has been at the University of Chicago since 1999, where he is now Barbara E. and Richard J. Franke Distinguished Service Professor in Art History, Cinema & Media Studies, and the College and incoming Director of the Franke Institute for the Humanities. From 2010 to 2018 he was Executive Editor of Critical Inquiry, where he continues to serve as co-editor. Davidson and His Interlocutors, co-edited with Daniele Lorenzini, will appear in December 2018. Another edited volume, Conditions of Visibility, is forthcoming from Oxford University Press. The second edition of Ancient Greek Art and Archaeology, a textbook, is out this Fall. A monograph entitled Pindar, Song and Space: Towards a Lyric Archaeology, co-authored with Leslie Kurke of the Berkeley Classics Department, is in press and should appear in 2019.

    • Jeanne Nuechterlein

    • Bio

       Jeanne Nuechterlein (PhD 2000, advised by Elizabeth Honig and Joseph Koerner) completed Holbein and the Reformation of Art in 2000 and has taught since then in the Department of History of Art and in the medieval and Renaissance interdisciplinary centres at the University of York in England. She is currently the Director of York Art History Collaborations. In 2011 she published Translating Nature into Art: Holbein, the Renaissance, and Renaissance Rhetoric (Penn State Press), and she is completing two more Holbein books, one on science, and the other on his complex world (for Reaktion). She also works on other aspects of northern Renaissance art, including its receptions in the 19th and early 20th centuries. In 2014 she co-curated with Susan Foister "Strange Beauty: Masters of the German Renaissance" at the National Gallery, London, and another exhibition will open at York Art Gallery in October 2019 on painting practices in the 15th-century Netherlands and beyond. She is the Deputy Editor of the journal Art History.

    • Oliver O'Donnell

    • Bio

      Oliver O’Donnell (PhD, 2016) is a Research Associate at the Warburg Institute, University of London. There is he working on his second book, an art historical intervention in the history of Anglo-American philosophy, titled "Portraits of Empiricism." His first book, which investigates the thought of the art historian Meyer Schapiro, was completed during a postdoctoral fellowship at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut and is forthcoming with Penn State University Press. Recent articles of his can be found in "History of Humanities," "Word & Image," "Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft," "World Art," and "Tate Papers."

    • Bibiana Obler

    • Bio

      Bibiana Obler (Ph.D. 2006) is associate professor of art history at George Washington University, where she has taught since 2008. Her first book, Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber (Yale University Press, 2014), investigates the role of artist couples in the emergence of abstract art. She is currently at work on a second book project, Anti-Craft, which examines the relation of art and craft in the late twentieth century through a series of case studies: Al Loving's fabric constructions, Rebecca Horn's bodily extensions, Lynda Benglis's ceramics, and El Anatsui's work in wood. She is also co-curating, with Phyllis Rosenzweig, an exhibition entitled “Fast Fashion / Slow Art,” opening at the Textile Museum / George Washington University Museum in July 2019 and traveling to the Bowdoin College Museum of Art in spring 2020.

    • Angela Pastorelli-Sosa

    • Bio

      Angela (2018) studies modern and contemporary Latinx and Latin American printmaking and paper communities. Her research focuses on post-war artist networks that explore the conceptual underpinnings of paper to engage in transnational dialogues about liberation, history, and identity. She received her BA in Art History from Williams College in 2016, and subsequently spent a year in the Metropolitan Museum of Art’s Drawings and Prints department before going on to work at Rosenberg & Co. art gallery in New York.  

    • Jessica Patterson

    • Bio

       Jessica Lee Patterson (2009) is Associate Professor of Art History at the University of San Diego, where she teaches courses that explore various aspects of Asian and modern art. Her research focuses on connections between East and Southeast Asia in the Buddhist art of the nineteenth century.

    • Stephanie Pearson

    • Bio

      Stephanie Pearson (2007) studies ancient Roman art, with a focus on wall painting. Her research concerns cross-cultural interactions, concepts of luxury and exoticism, and artistic technique. Museums are another key theme in her work. Stephanie has excavated with the Via Consolare Project in Pompeii and worked in the Berlin Antikensammlung.

    • Ariana Pemberton

    • Bio

      Building upon and expanding her undergraduate studies of South Asian Art History at UC Berkeley, where she received her BA from the Department in 2017, Ariana Pemberton (2018) works on the subcontinent in relation to the Indian Ocean littoral (emphasizing the Arabian Sea) during the Medieval period. Her interests focus on medieval globalization, cosmopolitanism, and long-distance exchange. Her transcontinental approach of bringing South Asia, the Persian Gulf, and East Africa into the same conversation, aims to challenge misconceptions and progress the previous, more traditional, and segregated scholarship of the areas.  

    • Kailani Polzak

    • Bio

      Kailani Polzak (2008) is a Ph.D. candidate working on British, French, and Russian voyages to the Pacific and the picturing of human difference in the eighteenth and nineteenth centuries. She spent the past year in New Zealand, France, and Germany with the support of the History of Art Department as well as fellowships from the Social Science Research Council and the Georges Lurcy foundation.  Kailani will finish her tenure as an International Dissertation Research Fellow with the SSRC this fall, dividing the semester between research sites in the United Kingdom and Australia. She is very excited to return to Berkeley in the spring to begin writing and resume teaching.

    • Yessica Liliana Porras

    • Bio

      Yessica Porras (2015) is a first-year PhD student focusing on Colonial Latin American art. After years away from her native country of Colombia, she developed an interest in art history as a way of learning more about her culture and expanding the knowledge of this understudied area. She is looking forward to beginning her work under the guidance of Todd Olson and Lisa Trever. She graduated from UC Berkeley in 2014. Here she developed an interest in the intersection between colonial and indigenous cultures,
      represented in in her Honors Thesis Church of St. John the Baptist at Sutatausa: Indoctrination and Resistance.
       

    • Todd Presner

    • Bio

      Todd Presner just published a new book, HyperCities: Thick Mapping in the Digital Humanities (Harvard University Press, 2014), with colleagues David Shepard and Yoh Kawano. A digital platform transmogrified into a book, it explains the ambitious online project of the same name that maps the historical layers of city spaces in an interactive, hypermedia environment. The authors examine the media archaeology of Google Earth and the cultural–historical meaning of map projections, and explore recent events—the “Arab Spring” and the Fukushima nuclear power plant disaster—through social media mapping that incorporates data visualizations, photographic documents, and Twitter streams. The digital companion to the book can be accessed at: http://thebook.hypercities.com. Presner is Chair of UCLA’s Digital Humanities program and also professor of Germanic Languages and Comparative Literature at UCLA.

    • Laura Richard

    • Bio

      Laura's (2008) field is Modern and Contemporary Art with a Designated Emphasis in Film. This past spring she taught a course on installation art, and last summer her article, "Anthony McCall: The Long Shadow of Ambient Light" appeared in the Oxford Art Journal. She was the volume editor of State of Mind: New California circa 1970 (UC Press, 2011) and, since 2009, has been the co-coordinator of the Townsend Working Group in Contemporary Art at UC Berkeley, whose mission is to foster interdisciplinary and inter-institutional conversations. She is currently writing her dissertation on the early film and room works of Maria Nordman, a portion of which she presented at the UCSD Visual Arts Graduate Student Conference in March. When she is not in the library or with her three daughters, Laura enjoys trail running, cooking, and playing co-ed soccer.

    • Mark Rosen

    • Bio

      Mark Rosen’s book, The Mapping of Power in Renaissance Italy, was published by Cambridge University Press in late 2014. He is Assistant Professor at the University of Texas at Dallas and part of its newly formed Edith O’Donnell Institute of Art History. His piece on Pietro Tacca’s Quattro Mori will appear in the March 2015 issue of The Art Bulletin. He is jealous of those who continue to live in Berkeley.

    • Sasha Rossman

    • Bio

      Sasha grew up in Berkeley and Switzerland. He left the Bay Area in the late 90s to study art history and art practice on the East Coast and in Germany, where he worked in contemporary art for many years and also studied at Berlin's Freie and Humboldt Universities. He then returned to Berkeley to study art, architecture, film, philosophy, critical theory and literary theory across numerous departments- focusing on constructions of space, temporality and history across media.

    • Miriam Said

    • Bio

      Miriam Said (2011) earned her B.A. in art history from Syracuse University in 2009, and focuses on art of the ancient near east and the early Greek period. Her research interests include art of the first millennium with a focus on near eastern cultural cross-roads and interaction with the Eastern Mediterranean world; ritual and religion, and the representation and function of hybrid beings in art. She is also particularly interested in issues of cultural heritage and repatriation, which she hopes to explore in more depth in the coming years. Miriam most recently hails from New York where she spent the last two years working at both The Metropolitan Museum of Art and The Museum of Modern Art.

    • Jenny Sakai

    • Bio

      Jenny Sakai completed her dissertation, entitled Undoing Architecture: Temporalities of Painted Space in Early Modern Amsterdam, and was hooded at the spring 2014 commencement and is currently Visiting Assistant Professor of Art History at Kenyon College. She received her BA from U.C. Berkeley and an MA from Columbia (Art History and Archaeology), and is the recipient of the Jacob K. Javits Fellowship and the two-year Kress Institutional Fellowship in European Art. Jenny's field of study is early modern Northern art, and her advisors are Elizabeth Honig, Darcy Grimaldo Grigsby, and Todd Olson. Her research interests include early modern urbanism, decay, iconoclasm, reception and the uses of art, the status of representation, materiality, and the relationship between power and painting.

    • Alexa Sand

    • Bio

      Alexa Sand is Professor of Art History and Associate Vice President of Research/Associate Dean of Graduate Studies at Utah State University, where she has been on the faculty since 2004. She is a medievalist with a specialization in francophone word-and-image studies. She is the author of Vision, Devotion, and Self Representation in Late Medieval Art (Cambridge, 2014), as well as numerous journal articles and book chapters. She currently directs undergraduate and graduate research support programs at USU, and is an active member of the International Center of Medieval Art. She is the past recipient of numerous fellowships, most recently as a Paul Mellon Sr. Visiting Fellow at CASVA, and as a summer fellow at the Clark Art Institute.

    • Sandra Sardjono

    • Bio

      Sandra Sardjono (2009) studies the art and visual culture of Southeast Asia, with a particular focus on Indonesia. She is currently writing a dissertation on the depictions of textiles in Java from the Hindu-Buddhist period, 8th-15th century. She spent the last couple of years conducting research in the Netherlands as Visiting Scholar in the Leiden Institute for Area Studies, Leiden University. She earned her B.A. from Bowdoin College in Maine and an M.A. from the Institute of Fine Arts, New York University. She served as Textile Conservator at the Cooper-Hewitt National Design Museum in New York and as Assistant Curator of Costume and Textiles at the Los Angeles County Museum of Art.

      Co-advisors: Joanna Williams and Marijke Klokke (Leiden University)

       

    • Michael Schreyach

    • Bio

      Ph.D. 2005 (Dept. of History of Art) Michael Schreyach is Associate Professor of Art History at Trinity University in San Antonio, Texas. He is the author of Pollock's Modernism (2017).

    • Andrew Sears

    • Bio

      Andrew Sears (2012) studies medieval art and architecture with Beate Fricke. He received his B.A. in Art History from Emory University. His research focuses on relics, reliquaries, and saints' cults, with a particular emphasis on Northern Europe and the Hanseatic League.

    • Ryan James Serpa

    • Bio

      Ryan Serpa (2018) studies twentieth century art of the United States, specifically art of California and the non-continental U.S. He is interested in color, the politics of space, critical race theory, regionalism, and ecology as they pertain to problems of painting and the depiction of land. His research focuses on mid-century art of the San Francisco Bay Area and he has written on Bay Area Figurative painting. Ryan received his B.A. in the History of Art from UC Berkeley in 2017. 

    • Joshua A. Shannon

    • Bio

      Joshua Shannon is Associate Professor in the Department of Art History & Archaeology at the University of Maryland. He is the author of The Recording Machine: Art and Fact during the Cold War (Yale University Press, 2017) and The Disappearance of Objects: New York Art and the Rise of the Postmodern City (Yale University Press, 2009). He is founder and director of the Potomac Center for the Study of Modernity and lives in Washington, DC. In 2019-20, he will be Terra Visiting Professor of American Art at the Freie Universität Berlin.

    • Jennifer L. Shaw

    • Bio

      PhD 1994. Jennifer L. Shaw is author of Exist Otherwise: The Life and Work of Claude Cahun, Reaktion Books, London, 2017; Reading Claude Cahun’s Disavowals, Routledge, 2013; and Dream States: Puvis de Chavannes, Modernism and the Fantasy of France, Yale University Press, 2002. She is Professor of Art History at Sonoma State University.
      In February 2018, she was invited to Paris as an expert in French art for the Getty funded program "Entangled Modernisms: Chinese Artists Trained in Europe." In May and June 2018, Jennifer spent a month at the ArtsIceland writers residency in Isafjordur where she completed a draft of her first novel.
      Jennifer has been happily married to John Arnold for 30 years. Their children William and Emily are 19 and 21 as of 2018. They both attend UC Berkeley, but they are not art history majors.

    • Emma Silverman

    • Bio

      Emma Silverman specializes in Modern and Contemporary American art with a designated emphasis in Women, Gender and Sexuality. Emma is writing her dissertation on the Watts Towers in Los Angeles. More broadly, her research is concerned with art's role in the built environment, the visual cultures of social movements, and the politics of folk and outsider art. Emma earned her BA from Wesleyan University in 2006 and graduated with an MA from the University of Wisconsin-Madison in 2012.

    • Delphine Sims

    • Bio

      Delphine Sims studies the history of photography in the Americas. She earned a B.A. in Art History and African American Studies from the University of Southern California in 2013. Her research focuses on the ways in which race, gender, geography, and urbanity inform landscape photography. She previously worked at the Santa Barbara Museum of Art as the Curatorial Assistant in the Department of Photography. There, she organized exhibitions and contributed writings on subjects such as the history of salted paper prints, California landscape photography, mid-20th-century Mexican photography, and contemporary American photography.  

    • Jon Soriano

    • Bio

      Jon Soriano (2012) studies the arts of East and Central Asia, with a particular interest in Buddhist concepts of space and script during the Qing Dynasty. Jon has an MA in Asian studies from CSULB and an MA in ethnology from Cheng-Chi University, and has worked as a researcher at the National Palace Museum in Taipei and as a Chinese-to-English translator. Jon is currently the recipient of a Eugene Cota-Robles fellowship. A recent work appears in the journal Room 1000.

    • Jessica Stair

    • Bio

       

      Jessica is a PhD candidate focusing on the art of Colonial Latin America with a designated emphasis in Renaissance and Early Modern Studies. She is co-advised by Todd Olson and Lisa Trever. Jessica is currently conducting research on her dissertation, Textual-Pictorial Literacies in the Techialoyan Manuscripts of New Spain, which examines the relationship between text and image in a corpus of seventeenth-century indigenous manuscripts from Central Mexico. She is particularly interested in the ways in which images played a crucial role in the formation of autochthonous history and identity at a time when alphabetic script had almost completely supplanted the picture in indigenous records. Jessica also serves as a co-organizer for the Townsend Center for the Humanities Working Group: Latin American Art and Literature Working Group. 

       

       

       

    • Jessica Stevenson-Stewart

    • Bio

      Jessica is a PhD candidate specializing in early sixteenth-century Netherlandish art and cultural exchange. Supervised by Professors Elizabeth Honig, Todd Olson, and Darcy Grigsby, her dissertation, Rules of Engagement: Art, Commerce, and Diplomacy in Golden-Age Antwerp, studies the art collections of three foreign merchants in Antwerp and their proximity to specific knowledge communities. She has received fellowships from the Fulbright Commission, the Belgian American Educational Foundation, and the Kress Foundation to support her research abroad. Having flirted in her youth with the idea of going to film school, Jessica also considers herself to be a bit of a film buff. She has a penchant for post-Neo-realist Italian cinema, the French New Wave, New German Cinema, and just about anything directed by Bergman, Fellini, Resnais, and Fassbinder. Prospective students and other friends of the department should feel free to contact Jessica by e-mail.

    • Shivani Sud

    • Bio

      Shivani Sud (2013) studies the art and visual cultures of South Asia, with a particular focus on the late nineteenth and early twentieth century. She received a B.A. in Art History from UCLA in 2012. Broadly, her areas of interest include colonial studies and postcolonial criticism, object and collecting histories, and Indian cinema. Shivani is currently working on her qualifying paper on colonial epidemiological photography.

    • Joel Thielen

    • Bio

      Joel Thielen (2016) studies Japanese Buddhist art. His interest centers on how Zen images reflect their specific contexts, including specific theological ideas, monastic contexts, and national traditions. He is also interested in how Zen practices shift as they move from one country to another—from Japan to the West. Joel received his BA from Colorado College in 2011. 

    • Uranchimeg Tsultem

    • Bio

      Uranchimeg (Orna) Tsultem (Ph.D. 2009) taught courses on contemporary art and Buddhist art at the Department of Art History at the National University of Mongolia in fall 2013 as an Associate Professor and a Khyentse Foundation Fellow. In spring 2014, Orna also taught a seminar on Asian contemporary art for the department.

      She organized a panel on Mongolian Buddhist art at the International Association of Tibetan Studies held in Ulaanbaatar in July 2013, where her Ph.D. advisor Pat Berger joined as a Discussant. Orna submitted her chapters as a contributor to an edited volume Buddhism in Mongolian History, Society, and Culture forthcoming with Oxford University Press later in 2014.

      Orna's other research project concentrates on contemporary Asian art. She presented her new research at the panel "Transnational Feminism" at CAA 2014. Orna received a collaborative research grant from ACLS/Robert H. N. Ho Family Foundation in 2014-2015.

    • Ty Vanover

    • Bio

      Ty Vanover (2017) studies 19th- and early 20th-century art, specializing in German and Austro-Hungarian visual culture and theories of gender and sexuality. His primary research centers on the intersection of sexology, visuality, and artistic production. He is particularly interested in the visual mapping of sex drives and erotic behaviors within sexual-scientific discourse. It is from this vantage point that his current work reconsiders image production, reception, and circulation between 1890 and 1933, with an emphasis on paintings, book illustrations, photographs, and films produced concomitantly with—and in response to—emergent sexual research and theory. Ty received his BA in Art History from the University of Virginia and his MA in the History of Art from the Courtauld Institute of Art, University of London.

    • Marcus Verhagen

    • Bio

       Marcus Verhagen (PhD 1994), who studied at Berkeley under Carol Armstrong and T.J. Clark, lives in London. Working primarily on contemporary art in the years since 2002, he has written many articles and reviews for art magazines such as Art Monthly, Art Review and Frieze. He has published in several periodicals, including Representations, New Left Review, Third Text and Afterall. His book Flows and Counterflows; Globalisation in Contemporary Art was published by Sternberg Press in 2017. Another, on new ways of thinking about time, will hopefully appear at some point in the years ahead.

    • Karl Whittington

    • Bio

      Karl Whittington (Ph.D. 2010) is Associate Professor of History of Art at The Ohio State University, where he has been teaching medieval art history since 2010. His essays have appeared in Gesta, Studies in Iconography, Mediaevalia, postmedieval, Transgender Studies Quarterly, Nineteenth Century Art Worldwide, The Gay and Lesbian Review, The Los Angeles Review of Books, and several edited volumes, and his first book, Body-Worlds: Opicinus de Canistris and the Medieval Cartographic Imagination, appeared in 2014 from the Pontifical Institute for Mediaeval Studies in Toronto. His current book project is entitled Trecento Pictoriality: Essays on Form and Meaning in the Age of Giotto.

    • Elaine Yau

    • Bio

      Elaine Y. Yau (2007) is currently completing her dissertation entitled, "Acts of Conversion: Sister Gertrude Morgan and the Sensation of Black Folk Art, 1960-1983." Additional research interests include African American art criticism, sensory cultures of religion, and theories of the vernacular. She also serves as an editor for Cultural Analysis, an interdisciplinary, peer-reviewed journal dedicated to investigating popular and expressive culture.

    • Antonia Young

    • Bio

      Antonia Young (2009) specializes in ancient Roman art, with an emphasis on Roman painting. She received her B.A. in Classical Civilizations from Wellesley College and her M.A. in Classics from U.C. Berkeley. As an art historian originally trained as a Classical philologist, her work explores the intersection of ancient Roman art, architecture, and literature. For example, her dissertation, “‘Green Architecture’: The Interplay of Art and Nature in Roman Houses and Villas” (supervised by Professor Christopher Hallett), examines the convergence of art and nature in Roman wall painting and garden design in five domestic—and historically significant—sites in Italy. Her analysis tacks between close readings of these sites and contemporary Latin literature in order to situate what is at work and at stake in Roman gardens—artistically, culturally, and historically—at the level of both “text” and “context”. Her other research interests include Etruscan art and archaeology and the reception of Classical culture (especially the sites of Pompeii and Herculaneum).

    • Patricia Yu

    • Bio

      Patricia J. Yu is a doctoral candidate studying Chinese art with Professor Patricia Berger. Her dissertation addresses the Qing imperial garden of the Yuanming Yuan (Garden of Perfect Brightness) and the way in which its ruins and looted objects have been reproduced, reinterpreted, and reconstructed in modern and contemporary China. Her research interests also include Qing court art, art in cross-cultural translation, and issues of cultural heritage and preservation. She was a pre-doctoral fellow at the Getty Research Institute, Los Angeles, under the scholar theme "Iconoclasm and Vandalism" in 2017–2018. She is currently the Mellon Graduate Curatorial Intern in the Asian export art department at the Peabody Essex Museum in Salem Massachusetts (Fall 2018).